Comme Des Garçons at The MET

Slide4

Autumn-winter 2000

Today, Rei Kawakubo‘s revolutionary and incomparable contribution to fashion will be honored at The MET ball, ahead of the exhibition opening this Thursday. Only the second show dedicated to a living designer in the institution’s history (the first was Yves Saint Laurent in 1983), it’s a testament to the radical experimentation with garments of the 74-year-old, whose dedication to ‘the art of in-between’ has earned her a cult fandom. Forget the celebs, who I doubt will wear any Comme Des Garçons with passion tonight (really, don’t make me laugh, Katy Perry). Here are my seven alternative red carpet looks, coming straight from Kawakubo’s universe.

Slide2

Autumn-winter 2012 – This collection shaped my love for fashion. That’s a fact.

slide2-kopia8

Autumn-winter 2017

Slide1

Spring-summer 2015

slide1-kopia-37

Autumn-winter 2016

Slide3

Spring-summer 1997

slide1-kopia3

Spring-summer 2017

All collages are by Edward Kanarecki, the author of the blog.

Body. Comme Des Garçons AW17

11e7b6d6-0167-11e7-ace0-1ce02ef0def9

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.

Slide06Slide09Slide07Slide10Slide08Slide2-kopia

Multi-Faceted. Comme des Garçons SS17

_cdg0115

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.

slide14

slide18

slide17

slide16

slide15

slide1-kopia