From the Room Issue
Meet Glenn Martens, creative director of Maison Margiela and Diesel, in a joyful, unfiltered exchange with Belgian architect Glenn Sestig. On a winter morning, this conversation begins over Zoom, despite the quirks of an “artisanal” connection from the offices of Maison Margiela, where its creative director, Glenn Martens, speaks to us. “Glenn meets Glenn.” But this is, of course, far from their first encounter. “Belgium is a small mafia,” Glenn Martens says, laughing. Since his first Haute Couture show in July 2025 — widely praised by the industry — the prolific Belgian designer, who also heads Diesel, has been reinterpreting the codes of the house founded by Martin Margiela in 1988. A meeting between two creative minds for whom fashion, like architecture, is conceived first and foremost through sincerity.
GLENN MARTENS I’ve known you for more than 20 years, Glenn. For you, maybe less. I was 21, studying interior design at Saint-Luc in Ghent. You were already a design star in Belgium. At the end of my third year, I applied for an internship at your studio. I put on my best charm, the interview went very well, I was ready to start… and then, two weeks before, the internship was cancelled.
GLENN SESTIG I don’t remember that… So that’s why you never called me to go shopping for Diesel. I understand now. It’s revenge. (Laughs)
G.M. In the end, I found an internship at Vitra, which completely put me off interior design. That’s when I decided to move into fashion. As it turns out, life works out! Since then, we run into each other often. Belgium is a small country with very big talents. We often meet at parties or dinners. Glenn also comes to my shows from time to time.
G.S. Yes, the Y/Project shows and we were together at the last Dries Van Noten show, in July 2024.
G.M. You also have a beautiful house near Ghent, where you host great parties. I remember your magnificent white cat. A work of art. Is he still alive ?
G.S. Yes, he’s 16 now. Glenn, where does your desire to create come from ?
G.M. I come from a fairly traditional background. I grew up in Bruges, with a father who was a judge and grandparents who were colonels. Until I was 18, I had a very classical cultural upbringing. When I arrived at the interior architecture school in Ghent, I discovered contemporary work. That laid the foundations of my creativity, almost like an artistic point of view.
G.S. What happened next between Vitra and Y/Project ? How did you switch to fashion ?
G.M. At Vitra, I spent my days counting chairs. The early stages of architectural design are very time-consuming. I realised it wasn’t for me. A visit to Antwerp — and especially to its Fashion Academy, designed by architect Marie-Jos. Van Hee — deeply marked me. I thought it would be incredible to study there. I applied on a whim. Only 80 candidates were selected out of 400. I showed up for the entrance exam with a portfolio of chairs, bathrooms, kitchens. And a photo of you, Glenn.
G.S. Of course ! (Laughs)
G.M. By some miracle, I was accepted. A year later, I realised I had been chosen because each year they select a few candidates whose profiles match the standards of fitting models. With my 1.85 metres and size 46, I fitted the bill. My entry into fashion was therefore both a stroke of luck and a love at first sight.
G.S. Beautiful, I didn’t know that story. So when you started in fashion, you had an architect’s vision above all.
G.M. I imagined 3D boxes around the body. I hadn’t yet understood the essence of fashion. I experimented a lot. That architectural influence can be seen particularly at Y/Project, where I was trying to reinvent garment construction. At Diesel, it’s more about 2D: the fabric. And at Margiela, there is always this idea of deconstructing and reconstructing.
G.S. Your first Haute Couture show for Maison Margiela, in July 2025, was sublime, as were the sets. But back at Y/Project, that idea of deconstruction was truly groundbreaking. There was something radical, something new.
G.M. I think that’s what brings us together, Glenn and me, and the Belgian scene in general. It’s a creation without frills, straight to the point. We like pure design.
G.S. We also have that ability to immerse ourselves in a brand: to place ourselves at the service of its aesthetic and its spirit, while preserving our own style.
G.M. Belgian creatives are very purist when it comes to concept, with an almost intellectual approach.
G.S. Have you ever met Martin Margiela ?
G.M. No, but he’s a very close friend of Inge Grognard, a Belgian make-up artist of international renown with whom I often collaborate. They were in primary school together. When I was appointed at Margiela, she sent me a photo on WhatsApp: two pairs of feet on a sandy beach. It was Inge and Martin. She told me he was very happy it was me, and that he thought it was the right choice.
G.S. Amazing. A real sign of trust. Because for Martin Margiela, fashion goes far beyond a collection.
G.M. Yes, it’s almost a philosophy. When I arrived in Paris after graduating from the Antwerp academy, I was living in a 12 m. studio. I had to move the futon to open the fridge. I lived there for three years. I worked very hard to get where I am. And when you look at the Belgian creative scene today, I think the key word is sincerity. No bullshit.
G.S. And bold gestures. The line is there, the idea is there, and you don’t move away from it. It’s a very clear, very pure vision.
G.M. When you think of Nicolas Di Felice or Meryll Rogge, we all share that approach.
G.S. Glenn, you worked with Miley Cyrus on your Maison Margiela campaign, unveiled in August 2025. Tell me about that encounter.
G.M. Miley is extremely kind. To be honest, I inherited the campaign imagined by John Galliano, but I decided to keep it. It was a real challenge, because Maison Margiela is not a celebrity-driven house. The shoot lasted one day and felt very organic. In the end, she was naked, painted white. For a star like her, that was very engaging. She wanted to play. It was a beautiful encounter. And you, Glenn, what are your plans for 2026 ?
G.S. I’m working on two houses in Saint-Tropez: one entirely in concrete, the other more traditional, for which we are designing the entire interior. For the first time, we are also designing a 55-metre mega-yacht. We are designing both the exterior and the interior. It’s an incredible project. It promises a great year ahead.
JULIE LE MINOR Lately, we’ve seen many designers and celebrities having their tarot cards read. Have you ever done it ?
G.S. Yes, at a We Are Ona dinner. Someone was reading cards. It was interesting.
G.M. Mine was with a drunk friend at a party. I don’t remember anything. Maybe everything came true, since I forgot it all (Laughs) But I don’t really believe in it.
G.S. In any case, I think you always keep what’s positive. So what can we wish for this year 2026 ?
G.M. Good health, above all, so we can keep having fun. Every time I see Glenn, we have a great time.
G.S. And that the two Glenns finally work together.
G.M. Who knows…
