Rei Kawakubo

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  • Topic: Rei Kawakubo, Fashion design, Deconstruction
  • Pages : 12 (4071 words )
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  • Published : April 8, 2013
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always focused on the possibilities and conceptual properties of black. unconventional and provocative apparel that is often distressed and deconstructed. specialises in anti-fashion, austere, sometimes deconstructed garments. During the 1980s, her garments were primarily in black, dark grey or white, and the materials were often draped around the body and featured frayed, unfinished edges along with holes and a general asymmetrical shape. journalists labeled her clothes ‘Hiroshima chic’ amongst other things.

she is greatly involved in graphic design, advertising and shop interiors believing that all these things are a part of one vision and are inextricably linked.

My design process never starts or finishes. I am always hoping to find something through the mere act of living my daily life. I do not work from a desk, and do not have an exact starting point for any collection. There is never a mood board, I do not go through fabric swatches, I do not sketch, there is no eureka moment, there is no end to the search for something new. As I live my normal life, I hope to find something that click starts a thought, and then something totally unrelated would arise, and then maybe a third unconnected element would come from nowhere. Often in each collection, there are three or so seeds of things that come together accidentally to form what appears to everyone else as a final product, but for me it is never ending. There is never a moment when I think, ‘this is working, this is clear.’ If for one second I think something is finished, the next thing would be impossible to do.”

Concerning Deconstruction - Rei Kawakubo

One of my favourite Japanese designers, Rei Kawakubo, founder of Comme des Garcons, was born in Tokyo in 1942. Being untrained as a fashion designer, but having studied fine arts and literature, she conveys her ideas verbally to her patternmakers. After graduation Kawakubo worked in a textile company and began working as a freelance stylist in 1967.

In 1973, she established her own company, Comme des Garcons Co., Ltd in Tokyo. Starting out with women's clothes, Kawakubo added a men's line in 1978. Two years later, she moved to Paris and presents her fashion lines there each season. At the same time she opened up her first boutique in Paris. Following her breakthrough in Paris, Comme des Garcons clothing was often subject of exhibitions around the world.

Comme des Garcons specializes in anti-fashion, austere, sometimes deconstructed garments, sometimes lacking a sleeve or other component. Her garments are primarily in black, dark gray, and white, often worn with combat boots.Her designs have inspired many new designers like e.g.the Belgian Martin Margiela and Ann Demeulemeester, as well as Austrian designer Helmut Lang. The newest offspring of Kawakubo's fashion think tank is former apprentice Junya Watanabe, who has recently  attained much attention in the fashion business.

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Destruction is happiness. Every text about destruction anticipates the joy of liberation that starts to flow following the act of destruction. Twentieth-century art has formally and aesthetically raised destruction to a new level. Robert Rauschenberg’s erasing of a de Kooning drawing only leaves dainty traces of devastation, whereas concept art has made the destruction of objects so matter of course, that it has made the creation of cloud-cuckoo-lands all the more constructive. Culturally speaking, it is always destruction that makes way for new creativity: it creates space. Even destructive acts follow the economy of growth and creation. Production and destruction are exact opposites, like life and death – intertwined and inseparable. Destruction in pop-culture and fashion is particularly positive. It is most liberating in interpersonal relations, because feelings and relationships can be disposed of in order to create new ones. The destruction of that which is, forms the constant of change. Destruction is organic. Its...
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