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The StyleForum Runway & High Fashion Thread - Page 56

post #826 of 1188
I'm not a heavyweight, but you can turn up a lot of stuff just from Google (link to a PDF with pretty mediocre writing but some decent info)
post #827 of 1188

This book covers Miyake pretty well from early years to present-day. If you're looking for a textual overview of his work it's hard to beat IMO

post #828 of 1188

Awesome, thanks a lot everyone!

post #829 of 1188
post #830 of 1188
Originally Posted by snowmanxl View Post

ill wait for one of the heavyweights to weigh in with a proper answer but heres what i got..
from what ive read, damir doma is a big IM fan and uses the egg silhouette because of him.
experimental fabrics are always being developed.
im sure by looking at some of todays designers (damir) we might find some similarities
thats all i got redface.gif

Never got around to do this properly but here's an half-assed attempt

Originally Posted by sipang View Post

Welcome to the first installment of

Warning: Spoiler! (Click to show)

with Issey Miyake. Hi !

As an introduction, today we will examine with the help of archeological visual documents from the 1980s era the deep influence of Miyake's designs on Damir Doma's recent collections.
In-depth analysis and side by side comparisons to follow.












post #831 of 1188
valerie steele -
is fashion art?

* * *
1983 article on Yohji Yamamoto and Rei Kawakubo (Click to show)

"Fashion : Loose Translator"

By Bernadine Morris
Published Jan 30, 1983 in the New York Times

To Western eyes, the clothes have a bold, new look that is not easily assimilated. Some call it ''ragged chic'' or the ''bag lady look.'' ''They are for the woman who is independent, who is not swayed by what her husband thinks,'' Miss Kawakubo says. While she feels that her clothes represent a dramatic change from conventional forms of dress, she also believes that women are ready for such a change. Perhaps not every woman and perhaps not yet, but retailers who have stocked the clothes on a small scale in the past few seasons believe they have great potential.

''They don't condescend to intelligent women,'' says Barbara Weiser, who, with her mother, Selma, runs the five Charivari shops on Manhattan's West Side. ''The clothes are interesting as design.''

In February, Bendel's will open a new shop devoted to Miss Kawakubo's collection, which is called Comme des Gar,cons. Why the French name? ''The clothes are not particularly feminine,'' Miss Kawakubo explains. ''They tend to be in dark colors, like men's clothes.'' Even more importantly, she says, she liked the sound of the French phrase.

"We must break away from conventional forms of dress for the new woman of today. We need a new strong image, not a revisit to the past. I have been trying for three years. This time, I think I have been most successful.''

Rei Kawakubo, a small woman wrapped in black, is sitting in her new, as yet unfurnished, workroom in Tokyo. She speaks through an interpreter, her associate Stella Ishii, but her words seem as powerful as her designs. She is the most articulate of the new breed of Japanese designers.

The designers have, in a decade or two, passed from the kimono through the history of Western fashion. As has Issey Miyake, Japan's most widely known designer, they have won a following and no little success on their native ground, where the women are infatuated with fashion. Now they are preparing to conquer the world.

They are not beginners. Miss Kawakubo, who has just turned 40, has been designing clothes for her own company and others for 15 years. Yohji Yamamoto, 38, has been in business for 10 years.

They are working out their own ground rules, geared to contemporary living and not bound by dressmaking traditions. Their approach has little to do with the Western conceit of making clothes that alternately conceal and reveal the body. Showing off the figure is not the point of their designs, all of which tend to fit loosely.

This is essential since, for home consumption, at least, the clothes are made in one size to fit everybody (at least from size 4 to size 16, and possibly larger). Some concessions are made for the West. For export, Mr. Yamamoto produces two sizes for bottoms - small and medium - though for tops and dresses there is still only one size, as in Japan. The advantages for the storekeeper, as well as the customer, are obvious: There is little chance of a customer's selecting a particular style only to then discover that it is out of stock in the proper size.

The long-range possibilities are staggering. Since most of the Japanese styles can be packed flatly, elaborate closet facilities could become unnecessary. And perhaps some day, a person will have to carry only a toothbrush and some books when visiting a friend for the weekend; the friend will have a supply of easily stored clothes for borrowing.

That is for the future. Right now, the big advantage of Japanese styles lies in their total comfort and absence of restrictions on body movement. They also tend to be made of natural fabrics -mostly cottons and silks - many of which have been treated so they do not require ironing. Skirt lengths are irrelevant and trousers tend to be easy.

To Western eyes, the clothes have a bold, new look that is not easily assimilated. Some call it ''ragged chic'' or the ''bag lady look.'' ''They are for the woman who is independent, who is not swayed by what her husband thinks,'' Miss Kawakubo says. While she feels that her clothes represent a dramatic change from conventional forms of dress, she also believes that women are ready for such a change. Perhaps not every woman and perhaps not yet, but retailers who have stocked the clothes on a small scale in the past few seasons believe they have great potential.

''Three years ago, when I first went to Japan, I had no idea of the magnitude of their fashion image,'' says Gene Pressman of Barneys New York, who visited Tokyo recently to see the designers on their home ground. ''It's a wild, avant-garde look. I expected just to find knockoffs. Some of it must be toned down, but it certainly will have an influence on American clothes.''

''They don't condescend to intelligent women,'' says Barbara Weiser, who, with her mother, Selma, runs the five Charivari shops on Manhattan's West Side. ''The clothes are interesting as design.''

A lot of women understand the message, Miss Weiser has found. ''As soon as we get the Yamamoto clothes into the store, they sell out,'' she says.

Geraldine Stutz, the president of Henri Bendel, calls the newest Japanese designs ''exciting and somewhat exotic to Western eyes,'' but predicts that they will soon become familiar.

''Fads happen every five minutes in fashion, but a change of real strength and real importance is rare,'' she says. ''The Japanese are offering us this kind of change. They are certainly opening our eyes to a new way of looking at clothes.''

In February, Bendel's will open a new shop devoted to Miss Kawakubo's collection, which is called Comme des Gar,cons. Why the French name? ''The clothes are not particularly feminine,'' Miss Kawakubo explains. ''They tend to be in dark colors, like men's clothes.'' Even more importantly, she says, she liked the sound of the French phrase.

Esthetic considerations are significant in the Japanese collections, taking the form of a hidden pocket in an unexpected place in the clothes of Yohji Yamamoto or cutouts that are employed for textural effects in Miss Kawakubo's clothes.

These are a natural extension of the Japanese sense of artistry apparent in their flower arrangements, their prints, their presentation of food.

Coupled with the traditional attention to detail - some call it professionalism - and mastery of technology, it contributes to the impact of Japanese fashions.

For about 20 years, the Japanese have imported some Western fashions and contracted with other noted designers to reproduce their clothes. They have come to Paris and New York, assimilated how clothes were made and sold and how women looked.

''When I first visited Japan 20 years ago, the women were still in kimonos,'' says Marc Bohan, the designer for Christian Dior, which was among the first fashion houses to license the manufacture of their clothes in Japan. Today the Japanese business is second only to that done in the United States, according to Mr. Bohan.

''Now all the women there are interested in fashion,'' says Mr. Bohan. ''It is a tremendous stimulation to a designer, and the designers are responding to it.''

Calvin Klein, whose licensing arrangement with Japan goes back seven years, is impressed with the technology. ''If they don't have a fabric we use, they can reproduce it quickly and efficiently,'' he says. ''They have a fantastic ability to understand and to follow through.''

Given the Japanese facility for designing and manufacturing clothes, some Western observers fear eventual competition in fashion that will be as formidable as that which already exists in the automotive and electronics fields. Others admire the designers as blazers of new fashion trails that are indisputably modern. Whatever the attitude, the feeling is widespread that the Japanese fashion tide is coming and that, if nothing else, it will stimulate thinking about the kind of clothes we wear.
post #832 of 1188
Prada Fall 1990 campaign

post #833 of 1188
Might as well post this one here


Fall 2012-2013

(+1 for featuring an old M83 song)

Yatsushi refers to the intentional transformation of something splendid and beautiful, or of a noble spirit, into something plain and common. [...]The Japanese writing system uses some different Chinese characters to represent yatsushi. One of these is the character , which conveys a sense of omission or reduction, of simplifying something. In this sense, yatsushi connotes reducing something splendid and magnificent to the small and simple; or taking something lofty and entitled status and reducing it to something commonplace and ordinary. For example, a Japanese dry landscape garden layout might be intended to convey an image of the vastness of Horai-san, or Mount Penglai, the legendary home of the Chinese Immortals. It achieves this in miniature with a few stones and some gravel. In effect, an ideal world, invisible to the eye, is recreated out of very ordinary materials. This is the beauty of the dry landscape garden.

In Japanese flower arrangement, a few flowers placed in an alcove are a reduction (yatsushi) that represents the beauty of the flowering plants of each of the four seasons. Miniature bonsai trees are a direct example of yatsushi.

The rustic simplicity of the tea ceremony takes the ideal of tea drinking in the rich, ornately decorated surroundings of a Japanese manor with luxurious Chinese implements and reduces it to the spare elgance of an austere, thatched cottage. [...]

Viewing it this way, one can understand that the aesthetic sense of yatsushi is of central importance in classical Japanese visual and performing arts. Yatsushi is deeply connected to the fact the Japan as an island nation unquestioningly accepted the overpowering culture of continental Asia; then through a process of nativizing that culture, the Japanese reduced and simplified it in their own way.

But as one investigates and ponders this concept of yatsushi, one somehow feels that something mysterious is going on. Simply put, why would reduction, yatsuhi, be associated with beauty at all ?

Yatsushi is rarely beautiful in itself. The appearance is common, unsophisticated, sometimes shabby. even if you know that what you are seeing is a reduction of something splendid, does that necessarily mean it will appear beautiful ? That many people do react to it as beautiful must be because it move something deep in the human spirit, something deeper than understanding.

This winter, I visited Tofuku-ji Temple in Kyoto. I looked out from the famous bridge Tsuten-kyo, which spans a small stream, over a forest of countless Japanese maples, now bare of their leaves. The ground was covered with a layer of huge maple leaves that looked like the white cast-off skins of small hands. For a moment, those of us gazing at this magnificent scenery traveled through time, spontaneously sensing the blazing red leaves of white autumn and the hidden life that was waiting to burst forth in the budding of early spring. It was strange to be reminded of the richness of seasonal changes while seeing only sere, dry branches. I have heard that long ago, the Japanese enjoyed, and still enjoy, flower-viewing in the spring and excursions to see the leaves of autumn. To be sure, such landscapes can seem very bleak . But precisely because they are bleak, there is a richness to the scene that one can see with the heart.

Without the Japanese capacity to discern the depth of time that exists in seemingly plain and unsophisticated things, the beauty of yatsushi probably could not have arisen. A doorway to a world or richness opens from within familiar, plain appearance.

-- Matohu

post #834 of 1188
that matohu collection is one of my favourites ever, thanks for sharing
post #835 of 1188

want a woman dressed exclusively in that collection.

post #836 of 1188
my god i love it all
post #837 of 1188
November 19, 2012
Rei Kawakubo: Exclusive Q&A


Rei Kawakubo needed only one word to describe her spring 2013 collection, whose dense agglomeration of clothes was difficult to dissect and describe. Hoarding, recycling and today’s remix culture came to mind watching her models parade in their John Chamberlain-esque hats of squashed tin, canvas dresses steamrolled around their bodies, or simply anchored in bunches by thick straps around the bosom.

Making a fashion writer’s job easy is hardly her cup of tea, and it’s almost enough to make her smile.

“The more people that are afraid when they see new creation, the happier I am,” she relates in a manner as blunt as her bobbed hair.

Kawakubo’s latest collection for Comme des Garçons was of the confounding ilk—another rebel yell from a lone wolf in a forest of tame fashions.

RELATED STORY: Comme des Garçons RTW Spring 2013 >>

A few days after her show, staged in a chilly concrete parking garage on the eastern fringe of Paris, the Japanese designer turned 70, a milestone she prefers not to acknowledge. Answering questions through her husband, Adrian Joffe, who is also chief executive officer of Comme des Garçons International, Kawakubo let a birthday-related query pass without an answer.

She prefers to let her clothes do most of the talking, and they are doing a splendid job, showing Kawakubo at the height of her powers after more than four decades of creation.

Her acclaimed fall 2012 collection, which took her two words to describe: “two dimensions,” was on display in all its flat, felted glory by plenty of showgoers in Paris, and her designer peers are still raving about it to this day. Kawakubo also continues to experiment and dare with her unorthodox retail stores and collaborations, with a New York branch of Dover Street Market among her next projects.

Here, she shares a few of her pointed opinions on her creative intentions, skewering fashion magazines and corporate greed along the way.

WWD: You often say your mission is to create clothes that never existed. Do you ever feel you are exhausting the possibilities?
Rei Kawakubo: “As the weight of experience piles up, it has become increasingly difficult to find yet new ways of thinking and to make new things.”

WWD: Many people become more conservative, less daring, as they get older. How about you?
R.K.: “I think the media has some responsibility to bear for people becoming more conservative. Many parts of the media have created the situation where uninteresting fashion can thrive.”

WWD: Are your collections personal—about what you want to wear, or how you are feeling? Where does the impulse come from?
R.K.: “My intention is not to make clothes. My head would be too restricted if I only thought about making clothes.”

WWD: Was “Crush” any commentary on your flat, two-dimensional fall collection? Or did the idea come from somewhere else?
R.K.: “I can honestly never remember clearly what I was thinking about at the time. I was only trying to make something completely new. There is never more meaning than that. I was not thinking about the age of Internet when I was making the fall-winter 2012 collection.”

WWD: Surely it’s not possible to produce a collection like “Crush” by sketching. Do you always drape, always sketch, a combo of the two, or some other approach?
R.K.: “Yes, you’re right. I made this collection on a table, and worked on the clothes like a sculptor would work on a sculpture. It was all made by hand.”

WWD: If you could have invented one garment, what would it be, and why?
R.K.: “I would have liked to invent the plain white shirt, with a skirt and pants to go with it.”

WWD: Fashion today seems to be more about big business and profits than pure creative expression. Do you agree, and if so, how do you feel about it?
R.K.: “Yes, it’s true.…And it’s weakening the power of creation. This is the worst of situations.”

WWD: You helped popularize design collaborations. Is it still a stimulating and fruitful path for you?
R.K.: “I am always thinking that some interesting possibility, some accidental synergy could occur in a collaboration, and people seem to like it. Even though it is difficult, it is easier for me to make my own things, by myself.”

WWD: You’ve also become a global, multibrand retailer with Dover Street Market. Has this shaped your approach to design?
R.K.: “I run a business as well, so we need ways to grow and develop, but this has not changed the way I approach design in any way whatsoever. My sense of values has not wavered since I founded the company 43 years ago.”

WWD: Do you ever worry about designing a collection that won’t sell, or that is difficult to sell?
R.K.: “Every day I think about the selling, but when doing a collection, all I want is for people to feel the power.”

Designers are a competitive bunch, yet Rei Kawakubo is an equalizer, one of the most admired and vaunted among her peers.

“I think she’s very, very interesting,” offers Karl Lagerfeld..“I always liked the men’s wear, and I love the
perfume.” Like many fashion folk, Lagerfeld pinpoints Kawakubo’s “two-dimensional” fall collection—featuring doll-like shapes rendered in thick felt—as a standout. “It was really new and different,” he says.

“That was the most amazing show I’ve ever seen from anyone—ever!” agrees Marc Jacobs. “I just think she has an extraordinarily unique vision and voice,” adds Jacobs, who often wears Comme des Garçons skirts. “I wear the clothes. I don’t just look at it as design for the sake of design.”

Jacobs marvels that Kawakubo’s collections—as varied as they are—have a strong handwriting: grafting clothes onto clothes, or using clothes to create other clothes, for example. “There’s always something different and new, but there’s always a common thread, too,” he says. “It’s not about dressing for other people. It’s not buying clothes to attract or seduce. It feels like a gift you give yourself.”

“Rei is like a compass,” enthuses Celine designer Phoebe Philo..“She is tuned into some deep sense of where we are today. I don’t always understand it, but I get the feeling that she is right to be there anyway. On days where I feel tired or flat, her universe always gives me the fight to continue.”
post #838 of 1188

* * *

Also, currently at the Walker

Dance Works III: Merce Cunningham / Rei Kawakubo

(October 4, 2012 – March 24, 2013)

Focusing on the extraordinary costumes that Comme des Garçons founder Rei Kawakubo created for Merce Cunningham’s 1997 dance Scenario, this exhibition explores the collaboration between the Japanese fashion designer and the legendary choreographer.

Although partnerships with other artists were integral to Cunningham’s artistic vision, his invitation to Kawakubo was the first he’d made to a designer of haute couture. As with all of his colleagues, he embraced chance, giving Kawakubo free reign to create the costumes and stage design for his dance Scenario (1997). She had initially declined but changed her mind while creating her notorious spring/summer 1997 Body Meets Dress, Dress Meets Body collection, which insiders later dubbed the “lumps and bumps” show.

Kawakubo has spoken of the impetus for that body of work: “Fashion was very boring, and I was very angry. I wanted to do something extremely strong. It was a reaction. The feeling was to design the body.” Like the runway pieces, the costumes she subsequently made for Scenario also featured down padding that formed irregular bulges on the dancers’ hips, shoulders, chests, and backs. The garments altered the performers’ proportions and sense of their own bodies as well as their balance and spatial relations to each other, radically affecting movement itself.

Also responsible for Scenario’s stage and lighting concepts, Kawakubo, with designers Takao Kawasaki and Masao Nihei, created a stark white, fluorescent-lit setting. “I was interested in the defiance and fusion of the dancers within a limited and fixed white frame,” Kawakubo explained. “I didn’t want a ‘stage’ feeling, but more like a room, which the audience would feel they shared with the dancers.”

post #839 of 1188

On our collaboration with Jona, creator of InAisce

When we were looking up Sruli, the incredible designer and Days of Gray’s mask creator, we stumbled upon this Cool Hunting article about Sruli and InAisce (pronounced ‘in-äs-kee’)


“The waterproof garments are stiff and durable outside, disguising sensuality in soft and delicate materials on the inside.”

The quote above described word-for-word what we were looking for. We immediately found a phone number for InAisce’s designer, Jona and gave him a call. He was incredibly friendly and very receptive to the idea of collaborating, even though we were only two weeks away from leaving for Iceland at the time. We then went over to his studio in Bushwick, where we met with him and his studio manager, Stefen.


The studio was fantastic and continued to match up with Days of Gray’s vision – it was almost too perfect. We sent them the script and mood boards, and they responded with an enthusiasm that matched ours. They shared our love for the movie The Fall and told us they’d love to lend us as many piece of possible.


We ended up leaving with three suitcases filled with sixty items, and most ended up on the screen!

Coincidently, Jona was in Iceland too this summer to shoot InAisce’s Spring/Summer 2013 collection’s lookbook. It was wonderful to see him and photographer Jeff Elstone out there, on many occasions (we regularly bumped into them for the next couple of days – Reykjavik really is that small!).

Enjoy and happy weekend!

Days Of Gray, design, fashion, Iceland

post #840 of 1188
eff. that second look is perfection. it's from upcoming SS, shah?
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