Comme des Garçons S/S 2026 Paris

[vogue28]

VOGUE.COM

 

[MModa]

Wow!

 

[Overindulgence]

I'm into it!

I love the colors and fabrics this time around. Some of the pieces are actually have a realistic proposition this time around too.

 

[Kanzai]

She’s not a fashion designer anymore, that’s it. Sculptor or an artist or sth else. I will eat this up because I don’t see it as fashion or something to wear, so it’s fine.

 

[helmutnotdead]

at this point I just feel sorry for the audience.

 

[dessertstealer]

Love it !

 

[eugenius]

at this point I just feel sorry for the audience.

Seriously. And absolutely no amount of high-fashion psycho-babble will make me see the light in any of this.

Her & Rick make me think “Two tears in a bucket. Mother f*ck it.”

 

[MulletProof]

She’s not a fashion designer anymore, that’s it. Sculptor or an artist or sth else. I will eat this up because I don’t see it as fashion or something to wear, so it’s fine.

Agree with the first part, she's gone Yayoi for the past 15 years while securing her spot in the calendar. Except I won't be eating this up cause I was actually thinking... if it wasn't Rei creating these pieces, as sculptures, would they have any significant value?, not talking about cultural value, but low vs high-value works. I wish that at least the textiles or techniques were something that made you want to stare at it and wonder and be curious, but I think most thoughts or forms of gratitude and appreciation for this revolve about her legacy not creating work like this. If that makes sense.. 🤔

 

[Alquimista]

at this point I just feel sorry for the audience.

They probably like it. Each season they know exactly what they will get: juvenile looking models wrapped up in blobs of fabric. And wearing flat shoes and weird wigs. Ad infinitum.

But I do wonder if older clients remember the kind of clothing she used to show...

 

[jeanclaude]

Some looks reminded me of fallen ice-cream cones. Cones des Garçons.

t3.ftcdn.net

 

[runner]

CdG's paris is double-faced. show and showroom. her poker face because of bluff. joking though. but the gap makes them feel relieved at the showroom and loosens up their wallets.
you make t-shirts. available in black, navy, white, khaki. you could sell 100 of each one of them. but if you add an impossible color there, 150 might be made possible. even though that unusual color ends up unpopular.

 

[WAVES]

Cones des Garçons.

I laughed so hard at this !

 

[runner]

and pieces that are a bit difficult or slightly challenging could be made easier to sell.


suzymenkes

 

[IsabelMarantBoy]

I don't get it anymore, her collections from the 2000's were works of art, I still search for pieces from Fall 2007's collection! But it feels like for the past ten or so years she's just obsessed with making the most unwearable and almost uninteresting sculptures of mish-mash fabric, I couldn't tell the difference between this or any recent collection if you showed me them without context.

 

[runner]

「ぶっ壊して、めちゃめちゃ」なドレス 川久保玲の不安と葛藤の塊が：朝日新聞

■記者コラム「多事奏論」　編集委員・後藤洋平　パリ・ファッションウィーク(PFW)の取材で出張していた10月5日、コムデギャルソン（CDG）の社長であり、デザイナーの川久保玲さんを単独取材する機会があ…

digital.asahi.com

she said "I've come this far, so there may not be a next time."

looking forward to seeing the next time. but certainly she there feels she's reached her limit.

 

[runner]

fashionsnap

 

[Kanzai]

I don't get it anymore, her collections from the 2000's were works of art, I still search for pieces from Fall 2007's collection! But it feels like for the past ten or so years she's just obsessed with making the most unwearable and almost uninteresting sculptures of mish-mash fabric, I couldn't tell the difference between this or any recent collection if you showed me them without context.

Rei always said she’s obsessed with creating something new — something that’s never been seen before so here we are lol. Some designers use fashion to make artistic or political statements, but she said that is not what she’s doing at all. She never collects or archives anything, which might sound kind of anti-intellectual, but in truth she’s always seen herself as a fashion businesswoman. Her work reflects this constant hunger for innovation — for changing how people perceive what fashion can be. But she’s also aware that what she puts on the runway isn’t really sellable, which is why we have so many diffusion lines.

Unlike many designers who build their collections around references or a defined concept, CDG doesn’t really work that way, for her, fashion is not an art project. Her process feels more like starting from zero, no moodboards, no nostalgia. I don’t like her collections anymore though, but I respect the efforts.

 

[Kanzai]

「ぶっ壊して、めちゃめちゃ」なドレス 川久保玲の不安と葛藤の塊が：朝日新聞

■記者コラム「多事奏論」　編集委員・後藤洋平　パリ・ファッションウィーク(PFW)の取材で出張していた10月5日、コムデギャルソン（CDG）の社長であり、デザイナーの川久保玲さんを単独取材する機会があ…

www.asahi.com

Full article (interview), translated by AI:

“Destroyed and Messed-Up” Dresses — Rei Kawakubo’s Mass of Anxiety and Conflict​

Reporter’s Column “Tajisōron” – Editorial Board Member: Yohei Goto

On October 5th, while on a business trip to cover Paris Fashion Week (PFW) , I had the opportunity to exclusively interview Rei Kawakubo, the president and designer of Comme des Garçons (CDG).

CDG had held its show for its new collection the day before. It was memorable for its heavy use of jute, like you'd find in burlap sacks, with the fabric worn out and the colors bleeding. Founded in 1969 and presenting new collections in Paris since the early 80s, Kawakubo is respected all over the world. For me, having worn CDG clothes for nearly 30 years, she is a figure of admiration.

Seated across the table, Kawakubo began to speak. "This time, I thought that by giving damage to something completed, it could become new and positive," she said. Beside her were the new pieces she had just presented.

She said that in the process of creation, they had finished a beautifully made dress. But she "decided to intentionally destroy it by washing it in something like a giant washing machine". The word "destroy" (bukkosu) conveyed both a lightness uncharacteristic of her and a sense of resolve.

She said the show could have gone on even with the original dresses, but this was a "decision I agonized over". The schedule was already tight, but "I have no one to consult. I have to dialogue with myself, think alone, and decide alone".

What is the purpose of "destroying"? And what is the rule Kawakubo imposes on herself?

Why, exactly, does she "destroy"? "Because I have to do something new, something that hasn't existed before". That is the rule of creation she imposes on herself; it is her very reason for being.

Looking closely at the dresses that were washed and "destroyed," I could clearly see how their shapes had changed. Kawakubo described the new collection as "a mass of my anxiety and conflict". "If people felt that 'it's different from usual,' then my anxiety was able to take form". "The fabric shrunk, the colors changed, and the fur also became a total mess". She said this all in rapid succession, then suddenly broke into a bright smile. Watching her, I had a strange feeling.

Mesh lace that was said to be pure white had absorbed the red color from attached fabric, turning it a faint pink. The unpredictably warped fabrics and fur, the dresses with the structure from beneath the seams flipped up and exposed... they truly had an overwhelming, one-of-a-kind presence.

She says she always creates and decides alone. Behind this is the relationship she has with people bound by many years of trust. "Once I decide, my staff all move quickly. My agonizing decisions in the past have always turned out to be the best. They share that experience".

The washing process was handled by a dyeing company she has worked with for over 30 years. The person in charge was shocked at first, asking, "Really? It won't go back to how it was, you know," but was reportedly moved to tears after seeing the show.

Her life has long been a companion to the pain of creation. She manages numerous brands across men's and women's lines, has stood at the forefront of fashion for over half a century with new expressions every time , and makes it all work as a business. She gives detailed instructions for everything, from accessories and perfumes to the interior design of her stores worldwide and the display of products.

She confessed that this season's creation was particularly agonizing. "I've done so much this time, there might be nothing left next time," she said. I immediately retorted, "Oh, come on. Surely that's not possible". But she looked me straight in the eye and said, overlapping my words, "Really...".

No, I know. I know that Rei Kawakubo is a designer who cannot stop creating. Even at this very moment, she must be agonizing and suffering to give birth to "something new, something that hasn't existed before".

 

[Kanzai]

コムデギャルソン川久保玲が吐露した生みの苦しみ 「もう次は…」：朝日新聞

川久保玲は言った。「今回のコレクションは、完成されたものにダメージを与えて、新しいポジティブで前向きなものになるように考えたんです」　10月4日、パリのファッションウィークで披露されたコムデギャルソ…

www.asahi.com

Longer version for the article above LOL.

Rei Kawakubo of Comme des Garçons Confesses the Agony of Creation: "There might be nothing left..."​

2025/10/20 (Monday) 7:00 By Editorial Committee Member Yohei Goto

Rei Kawakubo said, "For this collection, I thought about giving damage to something completed, to make it new, positive, and forward-looking."

The Comme des Garçons Spring/Summer 2026 collection, shown at Paris Fashion Week on October 4th, was completed by destroying a beauty that had once been built up. However, this was not mere destruction. As a conclusion to a solitary conflict in the creative process, the option of "destroying" only became a possible form of expression because of the accumulated techniques and the trusting relationships built with business partners and her own staff.

The day after the show, my phone rang. It was the PR representative. "Kawakubo said she wants to talk to Mr. Goto. Is it possible for you to come to the Paris office today or tomorrow?". An opportunity to hear directly from this rare designer, who commands respect from all over the world, is not one that comes around often. My schedule during Fashion Week coverage was tight, but I made it my top priority.

On "Destroying" the New Work: "It became a total mess"​

Seated across the table, Kawakubo began, "I can't say anything that profound," but then confessed, "At one point, a large, beautifully finished dress was completed. But," "I decided to intentionally 'destroy' it by washing it in something like a giant washing machine."

In the word "destroy" (bukkowasu), I sensed both a lightness uncharacteristic of her and, simultaneously, a heavy resolve. "The show could have gone on just as it was. But I agonized and agonized, and decided to inflict damage. The schedule was already last-minute, but it took time to make that decision. I have no one to consult. It is always a dialogue with myself; I have to think about everything alone and decide alone."

But why, exactly? For what purpose, "destroy"?

"Because I always have to do something new, something that hasn't existed before."

That is the rule of creation Kawakubo imposes on herself; it is her very reason for being.

Washing the entire thing in a large machine, letting it air dry, the fabric shrinking, the colors fading, the fur becoming disheveled, the shape changing. The "new thing" she decided on this time was, in other words, an irreversible act upon the work. She agonized over it for 2-3 weeks before deciding, and the work was finished at the last minute, right before she left for Paris.

"This season's collection is a mass of my anxiety and conflict. If people felt that 'it's different from usual,' then it means that anxiety was able to take form."

"The fabric shrinks, and the colors change. The fur also became a total mess."

Right after speaking of the depth of her anguish, she said this and smiled brightly, and looking at her face, I had a truly strange feeling.

A mesh lace that was said to have been pure white had absorbed the color from an attached red cloth, turning it a faint pink. The fur was matted and warped in unpredictable directions. The dresses revealed the structure from deep within the seams, bringing it to the surface. The new pieces certainly exuded an overwhelming, one-of-a-kind presence.

"Creation and decision are 'always solitary'," Kawakubo said. "However, supporting this trial in the background is the relationship she has with people bound by many years of trust. "My staff, in a way, is also amazing. We made it together, so I considered their feelings, but once I decide, my staff all move quickly. In the past, the results I've produced after agonizing have always turned out to be for the best. The staff shares that experience, too."

The washing process was entrusted to a dyeing company she has worked with for over 30 years. The person in charge was initially perplexed, asking, "Are you really going to wash it? It won't go back to how it was, you know," but after witnessing the show in person, they were reportedly moved to tears. Kawakubo reflected, "Since they are a dyeing company, I ended up asking them to do a process that is the opposite of their main business. They were surprised at first, but in the end, they understood. I was so happy about that."

What was even more surprising was her thoroughness: "It's not just the pieces for the show; the commercial line (clothes with relatively wearable designs sold to the general public) will also be washed, almost all of it, with just a few exceptions."

This was also the first collection to heavily use jute, a material used for burlap sacks. As for the reason, she explained, "It was the result of thinking, 'something for spring/summer,' and again, 'something that hasn't been done before.'"

Kawakubo's life has long been a companion to the agony of creation. Between the women's "Comme des Garçons" and the men's "Comme des Garçons Homme Plus" and "Comme des Garçons Shirt," for Spring/Summer and Autumn/Winter, there are a total of six shows in Paris each year. In addition to these, she oversees numerous brands that do not hold shows, and gives detailed instructions for everything from accessories and perfumes to the interior design and display of her stores worldwide.

She confessed that the creation of this season's collection was particularly agonizing. "I've done so much this time, there might be nothing left next time," she said. I immediately retorted, "Oh, no, no, that's not possible," but Kawakubo, cutting me off, looked me straight in the eye and said, "Really."

No, I know. I know that Rei Kawakubo is a designer who cannot stop her own hands from creating. Even at this very moment, as I write this article, Kawakubo must be thinking, agonizing, and suffering over "something new, something that hasn't existed before."

 

[MulletProof]

^ thanks!

I mean.. it wasn't really different than usual 🫢 but she seems to suffer from what made Tolstoy run away in a train: being surrounded by 'yes to everything cause you're a legend' people that know the end is imminent and need to stay in the payroll afterwards, and in the meantime, only distort reality and never provide good feedback.

Unrelated but highlighted sentences are my absolute worst peeve in fashion journalism, why do they do this? why is "really" highlighted? ahh#$%^##@!. It's so.. condescending and like, let me hold your hand cause I know this text must be a lot for a fashion airhead. 😆😤