The unconventional visionary

In 1981, a diminutive Japanese woman caused a stir in the fashion capital of Paris. Despite lacking formal fashion   education, her edgy collections defied convention, deconstructing the very fabric of clothing. With instinct as her guide, she twisted and cut garments into powerful statements. Her name was Rei Kawakubo, the visionary designer behind Comme des Garçons. Her genius lay in blurring the rigid lines between masculinity and femininity, reshaping the sartorial narrative.

No longer confined to the purpose of enhancing allure for men, women’s fashion became an independent canvas for personal thoughts and reflections. Comme des Garçons’ Spring/Summer 1997 collection left an indelible mark on fashionistas. Models graced the runway in gingham plaid dresses, their bodies tightly wrapped, punctuated by random protruding bumps. Their ensembles resembled a peculiar assortment of sculpted forms, reminiscent of awkwardly wrapped cakes – expressing the message that women are perpetually navigating social scrutiny and constraints, often existing in unnatural and uncomfortable states.

While Comme des Garçons is not an official member of the French haute couture association, its collections are perennially dissected as Kawakubo’s artistic manifestos. Each piece transcends   mere   fabric   and   stitches   and becomes a highly coveted artefact. In 2017, the Metropolitan Museum of New York paid homage to Rei Kawakubo’s illustrious career. Her avant- garde creations took center stage, making Comme des Garçons the pulsating theme of the Met Gala, an ode to the woman who dared to redefine fashion as art.

The artists

Belgium, during the 1980s and 1990s, also became a fertile ground for designers with the spirit of artists. Among them, the enigmatic Martin Margiela stood out. After honing his skills at the house of Jean Paul Gaultier, Margiela launched his first collection in 1989, and his rebellious streak was evident from the outset.

Choosing a Parisian café as the venue for his debut show, he eschewed flashy formality for simplicity and casualness. The first model emerged, arms wrapped around her body, clad in gloves and a pair of carelessly cut white pants, with the hem clearly visible. But it was her feet that stole the spotlight, as she confidently wore the first version of Maison Margiela’s iconic “horse hoof” shoes, adding an unconventional touch to the ensemble.

Margiela’s genius lay in transforming the mundane into the extraordinary. Another of his striking designs featured a dress crafted from numerous wigs of shiny yellow polyester hair, which challenged viewers with sensations of itchiness and messiness. Was it a costume or a work of art? Margiela blurred the lines, asserting that clothes need not conform to conventions. His philosophy shattered preconceived notions of “proper attire.” Clothes, he believed, shouldn’t bind people; they needn’t be mere hangers for mass-produced goods.

If the conversation between art and fashion begins with Rei Kawakubo and transitions smoothly to Martin Margiela, it reaches its dramatic peak with Alexander McQueen.

McQueen, a brilliant British designer who emerged in the 1990s, turned his collections into unique live art performances. In particular, he was known for challenging his models with unconventional presentation methods.