Comme des Garçons F/W 2015.16 Paris

[marcBarna]

Twitter/Vanessa Friedman

 

[orthelian]

nowfashion

 

[marcBarna]

nowfashion.com

 

[marcBarna]

nowfashion.com

 

[marcBarna]

nowfashion.com

 

[marcBarna]

nowfashion.com

 

[mistress_f]

the detail shots make me wanna cry, as usual. Only rei manages to do this. And I absolutely love it whenever she does her own take on 'bridal' wear, and that second to last dress is too amazing for words. I also liked the presentation with the dresses complementing each other. I wish there was a video!
Probably not my favourite comme collection ever, but there's a lot of things to get excited about here. The use of gold and those little pieces of white fur, the incredible construction of this http://imgbox.com/Y0fl0pBp piece, some sort of deconstruction of king / queen / royal's attire?
Thank god for Rei and Yohji, never disappointing and always deliving some true excitement

 

[bridgettetson]

absolutely amazing as usual

 

[Psylocke]

WOW!

What's not to love about this?! Creepy, stunning and incredibly beautiful

 

[softgrey]

...

wtf?!?...
she keeps going further in this direction...
why doesn't she do a different kind of presentation?

having these items on fashion models walking down a runway during fashion week is what is the most odd about them...
...

there must be a better way to show them...

 

[jeanclaude]

There are interesting concepts, as always in her collections. But, as always too, they are presented in a raw form. I´d love to see these concepts she plays with translated into wearable and flattering clothes.

 

[Not Plain Jane]

waste not, want not!

the face coverings are scary!

 

[tatouejeremie]

too bad it's just 18 looks, it leaves you wanting more..

must say im not too fond of the commercial items they're making based off these extreme collections she's been doing, especially the pieces from the last red collection. i found it depressing to look at.

can't they just stay completely true to her vision and let the play line make the money?

 

[MulletProof]

but play's so stupid, maybe that's why she needs to water down even the collections play tries to financially compensate for.

 

[softgrey]

i LIKE play!...
.........

i know i'm the only one around here who does...
but that stupid heart with eyes is one of the most adorable things on the planet earth...imho...
and i LOVE polka dots...


comme comme and comme black and comme shirt seem to be the real money makers, as far as i can see...

comme play isn't very $$$...can't be making too much $$$
it's for tourists...it's like buying a snowglobe...

hmmm...
a comme snowglobe...
now that's an idea...

 

[Phuel]

It's amazing that 40 years later, Rei and her universe only keeps getting better and better, with her artistic integrity higher than ever-- just like her empire. I remember being fascinated by Comme des Garcons back in the 80s when I was 6-years-old, looking at my sister's Vogue and GQ magazines-- and now, the same kind of awe and excitement comes over me when I see what this woman has to offer. I'm glad to lose myself in her universe.

I do adore this: It's elegant and nightmarish; it's comforting, and uncomfortable to look at; it's disciplined and archaic. It's a a beautiful and deadly cocoon-- part Alien, and part dark fairy tale in its ghostly imagery without ever losing that high fashion angle. Just haunts my mind in the best way.

Now, if only the lower parts were as tantalizing and rich as the upper parts. I really do despise these black tights. I guess the juvenile aesthetic is deliberate, but I do wish she would offer something, just anything else but lame black tights, which always gives me a 5th-graders gymnastic recital.

 

[gazebo]

The video


https://www.youtube.com/user/FatalefashionIII

 

[runner]

saw the video and thought it was beautiful.



from nowfashion

Jessica Michault

The artist, because calling Rei Kawakubo a fashion designer somehow sounds reductive, presented her latest Comme des Garçons collection in the Galerie de Minéralogie at the Natural History Museum, and she made the front row guest unwitting participants in her presentation.

She called the show “Ceremony of Separation” which conjured up thoughts of isolation, loss and strife. But when the first model came slowly down the catwalk dressed in white lace that had been sculpted into an assortment of round bundles resulting in a bulbous silhouette, which was followed by another that look like a thick duvet cover tied with a line up of bows down the front, the mind shifted gears. Maybe the separation is more about protecting oneself; burrowing into and under our clothes (or bedding) and being cocooned inside their comforting embrace.

Then things got a bit meta.

Kawakubo had intentionally made her catwalk slender. Pair this with the voluminous shapes of her creations and there was no way two ensembles could feasibly get by each other if they walked straight on. Even inside their cloth carapaces the models would be forced to touch, to be, even for a moment, connected while at the same time still detached.
And so it was that upon meeting along the runway each pair would stop, recognize the other and then in unison pivot to the side to acquiesce the rest of the catwalk to the other. It made for a poetic and poignant pas de deux.

A dance that had the ancillary touch of including the front rows who's who of fashion. Each time the models turned their oversized bows, globular shapes and large surfaces invaded the personal spaces of the guests; people who are used to, and like, that invisible bubble of insulation.

The way the designer pressed her guests into her physical universe was elegantly done, and made this capacious collection connect with the world in a personal and profound way.
After all, living a life of detachment is a life not truly lived at all.

 

[runner]

"ceremony of separation" is the english version of what she said in japanese, wakare no gishiki, which makes me think of parting as a birth as well as a funeral, the beginning of the way we are as well as the end of it.

bowles: of course. everyone is isolated from everyone else. the concept of society is like a cushion to protect us from the knowledge of that isolation. a fiction that serves as an anesthetic.

so, when we are being clear, being alone is felt less in the lifeless mountain than in the city. it is between us. but if things are not separated, they can never be tied. there is no place for encounter - contingency (con-tangere). here adorno again, it cannot be invoked otherwise than in the figure they create together.


nowfashion
ameblo

 

[runner]

a few parts/elements that seem to constitute the collection.
in a way, our selves are shaped by (lots of furoshiki-fuls of) memories we carry. the self-possession is the self-confinement.
but also our lives are formed by chance encounters (the knots/ties), which can be our hope and another determinative force that we are given. it's the anti-law. two parallel straight lines' momentary touch. it's in renouncing the self-sameness, between detecting the other and being detected by that other.


kurtroh
ameblo
portal.nifty