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 Post subject: Comme Des Garçons
PostPosted: 29 Sep 2013, 23:02 
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Spring 2014

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 Post subject: Re: Comme Des Garçons
PostPosted: 29 Sep 2013, 23:08 
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 Post subject: Re: Comme Des Garçons
PostPosted: 29 Sep 2013, 23:08 
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[image]http://www.style.com/fashion-shows/spring-2014-ready-to-wear/paris/comme-des-garcons/collection/CDG_0515.450x675.JPG[/rimg]
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 Post subject: Re: Comme Des Garçons
PostPosted: 29 Sep 2013, 23:10 
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Quote:
SEPTEMBER 28, 2013
PARIS
By Jo-Ann Furniss

In a Paris show season full of designers testing their own limits and going against preconceived notions of themselves, it has been down to Rei Kawakubo to go the furthest of all. In today's Comme des Garçons collection of twenty-three looks, each accompanied by its own particular piece of music, she presented a series of objects that might be worn on the body.

Now, that last statement might seem rather arch, but there is a reason for it. Always wanting to do something new, something that hasn't existed before, Kawakubo decided this season that the only way she could do this was by setting out not to make clothes. The designer wanted to see herself, not through her own fashion eyes, but through ones that were innocent of all this. That's why, this evening, she adhered to none of the strict fashion show formulas. There had been no toiles, no fittings on the body; these were objects to go beyond the body, to reformulate what fashion is to the designer.

This is one of the reasons the collection is one about which it’s incredibly difficult to write. To roll out all of the autopilot fashion formulas, all of the blah blah about fabrics and forms, to adhere to a standard frame of reference—that's just not going to cut it. To pass judgments on "wearability" or "practicality" just seems facile, especially as figures such as Leigh Bowery have existed in the past and helped move the goal posts of the perception of clothing and fashion. And hopefully most of us are lucky enough to live in societies where we can wear what the hell we want, where we can always push the boundaries without literally being arrested. Perhaps, to paraphrase Eleanor Roosevelt, no one can make you feel what fashion is without your consent. Kawakubo is simply asking for consent, not dictating the terms of clothing.

But what Kawakubo also still clearly believes in is the live, living event of the show—a moment of combined creativity that, at its best, is evocative and emotional—and those feelings cannot ever really be reproduced over the Internet or in a catwalk shot. "I have nothing to say, only to show," wrote the philosopher and critic Walter Benjamin, and that statement applies to Kawakubo like no other. She has done her work; she can't explain any further; now it has to be witnessed. Fashion designers at their best function almost purely on instinct, and ultimately it is very difficult to explain instinct. Kawakubo was merely following hers this season. It was down to the show to really communicate the collection.

The experimental sound artist 20 Hertz, working with Hell's Kitchen, provided the music for each piece. Playfully spanning eras and genres from the eighteenth century operatic to 1980s electro, it was a dizzying and delightful array of moods and feelings juxtaposed. Thierry Dreyfus did a great job of lighting the proceedings, bringing to mind something of German Expressionist cinema. The hairstylist and makeup artist Julien d'Ys provided his own equally abstracted interpretations questioning what hair and makeup should be. The applause at the end was loud and prolonged. Yes, it was all incredibly theatrical. Yes, ultimately, the "clothing" has to be looked at in the flesh and decided upon by the individual. But do not think that this collection is simply for a niche elite of fashion nerds; the repercussions are much wider.

Kawakubo's profound influence in the fashion industry is as a symbol, a touchstone by which many designers can justify their risk-taking and sometimes their very existence in the profession. Many designers work in the big machines of fashion and are not so tightly in control of their own destinies as Kawakubo, but when faced with an onslaught of marketing people who would rather have them produce a slew of nondescript T-shirts and handbags, these designers can point to the fact that somebody like Kawakubo exists, occupies a place of honor in the fashion world, and has a successful business in it. She is the ultimate, symbolic fuck you in the face of the often myopic marketing machine. That's why whatever Kawakubo chooses to do, it has significance for fashion overall and for all of us who are interested in it—or who merely wear clothes.

http://www.style.com/fashionshows/review/S2014RTW-CMMEGRNS


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 Post subject: Re: Comme Des Garçons
PostPosted: 29 Sep 2013, 23:16 
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The only thing I mind about this review is that it has too apologetic tone. Almost as if an experimental approach to the design of clothing needs an excuse.

Amazing collection. But these three-dimensional pieces need better photos.


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 Post subject: Re: Comme Des Garçons
PostPosted: 30 Sep 2013, 00:30 
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echoing iris van herpen's work in that it looks like haremwear for invertebrates.

journalism's apologies are helpful to fashion outsiders. it was a long while after my first exposure to rei's runways that i began to appreciate them, and that's cause i kept wrongly expecting wearability, instead of a glimpse into a parallel universe.

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 Post subject: Re: Comme Des Garçons
PostPosted: 30 Sep 2013, 21:30 
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a glimpse into a parallel universe indeed ;)

but it is also important to keep in mind that in each CDG collection, as far as i know, the runway pieces served as the basis also for more usually looking clothes, which is what adds a whole new intersection between the wearable and experimental. this is not some crazy costume ball from another planet, it's an experiment in the design of clothing that can be adapted to different levels (or contexts) of "wearability".


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 Post subject: Re: Comme Des Garçons
PostPosted: 11 Nov 2013, 00:03 
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Out of interest, does this thread also include discussion of Ganryu and Watanabe's work (both under Tricot and his eponymous lines), or would they merit their own thread, with this one being based around the women and men's mainlines?


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 Post subject: Re: Comme Des Garçons
PostPosted: 11 Nov 2013, 00:08 
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Good question, hmm, what do you think would be better? I'm very much looking forward to that either way :)

edit:
Well, why not their own threads. It seems to me it would give more space to each. In other words, please feel free to start a new one.


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 Post subject: Re: Comme Des Garçons
PostPosted: 11 Nov 2013, 00:18 
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Yes, I was also thinking that it would clutter the thread; dividing attention between Rei and the rest of her team and other designers operating under Comme means less time (and depth) for each.
I'll make a Junya thread later today when I have the time. If someone would like to make one for either Ganryu or Kurihara, that'd be fantastic to see as well.


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 Post subject: Re: Comme Des Garçons
PostPosted: 11 Nov 2013, 00:32 
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Excellent! I can make a thread for Tao, but given my scarce knowledge (knowledge is not the right word even) of CDG, I hardly know anything about Ganryu, so I'd leave this thread to someone else who is more familiar with his work. But I can make a thread for Tao tomorrow. It would be nice to collect images of some past collections, and occasionally post photos of clothes that keep on appearing online (beside having a discussion on their work of course).
Thanks for this initiative!


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 Post subject: Re: Comme Des Garçons
PostPosted: 11 Nov 2013, 09:51 
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No problem, Watanabe is by far my favorite designer, and I'm just glad to have a place to discuss his work.
I really know next to nothing about Ganryu, both the line and Fumito himself. In fact, I've had very little physical experience with his line either, only a very small selection of items at the CdG flagship in rue du Faubourg Saint-Honoré. I have a few of his collections though, willing to post if anyone more knowledgable about him cares to make a thread.


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 Post subject: Re: Comme Des Garçons
PostPosted: 01 Dec 2013, 15:16 
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Wanted to post these via Comme's instagram account this morning. If these are the actual pieces that will be for sale, I am extremely excited. Also I haven't been on here in forever, but I can definitely get into a Comme des Garçons thread.

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 Post subject: Re: Comme Des Garçons
PostPosted: 09 Dec 2013, 03:05 
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thanks for sharing this! :)
btw, i've never made that thread on Tao, because I didn't have time to search for some interesting and appropriate information on her work, but I haven't forgotten it. but if anyone else wants to start that thread, please feel free.


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 Post subject: Re: Comme Des Garçons
PostPosted: 30 Jan 2014, 08:17 
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emmyrea wrote:
Comme's instagram account


That's not their ig account. the "Comme des Garcons Official" and "Yohji Yamamoto Official" accounts are both fake, and run by the same mediocre "designer" (AKA any design school graduate nowadays) from singapore or something (Check the photo map or w/e, also both accounts use the same (poor) choice of wording in their description and both follow the same accounts) He used to repost pictures from his main account onto the CdG account and encourage people to follow him. He deleted all the pics after he got a substantial amount of followers.

Why would a brand like CdG (Considering their ethos) use social media to advertise their brand in the first place? It just doesn't make sense, it should be one of the first things you'd question after seeing this and i'm surprised 68K+ people haven't had that pass through their heads before they mindlessly clicked "follow". I guess it's an accurate reflection of today's mass consumption of content without context or thought.

Same with Yohji. Yohji has never advertised, why the hell would PR start an instagram account to promote their brand?


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 Post subject: Re: Comme Des Garçons
PostPosted: 30 Jan 2014, 08:29 
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the blurring of the boundary between the personal and professional is troubling me of late. or perhaps more precisely, the going assumption that the personal means of self-promotion have almost certainly been taken up as professional means as well.. More on this in the morning.

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 Post subject: Re: Comme Des Garçons
PostPosted: 30 Jan 2014, 17:38 
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Trouble wrote:
emmyrea wrote:
Comme's instagram account


That's not their ig account. the "Comme des Garcons Official" and "Yohji Yamamoto Official" accounts are both fake, and run by the same mediocre "designer" (AKA any design school graduate nowadays) from singapore or something (Check the photo map or w/e, also both accounts use the same (poor) choice of wording in their description and both follow the same accounts) He used to repost pictures from his main account onto the CdG account and encourage people to follow him. He deleted all the pics after he got a substantial amount of followers.

Why would a brand like CdG (Considering their ethos) use social media to advertise their brand in the first place? It just doesn't make sense, it should be one of the first things you'd question after seeing this and i'm surprised 68K+ people haven't had that pass through their heads before they mindlessly clicked "follow". I guess it's an accurate reflection of today's mass consumption of content without context or thought.

Same with Yohji. Yohji has never advertised, why the hell would PR start an instagram account to promote their brand?


yohji yamamoto's company has like 5-10 facebook accounts.


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 Post subject: Re: Comme Des Garçons
PostPosted: 30 Jan 2014, 19:55 
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So, I started writing this bit as a reply to wire's post here via private communication elsewhere and decided that maybe i should write a bit on the subject on here. I'm not a researcher or an academic or.. well, anything more than a silly autodidact in these matters, so forgive my foray into, hah, expert discourse. I had no idea that Yohji maintained 'official' facebook accounts. Not because I would ever have thought otherwise or anything, just that it never occurred to me to think about the company's formal online presence. Somehow it doesn't matter, but doesn't surprise me in the least that comme or yohji would have a facebook or an instagram account. or two. or ten? Social media has, for the most part, become something I interpreter as a public face, a business face. And I react to random individuals' accounts the same way too - for the most part they automatically strike me as product placement and cv/portfolios. Often of people explicitly seeking some kind of advancement/mobility.

Friend of a friend got this company called LiveJournal going back in the day when we had webrings and diaryland. anyone remember make-out club? I got onto LJ as an early adopter when it had some tens of thousands of users. That grew very quickly, but the ethos of populating those pages with content differed starkly from what it had evolved to since. most significantly in people's sense of being watched, having an audience. pages were open and unprotected, sincere and evocative of the lives behind them. That may still very well be the case for many, but I'm approaching social media with distrust by default, having to pause and make mental notes of those moments when I consciously register something on such pages belonging to people I know. people with no interest in selling anything to anyone, least of all themselves. Without other means of knowing that, though, I always assume the opposite.

Anyway, random rambling. tl;dr - it is easy to create the impression of official instagrams, etc because the gut reaction to many such things is treating them increasingly as business PR, even when they are nominally-personal.

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 Post subject: Re: Comme Des Garçons
PostPosted: 01 Feb 2014, 19:10 
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The blurring of this line between the business PR and the personal reminds me of clothes with big logos all over them. It comes down to people paying for a sweater or a shirt in order to promote the company behind them. One would think it should be the other way around. But there of course is a mutual benefit, since the logo-wearing person has obtained a certain status through this promotion.
At the same time, I've never had such associations when it comes to bands' shirts. There it seems that the person does the "business PR" because there is something that backs it up, some substance that is different from a mere status symbol.


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 Post subject: Re: Comme Des Garçons
PostPosted: 14 Feb 2014, 17:49 
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for some reason its the zany, 'them wacky japanese!' element of CDG is what people most associate with it. guess i can't fault them for it either because that is seemingly the angle that her been pursued in recent years. but the associations i've had with it, at least from some of the earlier days, have been decidedly more, ah, somber. And in such way that makes its relationship with 1+1=3 somewhat easier to understand.

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