“I just decided to make a company built around
creation, and with creation as my sword, I could fight the battles I wanted to
fight,”
Rei kawakubo of Comme des garcon ( translates
as like the boys ) created her iconic fashion brand around an anger at the
cooperate fashion industry which she believes ‘distorts creation’ and allows
‘uninteresting fashion to thrive’.
For more than four decades, she has
continually upset the industry by challenging accepted standards of beauty.
Among the many tipping points in her career was the bulbous, padded Dress Meets
Body, Body Meets Dress collection of 1996: “Critics denounced the designs as
‘tumor’ dresses,” Vogue later observed, “but Kawakubo weathered the
outrage, and her larger achievement—her avant-garde triumph—was that she gave
people a chance to feel passionately about fashion.”
But her creation does not stop at clothes; she
also has a perfume line. In keeping with the theme of the company, her perfumes
are far from ordinary, with sour hints of burnt rubber, and flaming rock. She told Vogue in 1995 the perfume “is a gift to oneself, not
something to appeal or attract the opposite sex.” This is something that is
also obvious of her clothes- she says she designs for women ‘who are not swayed
by what her husband thinks.” She is going against all the worst industry
stereotypes of fashion, she does not create clothes which present woman ,or men
for that matter, in a way society think they should look but instead in an
expressive and beautifully creative manner.
Furthermore she challenges the way the
consumers of the fashion world shop and buy their clothes. Her brand can often
be found in unexpected and surprising venues, with pop up shops in offbeat
locations away from traditional fashion capitals—an old bookstore in Berlin,
for instance, and under a bridge in Warsaw, Poland.
Her designs are certainly passionate and have
pushed the bounds of creation. She has constantly battled conformity and the
way that designers would create clothes for what society thought people should look
like; During the 1980s, Kawakubo’s inky, seemingly formless, garments stood in
direct opposition to the bright, body-conscious clothing championed by the
likes of Thierry Mugler and Claude Montana. Throwing political correctness to
the wind, Montana once labeled Kawakubo’s controversial look “post-atomic.” She
was also commonly insulted with the label “ragpicker”; and, in 1983, The
Christian Science Monitor suggested that “Comme des Garçons (Like the Boys)
might more aptly be titled Comme des Clochards (Like the Tramps).” However the
expression ‘no press is bad press’ is quite fitting as Kawakubo later noted that she was thankful for
this early aggression as it was what put
her fashion brand on the map.
And on the map she well and truly is, as many
years on, she continues her battle against conformity and has established the
brand as one of the most well respected in the industry. Rei has achievements
have gone from strength to strength, from being rewarding an Excellence in
Design Award from Harvard University to comparisons of her influence being made
to the likes of Balenciaga and Coco Chanel. Not to mention the all time
flattery in the form of an official nod from Disney as the 2004 film screen hit
Incledibles featured a character
named Edna “E” Mode who is said to be modeled after Kawakubo.
“When I began, I was fighting the resistance
to change and fear of new things,” Kawakubo tells Vogue. “It was more
about a personal struggle. But through the years it’s become more, bigger,
wider. Now the fight is against the outside system.” Kawakubo is an amazing and
passionate designer and one which I have a lot of respect for despite only
becoming aware of her brand and its interesting story just months ago. I
believe everything her and her brand stand for have a huge influence on the way
consumers look at the fashion industry and the way the fashion industry
operates. Whoever knew a brand from such a fickle seeming industry, as fashion
could be so politically involved and outspoken?
Vogue predicted in 1987 that this designer of one-step-further fashion would
be recognized “as the woman who will lead fashion into the twenty-first
century.” And so she has.

















