Last season was brutal, referencing war and pain, so we were ready for an uncomfortable ride from the outset at Comme des Garçons. This season we were treated to a ritual, though I’m unsure as to what kind of spell Rei cast on us
Junya Watanabe opened with the raucous proto-propaganda of Grimes’ last single, ‘We Appreciate Power’, which she claimed was based on North Korean prop-pop group Moranbong, but in reality sounded like a teen-angst J-Pop song. It was perfect for the girl that was conjured up on the runway today. She was a love letter to old-school Harajuku, East-meets-West, doll-eyed, big-haired, and stomping in silver cowboy boots — truly eclectic style
Was it a coincidence that the inventor of silver gaffer tape, Ross Lowell, passed away seven days ago and Yamamoto had three strips of silver gaffer on his invitation, though none at all in the show? Probably. But then, we are always left trying to decode the workings of Yamamoto, who, in all fairness, simply makes some of the most painfully beautiful clothes on the market
Beams of light fell into sharp round white spots all over the runway, like giant polka dots or a constellation of bright stars.
The first few exits at Dries Van Noten served as a continuation from his fall men’s collection, which took place in Paris less than six weeks ago. And, in fact, they included some of the same garments, in particular the grid puffer scarves and suiting — and why not
Entering the show space today could only be described as stepping through the looking glass into an underground dreamworld. The work of Peruvian artist Pablo Amaringo was used to great effect; his exotic imagined animals in rich hyper-saturated colors were the perfect backdrop to the clothes.
A complicated soundscape, made up of sound bites and snippets of music featuring Bowie, Warhol, and many more artistic heroes made up the soundtrack to the show, which in itself, couldn’t have been less complicated. The focus here was on perfect clothes, and what a focus.
There’s a bar in Shibuya called Grandfather’s that has been around for over 40 years, with a huge collection of vinyl.
An industrial throb, humming and rustling, punctuated by feedback guitar squeals, greeted us in the packed dark basement for Comme des Garçons Homme Plus. It felt more like an underground club than a runway venue
The light was searingly bright in the Yohji Yamamoto space, as the ceiling had been modified to include hundreds of white strip lights.