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Comme des Garçons S/S 2017, from the show-room of Place Vendôme

By: Soili Milan
19-03-2017
Abbigliamento, Art, Clothing, Design

Comme des Garçons Spring/Summer 2017

While it is now imminent the exhibition at the Metropolitan Museum of Art Costume Institute in New York, dedicated to the work of  Rei Kawakubo’s – Comme des Garçons and curated by Andrew Bolton (it will be inaugurate on 4th of May), the famous online magazine, AnOther, reveals in a long article the showroom of the well know Japanese Maison, the anti-fashion temple par excellence.

Another Mag - Rei Kawakubo show-room
Photo by AnOtherMag

A good cue for leading you inside with our video shooting of the Spring/Summer of 2017. Rare outstanding material, a concession obtained with a long collaboration and with a peculiar organization of the store activity, with preparation, archival and historical memory and, above all, with an approach to new proposals of recipients otherwise poorly assisted by scarce communication on this kind of clothing.

 

Comme des Garçons Spring/Summer 2017 show-room video

For some years now Rei Kawakubo uses the catwalk as the sheet music upon which composes the ceremony of her collections. No more suggestions on what to wear during the season, but philosophical insights translated into highly complex textile forms, from which to draw clues on fabrics and weights that will make up the seasonal assortment. The designer explores and then wraps the spirit of time presenting it to a tense audience with the sacrifice of an increasingly less accessible and intelligible comprehension but, in its abstract distance, more and more poetic and theatrical.

Comme des Garçons S/S 2017 defilé

Comme des Garçons Spring/Summer 2017 defilé/Crash

Photo by Crash

In the Place Vendôme space, the bulky shapes resize, becoming viable clothing, which does not deny the feminine silhouette with the excesses promised in the fashion show. The camouflage is wearable in the asymmetries of jackets and t-shirts. The disturbing paddings for the summer translate into irregular folds, stylistic solutions that enhance the movement of the garments or decorative elements for an easier use and composition.

 

The selection takes place in a space stolen to huge sequenced installations, works first withheld from scene, then immersed in the soundtrack which, looped for days, it evokes and reinforces the suggestions of the recent stage show.

Comme des Garçons camouflage dress S/S 2017

Comme des Garçons camouflage jacket S/S 2017

Comme des Garçons cotton light dress S/S 2017

Comme des Garçons polyester dress S/S 2017

Comme des Garçons padre gilet S/S 2017

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Welcome back Plantation!

By: Soili Milan
25-11-2016
Abbigliamento, Art, Clothing, Fashion

Plantation coat fall/winter 2016-17

Behind the apparent simplicity of a line focused on the realization of outerwear, lies the story of a decidedly visionary project, whose debut dates back to 1981, when Issey Miyake launched the brand with the evocative name: Plantation.

It is necessary to empathize with a time when the prêt-à-porter was ruled by trends that emphasized the dominant values of the time: power, career, luxury and the extreme celebration of female physical beauty. Broad shoulders, high heels, tights and sequins, simplifying a lot, were nothing more than aesthetic symbols of a value system that through the dress, not only represented himself, but at the same time it was consolidated.

In the middle of success and consent that these languages, so effervescent in directing the wishes of the general public, obtained, Issey Miyake, among many other experiences that already had, founded the line that still bears the name of birth.

The ideational force of the collection lays in the radical distance from what was happening in the fashion world.Plantation, in fact, was born with opposing ambitions: to completely ignore the identifying and transgressive function of the garment, structuring itself around very specific values, such as comfort and usability in everyday life with little assertive and recognizable forms, dressing people with predominantly craft and natural materials, with a humble appearance, wool for winter, linen and cotton for summer. It was a very interesting and long lasting project, suspended, only for the extreme experimental liveliness of the Miyake Design Studio and the alternation of new creative directors, between the late nineties and the early 2000s.

Plantation Issey Miyake

With the 2016-2017 Autumn/Winter collection is the group A-Net, affiliated to Maison Miyake and who contains also Zucca and Tsumori Chisato brands, to revive the project in Europe. Much awaited among lovers, Plantation returns, in times in some ways analogous to those of its creation, with its ‘formal modernity’, defined by multiple linear and clean cuts compared to the creative acrobatics of the Japanese school, sensitive to textile warmth and to stand discreetly in everyday life. The wisdom of the brand can be found in a decidedly practical solutions: the reversibility of quilts made of the typical smooth canvas on one side and the other in the most opaque and warm coat appearance; enveloping hoods; significant collars, but that can always be placed at will; double-breasted crew-necks that facilitate and claim the winter complement to excellence, the scarf, to integrate and support of a simplicity defended with great determination.

Plantation invites you to a comfortable everyday life and, being an outwear for long use, among its objectives, there is also a considerable care not to exceed with a design too intrusive to tire in the next season.

Plantation Issey Miyake

Plantation Issey Miyake

Plantation Issey Miyake

Plantation Issey Miyake

Plantation Issey Miyake

Plantation Issey Miyake

Find the Plantation collection online on our website:

www.ivomilan.com/en/nuove_collezioni-1/All-0/PLANTATION_Tokyo-327/e-shop.htm

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Norwegian Rain – Rain, wind and tous les jours…

By: Soili Milan
11-11-2016
Abbigliamento, Architettura, Art, Arte, Clothing, Design, Fashion, Marchi, Moda, Various

Norwegian Rain overcoat waterproof shop online ivomilan

It’s Norway the homeland of a brand that, even in its name, reveals without surprises its undoubted roots: Norwegian Rain!

An unisex product, which in the apparent classicism of the forms combines basic features for both cold and rainy climates. The canvases, strictly made of recycled Japanese polyester, are simulating the typical texture of traditional materials, such as wool gabardine, and do not reveal highly sophisticated and modern properties, such as the inner diaphragm, which guarantees to each raincoat to be both breathable and waterproof. The sealed seams prevent the water from intruding into the fearsome joints, allowing a peaceful freedom, regardless the worst downpours.

It lies precisely in this discrete translation of the high-tech garment, usually characterized by colored zippers or improbable reflective graphics and relegated to the most technical sportswear sector, in an elegant outwear, the most fascinating aspect of this Norwegian reality.

Is the modernity of a northern European language sensitive to aesthetics, grateful to the Japanese formal knowledge which is easily traced in the ongoing article, the Raincho, a garment halfway between the cape and the development of the kimono. Contribute to the complexity of the calm lines, details such as generous interior pockets, with the purpose of sheltering the vulnerable accessories, from wallets to phones, adjustable caps in amplitude with composed webbing and buttons, small panels that can replace bulky scarves, concealed zip pockets, always useful to not soak the necessary and in case you want to give up the use of the bag.

Norwegian Rain faces the everyday life with real prospects, but also with an original determination to integrate with the most complex and creative proposals of the great contemporary designers!

Norwegian Rain overcoat waterproof shop online ivomilan

Wide Norwegian Rain waterproof coat with the shape of a cape in recycled polyester cloth, lined in viscose and polyester cloth

Hip-lenght A punto B sweater in cashmere cloth

Wide lined Comme des Garçons skirt in polyester matelassè with floral tapestry

Mascha ‘classic Trippen’ ankle boot in cowhide leather

Altalen hat in felt 100% lapin

Norwegian Rain overcoat waterproof shop online ivo milan

Knee-lenght Norwegian Rain waterproof coat in recycled cloth lined in viscose and polyester cloth

Long and wide Boboutic cardigan in polyamide and extra fine merinos wool cloth worked with irregular knots

Classic Comme des Garçons man shirt in cotton poplin

Classic Comme des Garçons – Comme des Garçons man trousers in wool gabardine, cupro lined

Dippy Trippen Shoe in smooth cowhide leather

Norwegian Rain overcoat waterproof shop online ivomilan

Knee-lenght Norwegian Rain waterproof coat in recycled polyester cloth, lined in viscose and polyester cloth

Zucca longuette dress in stretch, nylon and alpaca

Mascha ‘classic Trippen’ ankle boot in cowhide leather



 

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The Enlightenment Punk of Comme des Garçons

By: Soili Milan
25-10-2016
Abbigliamento, Architettura, Art, Arte, Clothing, Design, Fashion

For several years now Rei Kawakubo, in Comme des Garçons art, has exclusively dedicated to clues, atmospheres and evocation her own representation of the ongoing collection. Emancipated of any kind of obligation towards the expectations of the global audience, the Japanese designer delights with her exhibitions that are closer to the art world rather than the sector of belonging.  The runway is not dedicated to garments but to textile provocations, architectonic structures that surround the sacrificed bodies of models lend to carry oversized sculptures, deliberately cumbersome and disproportionate compared to the available space.

Impossible not to ask yourself why or what is the plausible message content in this artistic drift. Maybe a self-granted freedom of expression, against the monotonous limits forced by the reality of the female body, or a subtle provocation versus a star-system hat becomes increasingly uncritical and exhibitionist. Certainly the dialog has not the purpose of selling. The pared garments are indeed extraordinary pieces of contemporary art that belong in museums or wealthy collectors. The runway show is an idea, a suggestion of the inspiring motif of the season which will be found later translated and much wearable in the development in the show-room. For Autumn/Winter 2016-2017 we witness then poetic collage of antique fabrics, floral tapestries that catapult the public in the XVIII century, the Age of Enlightenment, the rematch of reason over ignorance and superstition.

Rei Kawakubo, however, is not nostalgic and well-mannered, the collage is held together by metal snap buttons, by cuts and raw seams, diagonals that fragment the decorative harmony of time, implying elements defined by herself  as Punk, in the most provocative meaning of the term.

Synthetic leather, studs, constant asymmetries  and details that can be observed in the motives sewed on skirts, in the curvatures of the nodal points of the joints, reinforced as if they were textile armatures. And extensions, adjustable connecting rings, a flexibility in disassembling and reassembling, a continuously adjustable area in lengths and a delicate balance between order and disorder. It is not said that we can return to the original reconstruction, that many the alternatives are. Modernity and tradition, they also alternate in the processing, the ancient Japanese knowing collaborates with the most daring experimentations of the multi-layerd polyester cloth with rayon, cupro and cotton panels, in an encounter that observes how the material determinants and imposes the final shape of the piece, whether is a jacket, skirt or coat.

Needless to assume how Rei Kawakubo, in preparing an original and personal temporal syncretism, punk and Enlightenment, thinks of women determined to stay in their own time with the vigor and exuberance of who has a critical and imaginative independency

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Yohji Yamamoto Spring/Summer 2016

By: Soili Milan
13-05-2016
Abbigliamento, Art, Design, Fashion, Marchi

Looking closely at a garment of the the so-called Japanese school great master Yohji Yamamoto is not only a rare occasion, but the audience reaction is always the same too: silence and an expression that instantly changes the face, as if to say very simply: ‘Here we are behind’. Behind fashion, behind the seasonal trends, behind what one could usually see, behind the widespread boredom of making clothes with approximation.

In increasingly critical times for the clothing field, where more and more less space is left to the know-how, where the production rhythms are more and more compromised by the minimizing of the costs and especially by the increasing of the manufacturing companies profit margins, having the chance to intercept a Yohji Yamamoto’s work is like finding relief in the middle of the most hazardous desert. Because the high quality tailoring, applied to accessible models and with an eloquent design, could excite on the same level of every other noble artistic expression. And Yohji, more than ever, is a skilled weavers of ancient knowledges and contemporary solicitations, gained in metropolitan contexts with an high concentration of relationships, contaminations and syncretism.

For the Spring/Summer 2016 we have a personal interpretation of an Enlightenment atmospheres, in the bustiers composed by articulated asymmetries on the wider volumes of skirt and trousers, emphasized by the sumptuous scenario of the Hotel de Ville in Paris, selected for the runway show.

But the historical citation mixes and confuses itself with more contemporary and urban silhouette, evoked with determination by the lengths and the details of the overcoats, in the calculated disorder of certain dresses and tops

 

 

and especially in the explicit collaboration with the very young painter Yuuka Asakura (discover her instagram and twitter profiles) called to paint her abstract works on the already very precious Japanese cottons.

 

 

The ubiquitous black colour gets dirty with pictorial signs with a charming chromatic involvement, inviting the audience to observe with calm and attention, to stop by, discovering also the less showy gestures in fibres that reveal themselves in their curate and surprising three-dimensionality.

In opposition to the more pressing and emerging requests of time and space compression, Yohji Yamamoto with the most discreet savoir faire, remembers us that the beauty could be still part of our stories, we just need to never stop seeking it.

 

The Spring/Summer Yohji Yamamoto collection is on www.ivomilan.com

 

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