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12-03-2013
  46
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Join Date: May 2005
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You know what??..I truly don't give a a crap what the fabric is...where it's made...weather it's synthetic..organic...man-made, environment friendly...etc.

I want to see fashion at its most creative finest....and Cdg always hits every note pleasurable to me.

This collection could be made entirely from belly button lint, for all I care.

It's amazing.


Last edited by margielamike2004; 12-03-2013 at 12:21 AM. Reason: grammar
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13-03-2013
  47
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the fabric is a signifier here. so it's not like anything will do. this is why she has to stick to making original fabrics each season all the way. even though what you see and touch is the surface, she would hope some of you sense something hidden/fictional inside. the fabric is trying to be a transmitter of a certain meaning, information, or idea.
and you might receive some of it, regardless of you are conscious or not. I guess this could be part of what makes you find it amazing.

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13-03-2013
  48
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off topic though
Uemarasan, some famous textile designers like manabu kikuchi are from miyake studio. I think issey miyake is the most technical collective of all the japanese fashion houses in terms of fabric making.

his work
from ji-bo
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13-03-2013
  49
V.I.P.
 
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I got this sense of beauty in even the most common of materials as well as the sense of rebellion to not conform what is considered normal (hence the menswear, houndstooth, black and grey) something is done to each piece to make it normal in Tao's world. Everyone has been going back to the heritage and what they started their roots on and Tao did just that. plain can have it's hidden beauties and something is very beautiful about not conforming and rebelling. Something about this is also very empowering to women especially with the red and the loud prints at the end. it shows strength and women have grown into their own and are now not afraid to be seen and heard

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15-03-2013
  50
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^ not sure but maybe it's rei ?


this looks like a counter behavior to the last spring collection that inclined to disintegration and disorder.
she is trying to give dying shapes and outlines clear definition again in a roughly exaggerated and geometric way,
and construct the re-defined parts to the particular order that is based on her own paralogism.
this is her take on bracelli as opposed to the S/S 2013 that was almost sartorial arcimboldo.


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Last edited by runner; 15-03-2013 at 12:36 PM.
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15-03-2013
  51
scenester
 
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I really like polyester in some of my Comme pieces. Last season she did a navy men's pea coat in total polyester.

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15-03-2013
  52
botanizing on the asphalt
 
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Quote:
Originally Posted by user500 View Post
does anybody know about the music of the show? do you know any of the artist's name or can you find a playlist?
Music--the first part at least--is by the Basque composer Angel Illaramendi from a movie called Yoyes.

Took me ages to figure it out....:p


runner, I love your Bracelli/Arcimboldo analogy...
would you generalize it and say that this collection is baroque in spirit whereas the crush collection is mannerist?
I haven't thought through it entirely, but the all the folding/crushing of last season vs. the direct references to nature here
(fused into tailoring, which always references the human form) seems to actually imply the reverse...

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Last edited by laika; 15-03-2013 at 07:54 PM.
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15-03-2013
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Arcimboldo, for reference


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17-03-2013
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laika, if comprehensively the crush collection was regarded as manneristic unreason, this could be a rationalistic counter to that. then again this rationalism is not true one but manneristic/anti-classic one based on its own paralogism. so, I thought both could be mannerist.
but if very approximately the inclination to an end is mannerist and the inclination to a (re)beginning is baroque, I'd say maybe yes. what do you think?

anyway, about the S/S 2013 - crush, though she has not mentioned anything about it officially as far as I know, it was obvious that the collection would never have existed if it had not been for the fields of wreckage the tsunami brought about. it was the expression of destruction and disorder. I believe it's a matter she could not avoid.
on the other hand, this collection is inclining again to formation, contour, order or life. as you say, the reference to nature is starting to be direct and literal. but isn't it not-quite? half concrete yet still half abstract. for example, the designs in the primordial form* are seaweeds, corals and shells as well as leaves, roots and flowers, like a chimera of sea and land. on the narrowed runway she made the still points for the models, the cross points for the coming and the going, like "the timeless moment between the waves".


* an extract from gaston bachelard, for reference
Quote:
for valery: 'a crystal, a flower or a shell stands out from the usual disorder...'
...as to the form it would eventually assume, a vital decision governed the initial choice that involved knowing whether the shell would coil to the left or to the right. this original vortex has provoked endless commentary. actually, however, life begins less by reaching upward, than by turning upon itself. but what a marvelously insidious, subtle image of life a coiling vital principle would be!




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Last edited by runner; 17-03-2013 at 10:03 AM.
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18-03-2013
  55
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Quote:
Originally Posted by laika View Post
Music--the first part at least--is by the Basque composer Angel Illaramendi from a movie called Yoyes.

Took me ages to figure it out....:p
thank you, laika!

unfortunately it seems, that the playlist is not mentioned anywhere this time...

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19-03-2013
  56
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i love when the discussion gets academic...
even if it's harder to follow...because i am always learning something...
:p

runner...
those pics of the after effects of the tsunami really put things into perspective...
they continue to have special documentary style programs here from time to time reporting on the tsunami and stories of survival, rebuilding, etc...
i think you are right when you say that rei must not be able to escape the influences of this...and i'm sure that is true for all the people of japan...


i hope that the flowers growing out of the clothes is a symbol of hope for the future...
...

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19-03-2013
  57
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maybe, with the S/S and F/W 2013, she described the point where the two gather,
the moment when they stand back to back.
one looks like shiva, the other brahma who can bleed this planet of organic forms infinitely.

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20-03-2013
  58
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sorry for the delay...

runner, I think I agree that they could both be mannerist.
I remember someone (maybe Deleuze) describing mannerism as "diagrammatic deformation."
I like this phrase, because it forces the confrontation of the rational (diagrammatic) with the non-rational (deformation here can be understood as rational destruction).
I think this is very much what she is doing in the Crush/Crash collection from Spring....
The garments are inclined to disorder, as you say, but there is a rationalism in the way she makes that disorder appear.
Going back to your point about the relevance of the tsunami, I am tempted to call it "catastrophic confrontation." That might even be a way to describe mannerism, especially the anti-classical moment. I hope that makes even a little bit of sense, because I have been having a hard time working it out. :p

Going from there, the idea that this collection embodies a baroque "becoming" out of the wreckage makes a lot of sense.
At first, I got a little fixated on what look like completely formed roses at the end. But looking at it again, most of the shapes here
are sort of primordial and just coming into being, as you say. Some of them even look like they could be referencing
the armour or scales of some pre-historical creature...and the knots and coils are of course very elemental. "Life begins less by reaching upward, than by turning on itself."

I was also so struck by the pausing of the models as they crossed each other...
it is such a simple thing, but it made each transition feel so momentous....the timelessness in between, as you say.

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Last edited by laika; 20-03-2013 at 02:21 PM.
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21-03-2013
  59
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yes I agree laika, rationalism is present in the crush collection as a resistance so that the garments don't fall into nothingness completely (bataille was saying "eroticism touches the very essence of mannerism"),
while it's nothingness (as well as the classic) that is working as a resistance here.
so this collection is certainly rather knotty.



btw, though she is known as a black leather motorcycle jacket fan, it seems that at the backstage this time she was wearing a red one with a punkish headband in the hair.

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22-03-2013
  60
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knotty?...
or nutty?...

......


...

*sorry---i know that was ridiculous, but i couldn't resist...

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Last edited by softgrey; 22-03-2013 at 11:06 AM.
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