But it definitely had its redemptive elements in the early shows, notably in its conversion of Rei Kawakubo of Comme des Garcons from intellectual shroud-maker to a designer of fresh, realistic and, yes, feminine fashion. Yohji Yamamoto stuck to his Oriental sword, but interjected a new, if occasionally awkward body-defining wrapping. And Thierry Mugler ponied through the Sixties with a luridly nostalgic collection that makes one wonder if Stephen Sprouse — who triggered the whole Sixties revival — hasn’t unleashed a monster on the world.
COMME DES GARCONS — who would ever have thought it? Fashion intellectual samurai Rei Kawakubo went ingenue for spring, neath and the well-crafted dresses of which Mugler is capable, which render hourglass curves without kitsch or vulgarity.
YOHJI YAMAMOTO — Like Kawakubo, he’s obviously made an attempt to go beyond the cerebral somberness of so-called vanguard Japanese fashion, a look for which retailers had lost affection — not to mention sales — by last season. Accordingly, there is a new, richer color palette and an attempt to pull fabric in closer to the body. Unfortunately, Yamamoto’s drapes, cowls and wraps are not always flattering, particularly when they sag beneath the derriere. This is a collection, in fact, that might have benefited from being shown with its collective backs against a wall, as there’s nearly always some distracting detail in the rear, including a ducktail bustle and long rear-zippered flies. There is also a heaviness in much of Yamamoto’s use of longer lengths.”
— “Paris stays in shape for spring, likes lots of leg,” WWD Oct. 19, 1984
Yes, you read all of that correctly. That’s what they actually said.
— Frank Lloyd Wright (via takemetothemtns)
TC 00:09:17:14, c-prints, 72” x 96”, 2013.