Rei Kawakubo was looking to shake things up, so she literally turned clothes upside down in her new collection for Comme des Garçons. The French have an evocative-sounding word for it: bouleversé. And there was plenty of that in coats that trailed sleeves to the ground, or jackets that had clutches of other jackets dangling from their backs. A single jacket would be collaged from a couple more, and dresses were layered for an effect that evoked Kawakubo's other gnomic reference point: multiple personalities.
The fact is, as much as she sought to court chaos, there was a spare elegance to many of the designer's constructions, compounded by Julien d'Ys' delicate aerodynamic cloches of feather and net. Take, for instance, the white cotton military coat; or the perfecto-style jacket, also white, which was elongated and expanded so it was almost capelike, then wrapped in black; or the black jacket cut away over a striped cotton nightgown. (Another striped smock bordered on asylum attendant, evoking a sort of bouleversé Gothicism.) A top had one arm ruffled, the other tiered, as couture as Capucci. The finale conjoined pairs of women with a third outfit, conveying the notion of multiple personalities in an obvious way. Why? Wrong question. Why not? Right answer.
Rei Kawakubo was looking to shake things up, so she literally turned clothes upside down in her new collection for Comme des Garçons. The French have an evocative-sounding word for it: bouleversé. And there was plenty of that in coats that trailed sleeves to the ground, or jackets that had clutches of other jackets dangling from their backs. A single jacket would be collaged from a couple more, and dresses were layered for an effect that evoked Kawakubo's other gnomic reference point: multiple personalities.
The fact is, as much as she sought to court chaos, there was a spare elegance to many of the designer's constructions, compounded by Julien d'Ys' delicate aerodynamic cloches of feather and net. Take, for instance, the white cotton military coat; or the perfecto-style jacket, also white, which was elongated and expanded so it was almost capelike, then wrapped in black; or the black jacket cut away over a striped cotton nightgown. (Another striped smock bordered on asylum attendant, evoking a sort of bouleversé Gothicism.) A top had one arm ruffled, the other tiered, as couture as Capucci. The finale conjoined pairs of women with a third outfit, conveying the notion of multiple personalities in an obvious way. Why? Wrong question. Why not? Right answer.
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