Page 1 of 2 12 LastLast
Results 1 to 20 of 27

Thread: Comme Des Garcons Womens FW09 Paris

  1. #1
    Senior Member Casius's Avatar
    Join Date
    Dec 2006
    Location
    Californication
    Posts
    4,774

    Default Comme Des Garcons Womens FW09 Paris











  2. #2
    Senior Member Casius's Avatar
    Join Date
    Dec 2006
    Location
    Californication
    Posts
    4,774

    Default











  3. #3
    Senior Member Casius's Avatar
    Join Date
    Dec 2006
    Location
    Californication
    Posts
    4,774

    Default











  4. #4
    Senior Member Casius's Avatar
    Join Date
    Dec 2006
    Location
    Californication
    Posts
    4,774

    Default











  5. #5
    Senior Member Casius's Avatar
    Join Date
    Dec 2006
    Location
    Californication
    Posts
    4,774

    Default









  6. #6

    Default

    oh yes !
    finally some kind of rebirth....
    and its only taken ten years

  7. #7

    Default

    lol, true pip, true.

    This is absolutely fantastic, i could not be happier. Will try to post some bigger pics shortly...this is even better up close.
    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  8. #8

    Default

    Larger images, with thanks to kiddokiddo at tfs.


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  9. #9

    Default


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  10. #10

    Default


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  11. #11

    Default


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  12. #12

    Default


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  13. #13

    Default


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  14. #14

    Default


    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  15. #15

    Default



    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  16. #16

    Default

    is it weird to be super impressed with how the lighting on the headwrap creates such a prominent contrast in the head-to-body silhouette?
    #nevernotalmostshopping

  17. #17

    Default

    ^not at all. it might be weird if i dye my hair pink, though.

    Here is Cathy's review from On the Runway.

    For any number of reasons, many things in fashion look dated. Magazines look dated. Stores look dated. Lots of clothes look dated, including many we saw only yesterday. We’ve seen talented designers put forward craft and savoir faire, like Alber Elbaz with a super Lanvin collection. And many others have surprised us by moving in a new or more accessible direction, like Nicolas Ghesquiere at Balenciaga with his satin drapery and John Galliano with his Persian motifs at Dior. But while these collections show a great deal of hard work and focus — as you’d expect, given the daunting economic picture — we feel somehow they are not very ambitious. They are almost too easy to understand. The mastery of a particular dressmaking technique, however pleasing the result, is not proof of an extraordinary sensibility. Indeed, after marveling at a technique we gradually come to realize that it’s still the same old technique and that really nothing has changed or improved our understanding of fashion. We feel empty, in fact.
    Tonight, in her Comme des Garcons show, Rei Kawakubo used all the traditional techniques. She had drapery and tailoring, and she was aware of creating an attractive silhouette, as many designers have been this season. Yet where the brilliant Ms. Kawakubo parted company with the rest is her powerful sensibility. It is always in control. She opened with tent dresses in pale beige tulle and others in olive drab, the models’ faces covered by strips of tulle embroidered with a single red sequin smudge, as if from a kiss. The models’ hair looked like balls of fuchsia yarn, and they wore tulle leggings that sagged like limp nylons.
    With those basic elements — and basically weird elements — Ms. Kawakubo began to express the notion that “nothing is as it appears,” as she characterized her purpose later backstage.
    The olive drab tent became a canvas for a jacket pattern, drawn in black lines with dots to mark buttons. In the next incarnation there was a poncho coat that combined a rose wool plaid with the top half of a khaki trench coat. Another poncho coat, in a bold black-and-white check, had a square corner of olive drab near the hem. From a shapeless mass of fabric, then, she found the elements she needed to produce not merely tailored and draped garments but also a series of beautiful silhouettes. Her most effective results were with the tulle. She used it to literally encase or trap layers of cream pleated dresses, creating a single garment. These were ingenious: long, slim dresses with feminine frills, including strands of pearls, held and compressed by a tulle skin. The show, presented in the round, ended with a bittersweet version of the song “Mad World.”
    Maybe it’s no surprise that Ms. Kawakubo has been responsible for a number of the truly emotional experiences in fashion. This was another of those occasions. The applause was loud and long. The designer did not come out, of course. She almost never does. When I got backstage, she was waiting alone, staring at something on the floor. She had on an olive drab jacket and sunglasses that blended with her shiny hair.
    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

  18. #18

    Default

    I really like alot of this, and I haven't liked a Comme collection in a looong time!
    the clothes, especially the tailored pieces are really wonderful (maybe because they are along the lines that I am thinking).......I am not really moved by the head pieces though.

  19. #19

    Default

    this is truly beautiful
    from losing confidence in comme after so many hapless collections it is a joy to finally see her rework her magic.
    Everything is there... so many silhouettes... where rick showed one
    so many colors ...where rick showed two
    and so many fabrics....where rick showed three (?)
    and this really does serve to show the mundanity of ricks womens show

    Now if she can only do to man what she has done to women.
    Dont want to bash rick as his mens was brilliant but credit where its due

  20. #20

    Default

    ^ very effectively said, pipcleo.

    it would not cross my mind to compare Rei to Rick, but by doing so, you illustrate so well what i've been struggling to get across in the RO thread.

    I'll just repost what i said at tfs, since i haven't formulated any more thoughts yet.

    I feel like this is the collection i've been wanting her to do for ages.
    It strongly recalls early cdg in its simplicity--the muted palette, the cropped knits, the plain sheer overlays
    But she's also exploring the concept of outerwear and of layering itself in a way i haven't quite seen her do before. I really feel like she is at her best when is working through an issue of construction in a purely formal way.

    Lovely, lovely collection...it will be the first season in some time that as a CDG customer, i'm not bypassing Rei for Tao and Junya.
    ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •