It's that time of the year again when suddenly I'm reviewing A/W 12-3 collections even though they debuted nearly six months ago. Somehow though just as these ideas are beginning to filter in to what we're actually wearing, it just seems more appropriate for me to gather up my thoughts of the current season. One of Paris' big ideas being Comme des Garcons A/W 12-3 show, really consumed me in March. This being my second Comme show I've experienced in person, I'm noticing that they seem to draw out the hyper analytical in me. Of course, it's tiresome when you glean too much symbolism and deep thoughts out of a clothes parade but with a Comme des Garcons show, you just can't help yourself. This was one of my favourite reviews to write for Dazed Digital at the shows so I'll just repost it if you don't mind. Not sure I could rehash my thoughts in any other way really…
The world is flat again, according to Rei Kawakubo. Or at the very least, the clothes are. That was the big idea at the latest Comme des Gar√ßons show and quite literally, everything was BIG. To an ear thudding silence of just the photographer‚Äôs pit snapping away and nothing else, oversized proportions of giant coats, jackets and trousers in the brightest shades of red, pink and lilac wool felt came trooping out with seam allowances jutting out at the sides. The curves to these garments were magnificent to behold and didn‚Äôt feel like they were dwarfing the models because there were controlled by the natural stiffness of the felt.
When enlarged patterns of leopard, na√Øve flower drawings and polka dots and camouflage started to appear, it was clear that Kawakubo was asking questions about our 21st century fascination with gleaning every detail up close and personal in fashion. The ubiquity of live streams, instant images, close-ups, behind the scenes ‚Äì all revealed and offered up to the wider audience ‚Äì is reinterpreted by Kawakubo's thorough investigation of the 2D surface. And yet, as flat fronted as these pieces looked, it‚Äôs when the models turn around that you see constructions that actually celebrated the curve and the 3D in an almost simplistic way, like a child moulding Play-Doh into something. A front-on picture of these pieces don‚Äôt do them full justice but perhaps Kawakubo is fine with people remembering the mere flat surface and nothing else.
Things got playful when a print of a dress shape in electric pink was imposed on a blue oversized dress. It‚Äôs a simple expression of trompe l‚Äôoeil, aided by saturated shades of colour that have been largely absent this season. Kawakubo then took us to more childish memories with a series of chintzy rose floral cocoons and sequined ball gowns, hinting at curvature rather than flatness. Reading deep into that contradiction won‚Äôt do you any good though so it may be best just to soak up the appearance of it all and revel in it, as the audience did when they applauded the collection endlessly, thumping their feet, waiting for Kawakubo to emerge. She of course, didn‚Äôt.
P.S. Most of the catwalk pictures of the Comme show really do accentuate the deceptively "flat" element of the collection which is why I've stuffed as many pictures as possible into a video reel just to demonstrate that what we actually saw at the catwalk was anything but flat. Curvature and strategically placed volume were key to making Kawakubo's idea even more emphatic.