Her Past
-Well informed about the traditions of French couture and the directions of London street fashion.
-Sonia Rykiel influenced early work.
Styles
Out and out assault on the very idea of fashion
The shapes of body nobody had seen before.
Attack on western ideas of female beauty.Loose and ample, not done in a way which contradicts the human body.
e.g.
1. Black T-shirt with four sleeves which can turned magically into an elegant double tunic on the body.
2. Twist back jacket from 1983, seen from the front, was held together by little more than a strap at the back.
3. Very full overcoats for woman, buttoning from left to right.
4. Exaggerated female silhouettes created by padded shoulders and nipped waist.
5. Whimsical Annie Hall look of being swamped in outsize masculine jackets
6. 1982 hand knitted “lace sweater”, full of irregular holes, straggling at random across front and back.
7. Strange outlines and seemingly arbitrary appendages.
Design philosophy
-outside the conventional idea of fashion.
-Spanned a wide spectrum, with individual collections including quiet piece as well as the more flamboyant ones.
-Imposes no particular view of beauty or sexuality on the wearer.
-“Fashion design is not about revealing or accentuating the shape of women’s body, rather, its purpose is to allow a person ‘to be what they are.”
“ I do not design with the image of a particular character or body type in mind, it’s way of life thatg I design for. I’m designing for a woman to be able to feel confident. We must break away from conventional forms of dress for the new women of today. We need a strong new image, not to revisit the past.”à Comfortable to everyone who has confidence to do so.
“They appear to start from the minimum, without any unnecessary decoration and without conforming to accepted forms of flattery. After removing all the unnecessary details, the residual beauty of the form has a strength which excels anything”
she often use the idea of function as a point of departure, improvising on traditional themes but giving them a different meaning in the process.
Creating clothes that can be manipulated by the wearer. There may not be much practical purpose in jackets with lining that can be unbutton and used as sweater, but the idea that this is possible affects the way the wearer feels.e.g. detachable lapel that turned into a scarf.Including elements that are reversible or detachable implies that a garment is not a finite solution, but allows for an input from the wearer, who plays a part in shaping the final form.-à “democratic version of high fashion.”“ I don’t think my clothes changed enormously over the years, though I hope I always change in the sense of making process….I was more obvious about exposing construction techniques. I used patterns that very complex; I found a passion. Now, I m more interested in the general mood of the collection.
”-What is her aesthetics?Sabi 扥寂?
- The very perfection of a machine-made product can eliminate the sense of the touch of a maker’s hand that is so important part of giving a garment distinctive character.
- “ machines that make fabric are more and more able to produce uniform, flawless textures. I like it when something is not perfect. Hand weaving is the best way to achieve this, but since this isn’t always possible, we loosen a screw on the machines here and there so they can’t exactly as they are supposed.”-
Inspirations
Vagrant bag lady –1982
Homme collection
Victorian dandies (gold braided buttons bearing the initial HP for homme plus.)
Edwardian sleeping car attendants (double jackets, windcheater with elastic cuffs formed the inner layer of sombre outer jacket)(1989)
Colour-
The New York Times Editor Bernadine Morris:“Kawakubo could get away from black for long enough to come up with “ a blast of color, vibrant yellow, fuschia royal blue, and apple green.
”In march 1988,
she declared resolutely that red is black, which splashes the blouse materials were drawn to reveal splashes of vivid colors. Express that she could use any color to replace the role of black.
-Well informed about the traditions of French couture and the directions of London street fashion.
-Sonia Rykiel influenced early work.
Styles
Out and out assault on the very idea of fashion
The shapes of body nobody had seen before.
Attack on western ideas of female beauty.Loose and ample, not done in a way which contradicts the human body.
e.g.
1. Black T-shirt with four sleeves which can turned magically into an elegant double tunic on the body.
2. Twist back jacket from 1983, seen from the front, was held together by little more than a strap at the back.
3. Very full overcoats for woman, buttoning from left to right.
4. Exaggerated female silhouettes created by padded shoulders and nipped waist.
5. Whimsical Annie Hall look of being swamped in outsize masculine jackets
6. 1982 hand knitted “lace sweater”, full of irregular holes, straggling at random across front and back.
7. Strange outlines and seemingly arbitrary appendages.
Design philosophy
-outside the conventional idea of fashion.
-Spanned a wide spectrum, with individual collections including quiet piece as well as the more flamboyant ones.
-Imposes no particular view of beauty or sexuality on the wearer.
-“Fashion design is not about revealing or accentuating the shape of women’s body, rather, its purpose is to allow a person ‘to be what they are.”
“ I do not design with the image of a particular character or body type in mind, it’s way of life thatg I design for. I’m designing for a woman to be able to feel confident. We must break away from conventional forms of dress for the new women of today. We need a strong new image, not to revisit the past.”à Comfortable to everyone who has confidence to do so.
“They appear to start from the minimum, without any unnecessary decoration and without conforming to accepted forms of flattery. After removing all the unnecessary details, the residual beauty of the form has a strength which excels anything”
she often use the idea of function as a point of departure, improvising on traditional themes but giving them a different meaning in the process.
Creating clothes that can be manipulated by the wearer. There may not be much practical purpose in jackets with lining that can be unbutton and used as sweater, but the idea that this is possible affects the way the wearer feels.e.g. detachable lapel that turned into a scarf.Including elements that are reversible or detachable implies that a garment is not a finite solution, but allows for an input from the wearer, who plays a part in shaping the final form.-à “democratic version of high fashion.”“ I don’t think my clothes changed enormously over the years, though I hope I always change in the sense of making process….I was more obvious about exposing construction techniques. I used patterns that very complex; I found a passion. Now, I m more interested in the general mood of the collection.
”-What is her aesthetics?Sabi 扥寂?
- The very perfection of a machine-made product can eliminate the sense of the touch of a maker’s hand that is so important part of giving a garment distinctive character.
- “ machines that make fabric are more and more able to produce uniform, flawless textures. I like it when something is not perfect. Hand weaving is the best way to achieve this, but since this isn’t always possible, we loosen a screw on the machines here and there so they can’t exactly as they are supposed.”-
Inspirations
Vagrant bag lady –1982
Homme collection
Victorian dandies (gold braided buttons bearing the initial HP for homme plus.)
Edwardian sleeping car attendants (double jackets, windcheater with elastic cuffs formed the inner layer of sombre outer jacket)(1989)
Colour-
The New York Times Editor Bernadine Morris:“Kawakubo could get away from black for long enough to come up with “ a blast of color, vibrant yellow, fuschia royal blue, and apple green.
”In march 1988,
she declared resolutely that red is black, which splashes the blouse materials were drawn to reveal splashes of vivid colors. Express that she could use any color to replace the role of black.
Who like her/carry her garment.New York artist, Swiss architects, London advertising millionaires, independent mind film people.
“ The wearer without being a label that carries with it a whole fantasy life for the socially insecure along lines of Ralph Lauren polo, for example. Like all high fashion, they contain aspects of luxury, but their origin is not immediately obvious and they are by no means an overt status symbol.”
Meaning of red to Japanese
-Sun, countries flag and logo
-Life of the organism
Spirit of Japanese “Aura” - (靈氣)cultureIn Color - Messages & Meanings: A PANTONE Color Resourceby Leatrice Eiseman
Warm red -- affection
Bright red --sexuality, courage
Pink -- Happiness, gratitude, appreciation, admiration
Cream -- Thoughfulness, charm, graciousness
Peach -- Admiration, fascination, enthusiasm
To the analysis of Favorite Color
Color and Meaning: Art, Science, and Symbolismby John
GageRed -- Ambitious, energetic, extroverted
Pink -- Affectionate, compassionate, romantic
Black -- Disciplined, strong-willed, opinionated
White – Individualistic
All these colors interpretation, totally reflecting the new women that when she mentioned about her design philosophy;“ I do not design with the image of a particular character or body type in mind, it’s way of life that I design for. I’m designing for a woman to be able to feel confident. We must break away from conventional forms of dress for the new women of today. We need a strong new image, not to revisit the past.”
“ The wearer without being a label that carries with it a whole fantasy life for the socially insecure along lines of Ralph Lauren polo, for example. Like all high fashion, they contain aspects of luxury, but their origin is not immediately obvious and they are by no means an overt status symbol.”
Meaning of red to Japanese
-Sun, countries flag and logo
-Life of the organism
Spirit of Japanese “Aura” - (靈氣)cultureIn Color - Messages & Meanings: A PANTONE Color Resourceby Leatrice Eiseman
Warm red -- affection
Bright red --sexuality, courage
Pink -- Happiness, gratitude, appreciation, admiration
Cream -- Thoughfulness, charm, graciousness
Peach -- Admiration, fascination, enthusiasm
To the analysis of Favorite Color
Color and Meaning: Art, Science, and Symbolismby John
GageRed -- Ambitious, energetic, extroverted
Pink -- Affectionate, compassionate, romantic
Black -- Disciplined, strong-willed, opinionated
White – Individualistic
All these colors interpretation, totally reflecting the new women that when she mentioned about her design philosophy;“ I do not design with the image of a particular character or body type in mind, it’s way of life that I design for. I’m designing for a woman to be able to feel confident. We must break away from conventional forms of dress for the new women of today. We need a strong new image, not to revisit the past.”
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