T he clothing created by Ka- wakubo is bold, exaggerated and surreal. It emerges as a consequence of her feelings, instincts, doubts and fears. When ac- centuated shoulders, fluorescent col- ours and poofy fringes were in vogue in the 1980s, she released onto the cat- walk a black dress with a black veil. In the ‘90s “growths” resembling tumours appeared on her clothes, blurring the line between disease and beauty, be- tween what should be looked at and what should compel one to look away. Kawaku- bo’s clothing doesn’t stand perfectly or provide comfort and safety. These are not just clothes, but rather ideas, feelings. It was more than twenty years ago that she threw her mirror out of her work- NAŠA JELENA NA IZLOŽBI REJ KAVAKUBO U sklopu izložbe Reji Kavakubo pojavila se i fotografija na kojoj se nalazi naša Jelena Ivanović. Srpski top-model prvi put je 1996. radila Kavakubinu reviju i to je bila odskoč- na daska u sam vrh svetskog modelinga. Japanska kreatorka bila je toliko očarana Je- leninom pojavom na pisti, da je insistira- la da upravo ona, iako potpuno nepoznata među top-modelima, otvori reviju u Parizu. Nakon te revije Comme des Garcons, Jele- nu su želeli svi – kreatori, modni magazini, fotografi, modne kuće... Tako je stala i pred objektiv čuvenog fotografa Paola Roversija. Upravo je on i autor slike koja je deo izlož- be Reji Kavakubo, fotografije koja je ušla u istoriju mode.
OUR JELENA AT THE REI KAWAKUBO EXHIBITION A photo of our own Jelena Ivanović was included as part of Rei’s exhibition. This Serbian top-model first worked on one of Kawakobu’s shows in 1996, which proved to be the springboard for her to reach the very peak of the modelling world. The Japanese de- signer was so enchanted by Jelena’s appearance on the catwalk that she insisted that it be her, despi- te being a complete unknown among top models, who open her show in Paris. After that Comme des Garcons’ show, Jelena was wanted by everyone – designers, fashion magazines, photographers, fas- hion houses... And so she also posed in front of the lens of famous photographer Paola Roversi, who is actually the author of the image that forms part of the exhibition of Rei Kawakubo’s work; the photo- graph that made fashion history.
tional notions of beauty upside down and disrupts the accepted characteristics of the modern human body. Her creations differ not only in that they defy the clas - sical purpose of clothing, but also in that they resist definition and interpretation. At the core of her work are the Zen con- cepts of mu (emptiness) and ma (space), which co-exist in the concept of “in-be- tween”. This manifested as aesthetic sen- sibility that establishes an uncomfortable zone of visual ambiguity and elusiveness. This has resulted in the exhibits at the Met being organised in nine aesthetic expressions of this interstitial state: Ab- sence/Presence, Design/Not Design, Fash- ion/Anti-Fashion, Model/Multiple, High/ Low, Then/Now, Self/Other, Object/Sub- ject, and Clothes/Not Clothes.
shop, due to her desire to emphasise that the look of clothes doesn’t matter, but rather how the wearer feels when wearing them. Rei is a revolutionary; an engine that pushes things into change. In the retail outlets of her Comme des Garcons fashion house they sell combed cotton shirts and other simple pieces, but at shows she always shows unique sculp- tures. They are linked by her resistance against the notion of “how something should be” and a strong sense of “how they could be”. Since 1969, when she founded her Comme des Garcons fashion house, Rei has defined and redefined the aesthetics of our time. From season to season, from collection to collection, she turns conven-
Kolekcija Objekat/Subjekat predstavlja
The collection
from the section Object/Subject represents a radically different understanding of the human form. Padded parts are predominantly asymmetrically arranged, creating an illusion that represents a dysmorphic illusion and undermines the traditional notion of the modern body - narrow waist, thin hips, firm buttocks, flat stomach and small, high breasts
radikalno drugačije shvatanje
ljudskog oblika. Futrovani delovi asimetrično su raspoređeni stvarajući ispupčenja koja predstavljaju iluziju dismorfija i podrivaju tradicionalno shvatanje modernog tela - uzak struk, tanki kukovi, čvrsta zadnjica, ravan stomak i male, visoke grudi
Rej je rođena u Tokiju, a danas živi na relaciji Tokio–Pariz. Uvek nosi bob frizuru, kožnu bajkersku jaknu i malo priča Rei was born in Tokyo, but now lives between Tokyo and Paris. She always has her hair in a bob, wears a black leather biker jacket and speaks very little
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