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I think this incubation and fostering of talent might actually be Comme's lasting legacy. Long after the lumpy jumpers and clown fabrics are avant garde fashion footnotes.
It's a fun read. I love how all these designers are different individuals with their own aesthetics yet they share a common point of being so creative and so different. And thanks to Rei Kawakubo for nourishing unique creativity which will stay long in the world of fashion after she's gone.
Thanks for these posts faust,
btw, it says on the article here that an interview is coming up,
looking forward to it alot, would it be posted also on the sz-mag website?
Nice profile. Interesting to see how he so quickly integrated the cdg family. A year in Antwerp, an application, 3 interviews and boom welcome to rei's world.
I love the fact he avoids direct relation to an era or cultural movement. Although he mentions construction method and new silhouettes as his drivers for new creations, I still believe it is relatively easy to identify his work as part of the cdg universe upon initial exposure.
Also, i had no idea cdg had so many stores in japan. 300 is an astounding number and it makes me think the country's democratization of "high" fashion is much more advanced. I think a parallel can be made with YY's or Tatsuro's pricing in japan as well. The garments are relatively cheap and that makes them widely available to a much larger market.( I wonder what the numbers look like sales wise for Europe+NA vs Japan).
Anyways, the work is beautiful, his construction method seems intricately complex and ,from what you communicate, Ninomiya seems level headed and humble. Looking forward to see his work in person some day.
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