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!

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

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

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

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

Shu Moriyama’s training took shape and developed in the long, trusted collaboration with Yohji Yamamoto. During that extraordinary experience, many years ago, he consolidated his professional skills and, with great courage, managed to leave his great master launching a line which still bears his name.

Unlike those illustrious characters of the so-called Japanese school, often concentrated on creating revolutionary and spectacular collections, Shu Moriyama’s work focuses on the here and now.

Every day life is dressed enthusiastically with total dedication. With none of the creative anguish accompanying designers who want to leave their indelible mark season after season, Shu moves discretely. He adds practical, comfortable daily garments that have that little something extra. Poetical, sober micro-gestures like complex tailoring details on the one hand, and more elaborate design research resulting in seamless vests and shirts finished on a single corner of fabric, on the other.

An advanced blend of asymmetries, volumes and shapes drawn from his country’s rich traditions and result of his disposition to experiment acquired while with Yamamoto. The fabrics used, precious slivers of Japan’s rich textile heritage, complete the quality of this reasonable, excellent production.

Shu Moriyama has such a passion for his work that he wants to share and show us the machinery used, his manufacturing processes and the people involved in his work.

He himself sent us the photographic material shown. A rare document of what happens in those famous laboratories where modern, state-of-the art technology crosses and blends with ancient traditions.

Come and see Shu Moriyama’s newest collection at IVO MILAN!

Apart from its many advantages in terms of freedom, costs and pollution, this mean of transport would make it possible for us to go and spend one day in Tokyo, in order to see the unmissable exhibition of two important international artists, such as the legendary photographer Irving Penn, and Issey Miyake, the most important modern fashion designer.

The exhibition is called “Visual Dialogue“.

The title clearly pays homage to the cooperation of the two artists, that started almost accidentally in 1983, when Vogue America sent Penn to Japan, to portray Miyake’s work. To the fashion designer, Penn’s images were a real discovery.

As Miyake himself admits, explaining the reasons of a relationship that lasted until Penn’s death, in 2009, his pictures were well beyond the mere visual reproduction of Miyake’s clothes. They were able to see these items from a fresh viewpoint and enhance their visionary power. What Miyake saw inspired him to produce new items, establishing a sort of visual dialogue that was challenging for both artists.

Having “discovered” Penn, the Japanese designer decided to ask him, with absolute freedom, to present his new collections.

Their artistic collaboration is well known, both artists have been exhibited by important modern art museums and galleries. Together, they produced many books and catalogues, but also posters, that have always been shown at their exhibitions.

With drawings, prints, feature and animated films, starting from September,16 to April, 8, 2012, the 21_21 Design Sight gallery will celebrate the extraordinary experience of these great artists. Really unmissable!

Nel video seguente, un breve estratto della sfilata di Parigi in cui veniva presentata la nuova collezione Primavera-Estate 2011.