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Comme des Garçons Homme Plus F/W 14.15 Paris
- Thread starter marcBarna
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margielamike2004
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Posted from NowFashion.com by Jessica Michault
"For the first time in recent memory, the first thing the audience noticed when the opening look of the Comme des Garçons took to the catwalk was the hair. Slicked forward across and down the face in stiff curls, it looked disturbingly like some sort of organic gas mask.
Now designer Rei Kawakubo has shown some extraordinary headgear in her collections in the past (hats off to you Stephen Jones). But what this says about the clothing she offered up for the fall/winter 2014 menswear season was that they were some of the most refined and understated pieces Kawakubo has offered in quite some time.
The quirky element in the collection’s deftly tailor suits were the geometric cutouts, framed in rows of zipper teeth, that Kawakubo added to let the color of the underlying shirts shine out.
This concept of letting the interior become part of the exterior was the running theme of the show. “Moth eaten” sweaters left gaping holes in the weave to, once again, expose the underlying top. The same goes for the hole filled footwear. Even some pinstriped suits, adored with circular or wave patches at the back (bringing to mind an overview of a zen garden) featured holes at their center.
In the final series of elegant jacquard evening suits, which continued the show's dominated silhouette of knee length jackets over wide cut pants, the holes were transformed into fabric patterns of dots or squares. Making for a nice finish to a show that left the riotous artistic leanings of the designer on the back burner.
And just like the holes in the show, this let Kawakubo’s designer tailoring talents come to the fore in a whole new way."
"For the first time in recent memory, the first thing the audience noticed when the opening look of the Comme des Garçons took to the catwalk was the hair. Slicked forward across and down the face in stiff curls, it looked disturbingly like some sort of organic gas mask.
Now designer Rei Kawakubo has shown some extraordinary headgear in her collections in the past (hats off to you Stephen Jones). But what this says about the clothing she offered up for the fall/winter 2014 menswear season was that they were some of the most refined and understated pieces Kawakubo has offered in quite some time.
The quirky element in the collection’s deftly tailor suits were the geometric cutouts, framed in rows of zipper teeth, that Kawakubo added to let the color of the underlying shirts shine out.
This concept of letting the interior become part of the exterior was the running theme of the show. “Moth eaten” sweaters left gaping holes in the weave to, once again, expose the underlying top. The same goes for the hole filled footwear. Even some pinstriped suits, adored with circular or wave patches at the back (bringing to mind an overview of a zen garden) featured holes at their center.
In the final series of elegant jacquard evening suits, which continued the show's dominated silhouette of knee length jackets over wide cut pants, the holes were transformed into fabric patterns of dots or squares. Making for a nice finish to a show that left the riotous artistic leanings of the designer on the back burner.
And just like the holes in the show, this let Kawakubo’s designer tailoring talents come to the fore in a whole new way."
WilliamsLe010919
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can i have the shirts please!!! so beautiful
margielamike2004
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margielamike2004
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Posted from WWD (Women's Wear Daily) runway review.
"Rei Kawakubo is among designers who glanced back to the 19th century this season, teleporting frock coats and frilly shirts and subjecting them to her tailoring experiments.
While hardly new territory for the fashion maverick, the shapes she paraded were magnificent, with gently suppressed waists and full-bodied lapels. In addition to her favorite rumpled polyester, she employed pinstriped fabrics that glistened like caviar. Pants were either stovepipe thin or pajama loose. Tailored skater shorts seemed an afterthought.
The quirky details on the jackets came by addition – colorful velvet flap pockets, felt applique, panels of dense ruffles – or subtraction, via portholes where pockets would normally be found. Many jackets were also roughly sliced open here and there with zippers.
Adding additional strangeness to the proceedings, model’s faces were obscured by black hair whorled into creepy gas-mask like protrusions. The mood lightened with a finale of roomy tailcoats in papery fabrics, and trousers widened into clown-like proportions."
"Rei Kawakubo is among designers who glanced back to the 19th century this season, teleporting frock coats and frilly shirts and subjecting them to her tailoring experiments.
While hardly new territory for the fashion maverick, the shapes she paraded were magnificent, with gently suppressed waists and full-bodied lapels. In addition to her favorite rumpled polyester, she employed pinstriped fabrics that glistened like caviar. Pants were either stovepipe thin or pajama loose. Tailored skater shorts seemed an afterthought.
The quirky details on the jackets came by addition – colorful velvet flap pockets, felt applique, panels of dense ruffles – or subtraction, via portholes where pockets would normally be found. Many jackets were also roughly sliced open here and there with zippers.
Adding additional strangeness to the proceedings, model’s faces were obscured by black hair whorled into creepy gas-mask like protrusions. The mood lightened with a finale of roomy tailcoats in papery fabrics, and trousers widened into clown-like proportions."
gaucherive
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some pieces look very nice. i adore the more fitted pants than the very loose ones. good collection even if some bits are a tad too artistic.
margielamike2004
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Posted from Style.com....runway review by Tim Blanks.
Before the Comme des Garçons show today, Rei Kawakubo's husband, Adrian Joffe, relayed the season's message: "Holy jacket." Or was that "holey"? Or did the distinction even matter? Holes, after all, have a peculiar sanctity in the Comme des Garçons saga. When Rei first showed in Paris in 1981, her sweaters filled with holes—a new kind of lace, she said—were leapt upon as emblematic of the barbarians at the gates of fine French fashion tradition. In Kawakubo's latest men's collection, holes were exalted, carefully stitched into jackets, sweaters, and shoes—even, in some cases, ringed with velvet.
But their deliberate placement seemed significant. On the jackets, the holes fell exactly where pockets would be. This suggested a negation of utility that was also borne out by the way zippers were used. The teeth were too far apart to ever close, creating another kind of hole, sinister when the unzippable gap extended the length of the spine. This being a Comme collection, it may simply have been the alchemizing of the ordinary to produce a new decorative element. Or it may have implied something deeper, darker about masculinity: the useful rendered useless. And if we were to run with the notion that the jackets were "holy" rather than merely "holey," the way that detached lapels were used as scarves might have signified the stoles of liturgical garments. All speculation, of course—there is no earthly reason why Rei Kawakubo would be remotely interested in addressing the finer points of priestly Christian garb. Unless she felt that the ascent of a new Pope who seems interested in engaging with the whole world, rather than that small portion of the Church which is devoted to maintaining its power base, was worthy of comment.
On the other hand, there was a tip of the cap to human faith in Julien d'Ys's extraordinary hair situation. A long, glossy protuberance which dangled in front of the models' faces was viewed by some as a mosquito's proboscis, by others as an alien face-hugger. It was, according to d'Ys himself, representative of the trunk of Hindu elephant god Ganesh, worshipped as the god of wisdom, prosperity, and good fortune. Such positivity cast a different light on Kawakubo's parade of dark suiting. Suddenly, it seemed sober rather than somber, and its occasional dull Lurex sparkle was the sheen of success.
Before the Comme des Garçons show today, Rei Kawakubo's husband, Adrian Joffe, relayed the season's message: "Holy jacket." Or was that "holey"? Or did the distinction even matter? Holes, after all, have a peculiar sanctity in the Comme des Garçons saga. When Rei first showed in Paris in 1981, her sweaters filled with holes—a new kind of lace, she said—were leapt upon as emblematic of the barbarians at the gates of fine French fashion tradition. In Kawakubo's latest men's collection, holes were exalted, carefully stitched into jackets, sweaters, and shoes—even, in some cases, ringed with velvet.
But their deliberate placement seemed significant. On the jackets, the holes fell exactly where pockets would be. This suggested a negation of utility that was also borne out by the way zippers were used. The teeth were too far apart to ever close, creating another kind of hole, sinister when the unzippable gap extended the length of the spine. This being a Comme collection, it may simply have been the alchemizing of the ordinary to produce a new decorative element. Or it may have implied something deeper, darker about masculinity: the useful rendered useless. And if we were to run with the notion that the jackets were "holy" rather than merely "holey," the way that detached lapels were used as scarves might have signified the stoles of liturgical garments. All speculation, of course—there is no earthly reason why Rei Kawakubo would be remotely interested in addressing the finer points of priestly Christian garb. Unless she felt that the ascent of a new Pope who seems interested in engaging with the whole world, rather than that small portion of the Church which is devoted to maintaining its power base, was worthy of comment.
On the other hand, there was a tip of the cap to human faith in Julien d'Ys's extraordinary hair situation. A long, glossy protuberance which dangled in front of the models' faces was viewed by some as a mosquito's proboscis, by others as an alien face-hugger. It was, according to d'Ys himself, representative of the trunk of Hindu elephant god Ganesh, worshipped as the god of wisdom, prosperity, and good fortune. Such positivity cast a different light on Kawakubo's parade of dark suiting. Suddenly, it seemed sober rather than somber, and its occasional dull Lurex sparkle was the sheen of success.
Psylocke
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I love the coat with the multiple purple pockets, and the jacket with the teal pockets. Those are awesome. I think the weird hair thing is quite interesting and it does something for the collection, definitely has a striking effect. I also see some shoes and a lot of knitwear that I like. I'm loving all the cutout sweaters in menswear collections this season, I would gladly wear all of them myself 
ink: I really dislike the last few looks here, though. I cannot warm up to that silhouette and the use of plaid and polka dots in them at all.
ink: I really dislike the last few looks here, though. I cannot warm up to that silhouette and the use of plaid and polka dots in them at all.
Phuel
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I'm not completely convinced this is a solid collection. It is very typically CDG Homme, though.
What I do feel is the strongest visual is just how primal, visceral, and creepily and eerily beautiful Julien's hair design is here. Yes, very ALIEN-jockey/ engineer, very much The Grudge... and very much like the drawings/ illustrations of Sybilla. Julien is a distinct talent and visionary hair designer. That's what stands out to me of this collection. It's a nice enough collection: It's classic CDG Homme of East meets West. Once broken down to separates, it's CDG-standard fare; we've all seen this before. Samo samo CDG is "nice", but not deserving of high praise.
It's "nice" is probably not a positive reaction to a CDG collection, but there's absolutely nothing new being offered here. The "holey" pieces are really unflattering-- and uninteresting at their worst, and gimmicky fun if I want to give a positive spin: Droopy and soft is not how I would think most men, even the CDG-devotees, would like to look. And besides, the concept of holes as a graphic design on garments has been done much better already-- even in previous CDG collections. These pieces look like they're from a diffusion line.
The more structured pieces, in tartans and classic CDG polka-dots, worn with the slimmer, more tailored pants, are the stronger pieces to me. (I guess I'm the opposite of you Psylocke: I despise those pieces in the flat colors-- especially that horrendous Barney-purple.) I especially adore the frock coats with the wide lapels in the faded, wrinkled (boiled?) materials: That combination of a formal silhouette, loosened with an almost cozy, worn fabric is pure charm, and what inspires me about Rei and her vision for men. The vest/ scarf with the wide-peak lapel as an accessory is beyond charming and ingenuity. And the cropped greatcoat/ peacoat with the flattering draped cut, and structure, is playful, and sexy. Wish there were more of these designs. Oh, and the footwear that looks like John Fluevog circa 1990 is truly so atrocious.
What I do feel is the strongest visual is just how primal, visceral, and creepily and eerily beautiful Julien's hair design is here. Yes, very ALIEN-jockey/ engineer, very much The Grudge... and very much like the drawings/ illustrations of Sybilla. Julien is a distinct talent and visionary hair designer. That's what stands out to me of this collection. It's a nice enough collection: It's classic CDG Homme of East meets West. Once broken down to separates, it's CDG-standard fare; we've all seen this before. Samo samo CDG is "nice", but not deserving of high praise.
It's "nice" is probably not a positive reaction to a CDG collection, but there's absolutely nothing new being offered here. The "holey" pieces are really unflattering-- and uninteresting at their worst, and gimmicky fun if I want to give a positive spin: Droopy and soft is not how I would think most men, even the CDG-devotees, would like to look. And besides, the concept of holes as a graphic design on garments has been done much better already-- even in previous CDG collections. These pieces look like they're from a diffusion line.
The more structured pieces, in tartans and classic CDG polka-dots, worn with the slimmer, more tailored pants, are the stronger pieces to me. (I guess I'm the opposite of you Psylocke: I despise those pieces in the flat colors-- especially that horrendous Barney-purple.) I especially adore the frock coats with the wide lapels in the faded, wrinkled (boiled?) materials: That combination of a formal silhouette, loosened with an almost cozy, worn fabric is pure charm, and what inspires me about Rei and her vision for men. The vest/ scarf with the wide-peak lapel as an accessory is beyond charming and ingenuity. And the cropped greatcoat/ peacoat with the flattering draped cut, and structure, is playful, and sexy. Wish there were more of these designs. Oh, and the footwear that looks like John Fluevog circa 1990 is truly so atrocious.
margielamike2004
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you know i always say this but clothes always look even better in this context. you get more of a realistic view of the what the pieces will look like in daily life. i'm already imagining this stuff mixed with other things. those cut-out pieces with the patch-patterns on the back are already my favourite.
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