Rei Kawakubo’s Vision in Comme des Garçons

Rei Kawakubo’s Vision in Comme des Garçons

Blog Article

Rei Kawakubo, the enigmatic founder of Comme des Garçons, has reshaped the boundaries of fashion with her radical approach and avant-garde designs. Since launching the brand in Tokyo in 1969, Kawakubo has consistently defied convention, embracing a     Commes Garcon  Des philosophy that challenges the very definition of beauty, form, and even clothing itself. Her work is not merely about creating garments; it is a profound artistic expression, one that questions the expectations of society and the limitations of the body.

The Emergence of an Anti-Fashion Aesthetic

When Kawakubo brought Comme des Garçons to Paris in 1981, she did not simply enter the fashion world—she disrupted it. At a time when fashion favored glamour, body-conscious silhouettes, and vibrant colors, Kawakubo presented torn, asymmetrical, and deconstructed pieces in monochromatic palettes. Critics were stunned. Many did not know how to respond to what they were seeing. The garments were often described as "post-apocalyptic" or “lumps and holes.” Some saw her work as an affront to fashion itself.

But Kawakubo was not attempting to shock for its own sake. Her intention was to explore the potential of design when liberated from conventional aesthetics. She once said, “I want to make clothes that are new. I don’t see the point in making things that already exist.” This sentiment defined Comme des Garçons' early collections and continues to guide its philosophy today.

Deconstruction and the Body

Central to Kawakubo’s vision is the concept of deconstruction—not only in the physical manipulation of garments, but in the deconstruction of ideas. She often challenges the idea of the ideal body, designing clothes that obscure or distort the wearer’s shape. This approach can be seen in her groundbreaking Spring/Summer 1997 collection titled “Body Meets Dress, Dress Meets Body,” often nicknamed the “lumps and bumps” collection. By padding garments in unexpected places—hips, shoulders, backs—Kawakubo questioned not only beauty standards but also the relationship between clothing and the body it dresses.

This kind of design requires a complete rethinking of silhouette and structure. Traditional fashion emphasizes the body’s curves or creates the illusion of an ideal shape. Kawakubo refuses this notion, instead using fashion as a tool to challenge perception. The body is no longer the canvas for beauty—it becomes a platform for critical exploration.

Fashion as Conceptual Art

What separates Kawakubo from many other designers is her insistence that fashion can function as conceptual art. Her runway shows are not simply commercial presentations; they are intellectual provocations, each one constructed with a central theme that reflects her inner world or a critique of societal norms. Some collections have titles like “Not Making Clothing,” “18th Century Punk,” and “Blue Witches,” each offering a glimpse into Kawakubo’s creative mind.

These shows are immersive and often theatrical, more akin to performance art than traditional catwalks. Models walk slowly or stand still, lights flicker, soundtracks are eerie or discordant. Every aspect of the presentation is carefully curated to support the central concept. There is no attempt to follow trends or to make the garments conventionally “wearable.” Kawakubo once said, “I never intended to start a revolution. I just wanted to create something new.”

Breaking the Binary of Gender

Comme des Garçons has also been influential in dissolving gender boundaries within fashion. Kawakubo does not design specifically for male or female bodies. Her garments often exist outside of gender binaries, emphasizing shape, texture, and form rather than gendered expression. This non-conforming approach has been especially significant in the wider cultural movement toward inclusivity and fluidity in fashion.

By dressing both men and women in similar shapes—oversized, asymmetrical, padded—Kawakubo underscores the irrelevance of traditional gender distinctions in clothing. She provides a space for people to express themselves beyond societal expectations. It is not about androgyny in the traditional sense, but rather about dismantling the very framework that necessitates classification.

The Business of Being Anti-Business

Despite her anti-commercial ethos, Comme des Garçons has become a powerful global brand with multiple sub-labels and a vast retail network, including the cult-favorite Dover Street Market. Kawakubo’s ability to remain artistically uncompromising while managing a successful business is a rare feat in the fashion industry.

This balance is possible in part due to the structure of her company. Kawakubo retains creative control and surrounds herself with collaborators who share her values. She has mentored designers like Junya Watanabe and Kei Ninomiya, encouraging them to experiment and develop their own voices within the Comme des Garçons umbrella. Her model of creative independence, paired with business acumen, has proven both sustainable and inspiring.

Legacy and Cultural Impact

Rei Kawakubo’s influence extends far beyond fashion. She has been the subject of museum retrospectives, most notably the 2017 exhibition at the Metropolitan Museum of Art’s Costume Institute titled “Rei Kawakubo/Comme des Garçons: Art of the In-Between.” This was only the second time the Met dedicated a show to a living designer, the first being Yves Saint Laurent. The exhibition underscored her status as a visionary artist, one whose work transcends clothing.

Her vision has also resonated in other creative fields, influencing architecture, performance, and visual arts. Her collaborations have ranged from     Comme Des Garcons Converse  furniture to fragrance, always maintaining her uncompromising aesthetic. Comme des Garçons perfumes, for instance, challenge the traditional idea of fragrance, with scents described as industrial, metallic, or abstract.

Conclusion: A Continuing Revolution

Rei Kawakubo’s vision in Comme des Garçons is not just a personal statement—it is an ongoing revolution in how we perceive clothing, beauty, identity, and art. She has given the fashion world a vocabulary for intellectual and emotional exploration, turning garments into philosophical inquiries.

Through her relentless innovation, she has shown that fashion does not have to be about trends, seasons, or commercial appeal. It can be a space for critique, a platform for individuality, and a mirror for society’s contradictions. In an industry often dominated by conformity, Kawakubo remains a defiant voice, reminding us that the new, the strange, and the unclassifiable are worth embracing.

Comme des Garçons is not just a brand. It is a worldview—one shaped by Rei Kawakubo’s fierce independence, deep intellect, and uncompromising artistry.

Report this page