Comme Des Garcons
Body. Comme Des Garçons AW17
First thoughts after seeing Rei Kawakubo‘s Comme Des Garçons collection for autumn-winter 2017 (written chronologically). Post-apocalyptic vision of Nicki Minaj’s / Kim Kardashian’ bodies. A Kawakubo human changes into an over-sized mushroom. Recycling is not only ecological; it’s artistic.
Rei’s collection is the new radical. Anti-fashion. Intepret it the way you want. But don’t think of it in terms of ‘clothes’, because these garments can’t be classified that way.
9 1/2 Weeks of Style
9 1/2 Weeks directed by Adrian Lyne is a cult film from the 80s, blurring the lines between refined romance and subtle erotica. Elizabeth McGraw (played by super-bombshell, Kim Basinger) and John Gray (young Mickey Rourke) find each other in New York’s Chinatown, and their relationship becomes a journey of love with ups and downs.
But what really strikes you, when you watch the film, is this something sensual about Elizabeth’s clothing. Her knitted sweater is three sizes too big, but the viewer is appealed by the way her body is hidden. As an assistant of art gallery curator, Liz prefers unconventional for her daily wear: pastel-blue tights, Jane Birkin-like basket and her favourite cocoon trench-coat. When with John, she loves her boyfriend’s businessman wardrobe, and choses to wear tailored blazers with shoulder pads and pin-stripe pants. No wonder why the two shop at Comme Des Garçons-like store (which in fact might be one), filled with Japanese avant-garde garments.
LEMAIRE Twisted Cotton And Silk-blend Poplin Wrap Shirt
SAINT LAURENT Double-breasted Twill-trimmed Grain De Poudre Wool Blazer
New York fashion scene was going through a lot, and all-black was a statement. For exhibition openings, Elizabeth was likely to be seen in a black mini-dresses with exposed shoulder, wearing dark tights of course. Watching this film, I just can’t stop thinking that fashion hasn’t changed even a bit. From Lemaire‘s slouchy shirt-and-pants chic to Jacquemus over-sized jackets, it’s clear that the spirit of 80s feels relevant up to today. While Anthony Vaccarello’s spring-summer 2017 debut for Saint Laurent is pure 9 1/2 Weeks, really: leather secretary skirts, strip-tease-perfect cocktail dresses, killer heels.
From left: Jacquemus AW16; Saint Laurent SS17; Celine AW14.
From left: Lemaire SS17; Lemaire AW16; Lemaire AW14.
COS Single-Breasted Wool-Blend Long Coat
The Frankie Shop Alsen Knitted Midi Wrap Skirt
Collage by Edward Kanarecki.
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Multi-Faceted. Comme des Garçons SS17
Spring-summer 2017, in overall, is a season of optimism and joyous colours. But Rei Kawakubo never was, and will be, a comformist, who cares about current tendecies. The latest Comme des Garçons outing saw a line of the biggest, or even the most gargantuan silhouettes that have ever appeared on a runway. All in black, white, red and with hints of tartan plaid, the voluminous dresses and cocoon-coats made the models’ bodies (and heads) “drown”. Those weren’t clothes any longer, but wearable sculptures, which challenge the frequently over-used statement “fashion is art“. Actually, there’s not much sense in seeking inspirations behind Kawakubo’s work – her creativity, and mind, is a multi-faceted universe, where nothing is what it seems.
The New Revolutionaries
Fashion is continuous in communicating on what’s happening in the world. Vivienne Westwood and Malcolm McLaren shaped the 70s punk scene in Great Britain, shaking up the aristocratic nation; Marc Jacobs took grunge into the world of high fashion at Perry Ellis in 1993. There was Raf Simons with studded, skinny pants for boys, and Hedi Slimane at Saint Laurent years later, reviving Yves’ (in)famous scandale spirit. All of those designers wanted to show rebellion, and made history. This season, the mood of rebellion was present, too, but introduced in a different way. If you want to look defiant, leave your mud-splattered boots behind.
Marc Jacobs and Lucie de la Falaise, Perry Ellis era
Take Rei Kawabuko and her autumn-winter 2016 collection at Comme des Garçons – it was an ode to the 18th century, but not in the way you might have expected. The silhouettes were voluminous, while the textures clashed with contrasts. Instead of embroideries and embellishments, opulence played a different role. “The 18th century was a time of change and revolution,” Rei said. “This is how I imagine punks would look, if they had lived in this century.” Think about French aristocracy, and just remind yourself some Marie Antoinette’s pouf hair-style or Louis XIV’s obsession with heels. Ball-dresses, splendour of colours – this is how the Incroyables originated, putting a barrier between them, and others. Their looks shouted “I’m in the elite – you’re NOT”. In fact that was a kind of punk gesture, if you look at that from another perspective. Paradoxically, Kawakubo wasn’t mistaken – punks, different punks, already existed before Dame Vivienne. Living in their saccharine wardrobes and eating cupcakes while the poor starved was to an extend… radical.
Comme des Garcons AW16
Good times changed for aristocracy, and the French revolution proves that. John Galliano‘s spring-summer 1993 collection was a modern-day interpretation, of how a Merveilleuse (female equivalent for Incroyable) could have looked before execution. Of course with grace! A sheer dress which looked nearly like a piece of underwear; her hair of fleek. Decapitation had to be chic, and Galliano’s spectacular collection filled with tattered frock coats, dilapidated chiffon, and extravagantly puff-sleeved gowns was a controversial success.
All of the above: John Galliano SS93
But coming back to 2016. Marc Jacobs‘ latest outing was all about full skirts and big dresses in polished leather. Platforms were there. Those ladies were like the bad queens and bad princesses from a fantasy, while their outfits were loud nods to monarchy looks. For Maison Margiela, Galliano devoted his haute couture collection once again to the Incroyables, presenting coats with exaggerated tails. But this time, the one-of-a-kind pieces were mixed with high-tech textiles and hand-made chantilly lace. John explained his artisanal season as a reflection of today’s world troubles. “I didn’t want to repeat what I did as a kid,” said Galliano. “But it has the rebellious attitude of youth.” Lastly, Dries Van Noten was inspired with Marchesa Casati’s avant-garde aura. She was, you’ve guessed well, an unconventional aristocrat, with her smokey eyes, layers of pearl necklaces and exotic furs. She looked different that all the other fancy dames from those times – and that’s why Dries felt appeal to her. An embodiment of punk? Yes.
Marc Jacobs AW16
Dries Van Noten AW16
Dries Van Noten AW16
Above: Maison Margiela Haute Couture AW16
Design & Culture by Ed 