Comme des Garçons READY-TO-WEAR FOR FALL 2023
After this Comme des Garçons presentation, an important colleague said backstage, “More…happy?” His position was reasonable: Some of the presentation’s 11 chapters looked to be given a good boost by shape and colour. However, Rei Kawakubo did not waste any time in clarifying: “Not pleased!” She continued (via her husband Adrian Joffe’s translation): “I wanted to get back to the root. Nothing…I wanted to use already-made materials and not worry about creating elaborate designs; I only wanted simple, cost-free patterns. She believes that starting over at the beginning, at our original source, would be really beneficial for the globe, Joffe added. should strive not to mess things up once more. In essence, it is how I feel.
“What made that so important to you?” Was requested of Kawakubo. Joffe sent after lengthy discussion about her query: “She thinks by going back to the beginning she might find something new.”
Moreover, is it possible to start over from the beginning? Yes, the designer said categorically. It is the only appropriate action. A coworker then asked for an explanation. Was it the way you initially worked in the beginning? Joffe said, “No,” without asking anybody else. “The universe is only getting started. Not the start for her.
What is “The Big Bang?” (It was I.) “Exactly.” (Finally, gratifying.)
The Comme des Garçons display was divided into the aforementioned 11 parts, with each group mise en scène being accompanied by a different song chosen by Calx Vive of Dover Street Market. Each set of musically accompanied models slowly, and occasionally less so, followed the different coloured threads that were glued to the floor of the American Cathedral, which resembled the orbits of a solar system. Here is a summary.
Siouxsie and the Banshees’ “Love in a Void” is the song played for Group 1. Siouxsie crooned, “Too many critics, too little writing.” Intensely crafted Pierrot hats were worn over lumpy, floral-garlanded dresses in the opening looks, which were boxy, fundamental tailoring. Takeoff.
Sun Ra & His Astro-Intergalactic Infinity Arkestra performed “Friendly Galaxy No. 2” for Group 2. Following the blue thread in a circle, these were patches of wool in the colour charcoal that were perched on white tulle that was foaming. Elemental.
Group 3’s theme tune is Laura Cannell’s “A New Theory of Eclipse”. Joy. Explosion. The Great Bang. deep, bow-edged silks with twisted pipe cleaner caps on top. an emergence of consciousness from the muck of its absence.
Joey Anderson’s “Tell Us Where” is the music for Group 4. This was the first of two judging, looming stages, which I attribute to the half-Englishman in me. The mass, the darkness, and the wigs. Sin at first.
Group 5’s musical selection is Trevor Pinnock’s “Nouvelles Suites de Pièces de Clavecin/Suite in G Major: Gavotte Avec 6 Doubles”. This was a countercultural release that was extravagant and chaotic. Beyond the borders of bloomingly bloated black coats, inverted canvassing erupted. Inversion.
Ellen Allien’s “Exit to Humanity” is the music for Group 6. Ooh. These appearances, which were also monochromatic but broader and more defined, were a coalescence of the earlier loose molecular float. Switzerland holes.
Group 7’s theme song is “Je te Veux” by Dalton Baldwin and Jessye Norman. The outside of the clothing’s fluffy interior was what was intended for Looks 15 and 16—this was a waypoint—which was similar to Norman Foster’s Centre Pompidou. Pink and magenta accents conveyed the false sensation of cheerfulness.
Group 8’s theme song is Lionel Hampton’s “Flying Home No. 1”. “Two huge fur skirts and jackets,” I saw. It would be fantastic if they were dancing. The book Where the Wild Things Are.
Group 9’s soundtrack is Can’s “Vitamin C” (2004 Remaster). With crimson lumpen gowns and white cowls, we veered into The Handmaid’s Tale realm in this “not happy” area that alluded to Paradise Lost.
Shida Shahabi’s “Abisme” is the group 10 theme song. Two additional high court justices were de-authorized by having their robes torn apart after being double shot in the first glance. They moved with dignity.
Group 11’s theme song is L7’s “Bad Things”. Add this song to your playlist out of all the ones in this review. And “Pretend We’re Dead” by the same band. It was this final triptych of gowns with exterior girders—modernity, skyscrapers, everything—that gave Kawakubo’s cosmic prehuman fashion clay a final touch of weight. Abstract style. Make of it what you will. Take it or leave it. But before The Fall tonight, Kawakubo gave us a playlist full of promise. If only we had a time machine.