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

Junya Watanabe Spring/Summer 2016 runway details, Dazed & Confused dazeddigital.com.

(Dress and necklace coming soon.)

We always brought to light the Junya Watanabe’s peculiar interpretative ability in establishing, in the form of dress, the predominant stresses of our time. Post-modern, cyber-punk, tailor-philosopher of an age crossed by very fast transformations, where, from collection to collection, plastics and brand new materials, parts of abandoned industrial landscapes, occurred, to give shape to his personal metabolization and to his interpretation of the contemporaneity.

For the Spring/Summer 2016 the Rei Kawakubo-Comme des Garçons’ favourite, still produced by the Japanese Maison, welcomed his public in an emblematic space of pressing social themes, the Musée de l’Histoire de l’Immigration of Paris.

Il Musée de l’Histoire de l’Immigration of Paris on the cover of Junya Watanabe S/S 2016 lookbook.

An important clue, a sensitive container of the present restrictive instincts of a continent in a state of alert for the imposing migratory phenomenon of which is witness. A suggestion and also an invitation to change the prospective through which we perceive the present, from an emergency point of view to an enrichment one, the one that only a flow of people and therefore of culture could offer, as the time has been able to testify.

And it’s the most problematic and hot continent to be celebrated and evoked, translated by the usual Watanabe’s modern glance. African and electro sonorities go along on the runway with the vivaciousness of the colours and of the decorations: very warm reds or clear, intense blues; kaftans and zebra-stripes dresses, tunics and shirts, garments able to face the highest temperatures, but also able to prepare us for more relaxed and evolved holidays.

Constant asymmetries, elliptic constructions, experimental leopard spots on Japanese paper and complex fabric movements at the hem bring Africa and its chromatic, formal and symbolic qualities into the metropolitan and stateless circuits, where any traditional aesthetic contaminate and regenerate itself in peculiar, as independent, anthropological expressions.

Junya Watanabe long kaftan dress in light polyester canvas with horizontal stripes ‘décor’ style and aluminium bangles, wide crew-neck, wide flared sleeve, big metallic bangles on the cuffs detachable with laces and loops.

Junya Watanabe zebra-striped dress coming soon.

Junya Watanabe multi-layers rings necklace from the bigger to the smaller in shiny polyurethane and polyester imitation leather, it could be placed along the shoulders.

Photography from Junya Watanabe S/S 2016 lookbook.

Junya Watanabe asymmetric robe manteau dress in polyester organza with tone on tone small spots processing in Japanese paper, wide half-closed shirt neck, ¾ flared sleeve, buttons closure till the bottom, spiral construction.

Junya Watanabe 5 pockets jeans-like leggings in light stretch linen and polyurethane canvas, over-the-ankle length, zip and button closure, belt loops.

Massimo Giussani man shoe in cowhide leather entirely hand-painted with two colours one shading on the other, with laces and tongue with inner elastic band, leather sole painted in the same colours of the upper part.

Junya Watanabe long and wide shirt in light ramié canvas, raglan shoulder, long sleeve, sack line on the back and straight on the front.

A punto B long trousers in cotton poplin, elastic band and light curling at the band, welt vertical side pockets.

Massimo Giussani man shoe in cowhide leather entirely hand-painted with two colours one shading on the other, with laces and tongue with inner elastic band, leather sole painted in the same colours of the upper part.

Junya Watanabe long and wide shirt in light ramié canvas, raglan shoulder, long sleeve, sack line on the back and straight on the front.

A punto B wide linen canvas trousers, elastic band and light curling at the belt, welt vertical side pockets.

Classic’ Trippen ankle-length boot in soft elk leather with rounded tip, diagonal zip on the upper part, side zip closure, removable cork insole, rubber sole.

Junya Watanabe wide tunic in light ramié canvas, shirt neck with half-closed closure, flared line with stiff band, sack shape with central upside down V stitching and on the back at the bottom.

Junya Waatanabe 5 pockets jeans-like leggings in light stretch linen and polyurethane canvas, over-the-ankle length, zip and button closure, belt loops.

Massimo Giussani man shoe in cowhide leather entirely hand-painted with two colours one shading on the other, with laces and tongue with inner elastic band, leather sole painted in the same colours of the upper part.

Junya Watanabe wide tunic in light cotton canvas, crew-neck with back small button, flared line with stiff band, sack shape with side stitching towards the inside at the bottom.

Junya Waatanabe 5 pockets jeans-like leggings in light stretch linen and polyurethane canvas, over-the-ankle length, zip and button closure, belt loops.

Massimo Giussani man shoe in cowhide leather entirely hand-painted with two colours one shading on the other, with laces and tongue with inner elastic band, leather sole painted in the same colours of the upper part.

Comme des Garçons by Paolo Roversi for Vogue Paris, October 2015

We would like to point out an interesting interview to Rei Kawakubo, Comme des Graçons designer and founder of the Maison that, besides the lines carrying the name (Comme des Garçons, Comme des Garçons-Comme des Garçons) produces Junya Watanabe, Noir-Kei Ninomiya and in the past Tao Kurihara. A not pretty commercial experience, but rather made of creativity and experimental research around clothing.

Not only some indications about the inspiring theme of the Autumn/Winter 2015-16 collection, ‘Ceremony of Separation’, but most of all a precious point of view on the meaning that an high creativity valence dress could embody and on the creativity process which supports it. A synthetic analysis on the possible physiological aspects turned up by wearing clothes that launch continuous challenge to our minds and on the hard exercise of constantly inventing ever seen works…

From the very creation of her line Comme des Garçons in 1969, the Japanese designer Rei Kawakubo has upended, reimagined, and revolutionized the codes and concepts of what fashion is and what it can be. Now 73, Kawakubo is no less visionary, still “drowning in the dark,” as she describes it, in search of something new.

TELL US ABOUT THE THEME OF THE FALL COLLECTION: I called it the Ceremony of Separation. It’s about how the beauty and power of ceremony can alleviate the pain of separating, for the one departing as well as for the one saying goodbye.

HOW DO YOU WANT PEOPLE TO FEEL WHEN THEY WEAR COMME DES GARCONS? What someone wears is an expression of oneself. When you’re just comfortable with what you’re wearing, you don’t have new thoughts. I want people to feel something and think about who they are. You can’t become truly free if you no longer think about clothes. You need to occasionally wear something strong, and that can feel strange. It makes you aware of your existence and can reaffirm your relationship with society. I think people feel a minute current running through them as they come into contact with something made by someone exploring the limits. When you put on clothes that are fighting against something, you can feel your courage grow. Clothing can set you free.

WHAT IS YOUR CREATIVE PROCESS I’m always looking to make something that didn’t exist before, fumbling about in the dark, not just while making a collection. The search for something new is a constant in my everyday life. But constantly searching for something new is like looking for a well in a desert. It is like drowning in the dark, but creation is what I built Comme des Garçons on. For a collection, I need to push myself into a corner and find a way to get over the walls. The ideas are born disconnectedly, incoherently, and slowly, slowly, a final image emerges.

IS FASHION AN ART FORM? When fashion is driven by creation, I suppose it can be called an art form. But I have no concept of art in my work. Clothes are only completed when somebody actually wears them. If they were art, they could be more abstract. As long as something is new and has never been seen before, I don’t mind if people call it art. Wear them if you dare.

HOW DO YOU BALANCE ART AND COMMERCE? Comme des Garçons is a company founded on creation, but the link to business cannot be ignored. As the designer who is also head of the company, I have been able to “design” the company based on these same values. I want to take ultimate responsibility for the things I make and follow through everything right up to the end. What emerged, therefore, was a single decisive and coherent idea. Creation is our business.

DO YOU HAVE AN ULTIMATE GOAL? There is no end and no goal. As long as I’m attempting to make something that never existed before, an end is out of the question.

HOW IMPORTANT IS VISUAL COMMUNICATION? Extremely. I don’t trust words.

WHAT IS BEAUTY? Beauty should bring excitement.

Rei Kawakubo for Interview Magazine, October 2015 http://www.interviewmagazine.com/fashion/rei-kawakubo-1#_

Our selection for Autumn/Winter 2015-16 collection:

Comme des Garçons calf-length dress in rayon velvet hand-cut lace with embroidered flowers, crew-neck, sleeveless, zip and hook back closure, slim fit cut at the waist.

Junya Watanabe wide corolla cape in wool jersey floral origami, zip closure.

Comme des Garçons man jacket in embroidered lace of washed cotton and polyester, single-breasted with lapels, joined at the bottom with an overlapping flap, one small button on the neck, two patch pockets, small back slit.

Comme des Garçons man trousers with darts in creased high-tech polyester fabric, very wide leg with turn-up at the hem, zip and two buttons closure, two side welt pockets, two back welt pockets, one with button, belt loops.

Comme des Garçons calf-length dress in treated high-tech polyester fabric, wide line cut at the belt with back pleating, jacket with lapels bodice and joined flap, two horizontal welt pockets.

Trippen low-cut shoe in soft cowhide leather with overlapping diagonal crossed flap on the instep, new ‘spot’ sole with two rubber blocks and non-slipper base made on iron stamps.

Comme des Garçons wool jacket larger at the bottom, single-breasted, central buttons, shirt rounded neck, raglan shoulder, squared raw cut holes with polyurethane ribbons in contrasting colour.

Comme des Garçons divided skirt in glossy silk and wool gabardine, balloon style, 2 side welt pockets, drawstring and elastic band at the belt, arch-shaped stitchings conferring wideness.

Comme des Garçons man jacket in treated high-tech polyester fabric, single-breasted with lapels, joined at the bottom with an overlapping flap, one small button on the neck, two patch pockets, small back slit.

Comme des Garçons Comme des Garçons wide divided skirt in treated high-tech polyester fabric with vertical stripes weft, waistband and elastic band at the belt, side vertical pockets, flared on the sides.

Comme des Garçons calf-length dress in stiff wool and silk satin with see-through cloud lace inserts in jacquard cotton lace, crew-neck, sleeveless, wide egg line, side welt pockets, side zip closure.

Comme des Garçons doubled sweater in nylon tulle on the inside coming out at the bottom and from the cuffs, and on the outside in three-dimensional knitted alpaca and wool with inside/outside cones, rounded neck, slim fit.

Comme des Garçons divided skirt in glossy silk and wool gabardine, balloon style, 2 side welt pockets, drawstring and elastic band at the belt, arch-shaped stitchings conferring wideness.

Trippen shoe in soft cowhide leather, slightly overlapped and asymmetric closure with laces, classic sole in non-slip rubber with rounded toe.

Comme des Garçons short shirt in treated polyester poplin, crew-neck, with horizontal stitching at the bottom, slim fit, long sleeve, central and side zip, darts on the front, on the back and at the breast.

Comme des Garçons divided skirt in glossy silk and wool gabardine, balloon style, 2 side welt pockets, drawstring and elastic band at the belt, arch-shaped stitchings conferring wideness.

Comme des Garçons calf-length divided skirt in embroidered lace of washed cotton and polyester, wide fit, a leg shorter than the other, drawstring and elastic band at the belt, 2 side welt pockets, could be wear entering just one leg.

“Exploring dimensionality through clothing” has laically synthesized the spokesman of the Japanese designer in a pedantic announcement after the Autumn/Winter fashion show 2015-16 held at the Palais du Tokyo in Paris last 7th March.

Not new to astonishing textile exercises Junya Watanabe, Rei Kawakubo’s favorite and still produced by the Comme des Garçons maison, in fact made his debut enchanting the audience with poetic floral structure to wear.

Yet the developing of the origami theme assumes today a different character, in certain aspects less ethereal, more conceptual and nearer to the immaterial and complex dimension of the algorithmic logic, where recursive and homogeneous series determinate almost perfect extensions.

Soft wool jersey spheres, of which three-dimensionality has been realized trough the obsessive repetition of a basic geometric pattern, decorate necks, dresses bottoms and sweaters or just stand as independent architectures in the cases of capes and scarves.

In different experiments it’s the strictness of the pyramidal geometry, starting from an essential volumetric unit of measure, to be recomposed in polyester sateen sculptural jackets.

The calculation obsession is showed off by complex and abstruse mathematic functions tattooed in the few free skin glimpses of the models on the runway: hands, ankles reveal the impetuosity of an irrepressible numeric word.

Junya Watanabe Autumn/Winter 2015-16 Runway Details

Source: style.com http://www.style.com/fashion-shows/fall-2015-ready-to-wear/junya-watanabe

Nature and culture, order and chaos, co-existing dichotomy from the revelations of the most modern physics, are translated into harmonious decorative fabric abstractions.

The most cyber and post-modern of the Japanese designers seems going to the fractal complex theoretical visions, he’s experimenting a fabric expression to wear with its usual and peculiar visionary character, in certain case even in the routine of the everyday life, taking us with bewilderment and well in advance respect the others towards unimaginable future horizons.

Junya Watanabe wool jersey dress with wide corolla neck in three-dimensional origami, soft fit, sleeve tight to the waist, wearable also as a t-shirt.

Junya Watanabe hip-length sculpture cape with pyramid origami in polyester sateen, hook closure, oval gab on the back, lined.

Junya Watanabe calf-length striped dress in light wool jersey with three-dimensional origami half-moon bottom, crew-neck, shorts pants on the inside, back zip closure.

Junya Watanabe classic man shirt in horizontal pleated cotton and polyester, rounded hem, cuff with button, central button closure, shirt neck.

Junya Watanabe calf-length skirt in origami polyester taffetas, elastic band at the waist, reversible, tighter on a side at the hem, flared on the other side, reversible and wearable as a cape.

Junya Watanabe Oxford style shoe in oiled and suede cowhide leather with an aged effect, strings closure, 2 shells rubber sole.

Junya Watanabe hip-length cardigan in light wool jersey with shawl floral origami neck, long sleeve, central small buttons closure.

Junya Watanabe cape jacket in polyester sateen, turtle-neck, single-breasted, ¾ sleeve, flat on front, wide back with waves and darts, central buttons closure.

Junya Watanabe classic man shirt in horizontal pleated cotton and polyester, rounded hem, cuff with button, central button closure, shirt neck.

Junya Watanabe calf-length skirt in origami polyester taffetas, elastic band at the waist, reversible, tighter on a side at the hem, flared on the other side, reversible and wearable as a cape.

Junya Watanabe wide corolla cape in wool jersey floral origami, zip closure.

Junya Watanabe classic man shirt in horizontal pleated cotton and polyester, rounded hem, cuff with button, central button closure, shirt neck.

This self-taught well-read designer challenges herself collection after collection to create something new, radical, absolutely fresh. In this way her “fashion” becomes a tool for the mind liberation, an unceasing questioning and pushing behind the faint boundary between art and fashion, an incessant game of tensions and research, of vibrations, references and provocations.

For the Spring-Summer 2014 Rei Kawakubo declares that the only way to make something different is to start with the intention to not design clothes. Actually on the catwalk moving sculptures, that not even meet anymore the logics of functionality, wearability and aesthetic harmony, succeed one another. The black colour leit-motif interrupted by shocking pink splashes, together with the brief musical themes, creates an uninterrupted tension bringing the spectator to ask himself: -what she could do more than this?-.

As a dodecaphonic musical language or a jazz piece with a sonority unpleasant at the first listening, these shapes are an invitation to the silence, an invitation to go past the well-known in order to open the mind and the spirit to new horizons and new perspectives. In other word, to grow up.

Discover the Spring/Summer 2014 collection on IVO MILAN!

The first impression one gets from Rei Kawakubo’s summer collection is that it is suited for the Tin Man from Frank L. Baum’s famous book, The Wizard of Oz. This impression is highlighted by eccentric tin hats sitting atop the heads of models with emotionless faces, whose make-up seems like it comes from another dimension, or another planet.

The daring genius of Comme des Garçons’ designer outlines the future for the Spring/Summer 2013 collection. The sculptural metal headdresses set the stage to present he conceptual value of the clothes in which each piece of clothing acts as a means to give form to something else in a veritable fashion meta-language. As simplified and superficial the message of the system may be, the more complex and structured Rei Kawakubo‘s proposals become.

Suits, vests, jackets and skirts made up of scraps and the leftover materials of other clothing, are sewn, layered and reassembled into contours that take shape with the extraordinary freedom of expression and incomparable skill of the clothier. Expertly crafted spiral lines, chaotic and yet balanced between solids and voids yield the profiles of T-shirts, jacket sleeves or surplus fabric that is then folded and crumpled to provide crafted, poetic origami effects.

Rei Kawakubo‘s exuberant creativity tailors pieces to be worn and interpreted according to personal preferences and feelings, making use of an aesthetic model of the most advanced contemporary artistic expressions, whose shape and structural uncertainty leave her work continuously open to  imagination!

and Sari, the photographer…

After the recent volume by Taschen on the Pleats Please by Issey Miyake, the most important European publishing house specialised in art, architecture and design is about to publish two monographs on the work of another two excellent names of the so-called Japanese school: Rei Kawakubo-Comme des Garçons and Yohji Yamamoto. In December, publication is planned of:

-The art of anti-fashion. Yohji Yamamoto: The fashion designer who redesigned fashion

and

-Conceptual clothing. The history and the art of Kawakubo’s brand

Two different surveys, including images and interviews with photographers, artists, intellectuals and experts, on the professional and artistic philosophy of the two designers who, in different ways, have destabilised traditional western fashion codes. Rei Kawakubo, more conceptual than subversive,

Yohji Yamamoto, more abstract and rigorous,

both supporting clothing with a high artistic value, cultured and complex, often difficult to assimilate and understand.

While awaiting these precious pieces to be added to our fashion and design library, we would like to share with you a wonderful documentary on the last exhibition at the Institut Français de la Mode in Paris, dedicated to the White Drama collection (spring/summer 2012) of Comme des Garçons…

Perhaps it is these more far reaching experiences and the need to intercept prepared, independent interlocutors, as well as measuring oneself on more talented ground, that explain the recent accusation made by Rei Kawakubo against the media…

I think the media has some responsibility to bear for people becoming more conservative. Many parts of the media have created the situation where uninteresting fashion can thrive… (Rei Kawakubo, 19/11/2012, Women’s Wear Daily)

Thanks for the images to: Taschen and Grandma Stole My Closet

“The strength of Rei Kawakubo is definitely the fact that she has never let herself be drawn into some kind of insidious artistic laziness, to which, her many collections for Comme des Garçons, could have easily lead. She is not one of those designers who, after achieving success, rest upon the same old, tried-and-true marketing techniques season after season”.

And then:

“Every show outdoes the one before it, without contradicting it. Kawakubo always starts over fresh.

[H]er most recent collections have been characterized by a lively spirit and boldness that diverge radically from commercial conventions. They are, nevertheless, something everyone can learn from, because despite the exuberance and stylistic innovation of each collection, the artist never loses sight of her chosen field of expression: clothing“.

These are the words of Olivier Saillard, artistic director of the Musée Galliera in Paris, in the October issue of Vogue-France, presenting Rei Kawakubo’s winter collection. Greatly photographed and celebrated the Autumn/Winter 2012-2013 season for Comme des Garçons is another, glaring demonstration of the provocative genius of the Japanese designer. The show has in fact staged a sort of contemporary pictogram of fashion, a rudimentary vocabulary with variable geometry, consisting of round jackets, trapezoidal dresses and straight skirts.

The catwalk, in an almost religious silence that was interrupted only by the constant shooting of the photographers, was performed without music for the first half of the show and was traversed by paradoxical two-dimensional multi-coloured forms. It was a powerful visual impact of stylized garments, tailored and placed on models similar to paper dolls, secondary ambassadors of majestic volumes, more typical of haute couture than prêt-a-porter.

In a fashion system that continues to place the feminine silhouette at its centre, Rei Kawakubo pushes the power of ideas forward, bending, with great irony and a certain irreverence, the changing of the seasons to their creative experimentation, with unquestionable talent and credibility.

Now discover the F/W 2012-2013 Comme des Garçons collection on IVO MILAN!

Many thanks go out to COOL & CHIC STYLE FASHION and to FASHION & FCUKER for photos!

If you have not already planned one, here’s an excellent reason to arrange a trip to the Ville Lumiére in the next six months. Today they are inaugurating the reopening of the Musée Galliera inside Les Docks, on the Quai d’Austerlitz, the new warehouses along the Seine used as Cité de La Mode et du Design.

For the occasion, the Museum’s artistic director, Olivier Baillard, fascinated by the show “White Drama” by Rei Kawakubo – Comme des Garçons, presented during the Paris spring-summer 2012 collection fashion week last October, has decided to host the great Japanese designer’s entire collection.

From today, 13 April, till 7 October 2012, visitors can admire the structure, designed by Kawakubo himself, containing all this season’s items. We must add that the choice to exhibit such recent material is an absolute world first, as they have only ever held retrospective exhibitions.

As Baillard himself says, about his choice and Kawakubo’s work:

“This fashion show is a tour de force as an immaterial dimension exudes from these fashion architectures and hits the spiritual transporting you into the unclassifiable universe of Rei Kawakubo [...]

This collection is a poetical manifesto going beyond fashion. It is the museum’s role to offer a freeze-frame, slow down time and the tyranny of immediacy. While giving everyone the chance to discover the entire show, it allows us to show people that fashion demands a lot of work, method and requirements, not just time”.

A must opportunity to discover the artistic validity of Rei Kawakubo, recognised as one of the most important, radical creators of modern fashion.

For more about the White Drama collection, please go to the following link

http://radicalfashion.ivomilan.it/it/various/comme-des-garcons-spring-summer-2012/

Practical information

Les Dock – Cité de la Mode et du Design:

34 qui d’Austerlitz

75013 Paris

Tel.: 01 76 77 25 30

Open Tuesday to Sunday from 10am to 6pm except public holidays

Entrance ticket:

Full price: € 6

Reduced price: € 4,5

Youth price (14-26): € 3

Free for under 14s

Access:

Metro: Gare d’Austerlitz, Quai de la Gare, Gare de Lyon

Bus: 24, 57, 61, 63, 89, 91

photo by COOL & CHIC STYLE FASHION blog

There is an unexpected concession to the exuberant iridescence of the natural world in the collection for Spring/Summer 2012 by Junya Watanabe, a longtime collaborator of Rei Kawakubo of Comme des Garçons, known for his enchanting and complex post-modern reworking of themes and an inexhaustible ability to transform industrial materials into sculptural pieces to be worn.

The new season will be carried in by impassive human faces in symbiotic metamorphosis with bold headgear of tropical feathers, suggesting the surreal beauty of a hybrid and accessory humanity, scaled down by the irrepressible forces of nature.

Macramé lace dresses and tops adorned with bright flowers on asymmetrical layers of fabric and far more tortuous structures of short synthetic leather boleros combine to evoke lush floral pageantry.

photo by Sari Milan

photo by COOL & CHIC STYLE FASHION blog

photo by COOL & CHIC STYLE FASHION blog

photo by COOL & CHIC STYLE FASHION

The somewhat androgynous and clearly modern footwear lines enclosed in stringently waterproof cuts, however, manage to keep the collection within the highly recognizable standards of style.

photo by COOL & CHIC STYLE FASHION blog

photo by COOL & CHIC STYLE FASHION blog

Watanabe does not create abstract intellectual speculations, but rather absorbs and translates, filtering the stresses of the real world with an imaginary and ultra-modern sensibility. One year after the terrible earthquake that shook Japan, these prosperous and recurring natural elements, far from signaling an unlikely conversion to exotic themes, look like a plausible and fervent tribute to the surprising vitality of the self-regenerating forces of nature.

Come and see Junya Watanabe’s newest collection at IVO MILAN!

And on YouTube you can view scenes from the Junya Watanabe fashion show

Many thanks go out to Stefania Motta of COOL & CHIC STYLE FASHION for allowing us to use this wonderful footage!