6. Then/Now
Kawakubo’s experiments with “in-betweenness” relate to the unfolding of modernism as an ongoing project. This idea is explored in Then/Now, which focuses on the designer’s relationship to time through the collections Modern Sweetness, Sweeter Than Sweet, Body Meets Dress—Dress Meets Body, Inside Decoration, and White Drama. Over the course of her career, Kawakubo has plumbed fashion history for inspiration. She has
an affinity for the overblown silhouettes of the nineteenth century, achieved through bustles and crinolines. In her hands, however, the silhouettes are so radically and profoundly reconfigured as to eradicate history.
Kawakubo’s fashions impose an intense immediacy, stridently emphasizing the here and now. She brings into doubt both the logic of temporal continuity and the presumptive rhythm of life—birth, marriage, death—as seen in the Broken Bride, White Drama, and Ceremony of Separation collections. These fashions advocate a level of personal freedom that can only be attained in the intervals between a society’s life-stage traditions, thus subverting the ideologies encoded in the birthmarriage-death continuum.
6.2.1: Ceremony of Separation (Autumn/winter 2015–16) Dress of white and
off-white cotton and synthetic lace embroidered with gold lace; shoulder pads of black polyurethane
6.2.2: Broken Bride (Autumn/winter 2005–6) Dress of beige cottonsilk habotai and charmeuse printed with a trompe-l’oeil dress and embroidered with a black silk velvet bow, polyester satin and tulle ruffles and passementerie「7. Self/Other 7.1 East/West」
つまり、自分対他者、東洋対西洋の作品群(7.1.1~7.1.3)この赤チェックにEast/Westと名付けるセンス(7.1.4~7.1.5)こっちは、男性対女性(7.2.1~7.2.5)さらに子供対大人(7.3.1~7.3.4)どういう発想でこうなるのでしょう?
7. Self/Other
Self/Other highlights Kawakubo’s exploration of hybrid identities that blur the boundaries of conventional definitions of culture, gender, and age. The works featured in the
East/West and
Male/Female subsections combine Eastern and Western and masculine and feminine clothing traditions. Historically, these are loosely defined by wrapping and draping in relation to Eastern and feminine garments and by tailoring with respect to Western and masculine garments.
The fashions in
Male/Female also fuse types of clothing typically associated with men and women—such as trousers and skirts—into one outfit. The creation of hybrid identities through fusion is further surveyed in
Child/Adult, which focuses on ensembles that not only challenge the rules of age-appropriate dressing but
also engage the concept of kawaii (cuteness)—a key aspect of Japanese popular culture defined by playfulness and performativity. The notion of kawaii is taken to its extreme in a pink floral dress featuring an oversize stuffed teddy bear camouflaged within its frills and folds.
7.1.2: Cubisme (Spring/summer 2007) Jacket of red nylon tulle with panels of off-white wool-polyester voltaire printed red and black; skirt of white nylon tulle and red rayon flocking
7.1.2: Cubisme (Spring/summer 2007) Dress of white nylon tulle with lapels of black triacetate-polyester and red rayon flocking
7.1.3: Cubisme (Spring/summer 2007) Vest of navy woolpolyester gabardine and red polyester chiffon; skirt of red nylon tulle
7.1.4: Lost Empire (Spring/summer 2006) Jacket of red wool twill with red, yellow, and navy wool tartan; skirt of cotton poplin printed in polychrome tartan pattern
7.1.5: Lost Empire (Spring/summer 2006) Jacket of red polyester crepe; pants of red, yell
7.2.1: Persona (Autumn/winter 2006–7) Jacket and shorts of black wool worsted; shirt of white cotton poplin
7.2.2: Persona (Autumn/winter 2006–7) Jacket of black wool check tweed; shorts of black wool worsted; shirt of white cotton poplin
7.2.3: The Infinity of Tailoring (Autumn/winter 2013–14) Suit of black polyester twill with polyester fringe
7.2.4: The Infinity of Tailoring (Autumn/winter 2013–14) Suit of gray, black, and white polyester Glen plaid
7.2.5: The Infinity of Tailoring (Autumn/winter 2013–14)Suit of navy polyester
sharkskin
7.3.1: 2 Dimensions (Autumn/winter 2012–13) Dress of blue and pink polyester felt
7.3.2: Cacophony (Spring/summer 2008) Dress of pink padded polyester chiffon and cotton plain weave frill
7.3.3: Not Making Clothing (Spring/summer 2014) Dress of pink polyester
paper; cage of padded white cotton duck
7.3.4: Not Making Clothing (Spring/summer 2014) Dress of pink polyester
paper printed with a polychrome floral motif and appliquéd with a self-fabric stuffed bear「8. Object/Subject」の作品群(8.1~8.10)
美とは何か?を考えさせられるデザインすごいです
8. Object/Subject
Object/Subject considers hybrid bodies. Its focus is Kawakubo’s collection Body Meets Dress—Dress Meets Body, which proposes a radical rethinking of the human form through down-padded garments of stretch nylon and polyurethane in a range of colors and patterns—including girlish bubblegum pink and powder blue gingham. Most of the paddings are arranged asymmetrically, creating bulbous swellings that present an illusion of dysmorphia and subvert the traditional language of the fashionable body (small waist, slim hips, pert bottom, flat stomach, and small, high breasts).
References to tumors and hunchbacks abound in reviews of the collection, which critics christened “lumps and bumps”—a moniker that suggests a body diseased, deformed, or monstrous. Morphologically, the collection blurs the boundaries between dress and body, object and subject. This effect is heightened in movement, a fact exploited by choreographer Merce Cunningham in the forty-minute dance
Scenario, a collaboration with Kawakubo that premiered at the Brooklyn Academy of Music on October 14, 1997.
Kawakubo explained, “When the natural movements of dance are repelled and refuted, you get new forms.
(左端から)
8.1: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Top of gray-and-white gingham and skirt of navy-and-white gingham, both stretch nylon and polyurethane plain weave padded with goose down
8.2: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Coat and skirt of navy stretch nylon and polyurethane plain weave padded with goose down
8.3: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Dress of gray-and-white gingham stretch nylon and polyurethane plain weave padded with goose down
8.4: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Jacket and skirt of blue-and-white gingham stretch nylon and polyurethane plain weave padded with goose down
8.5: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Jacket and skirt of pink-and-white gingham
stretch nylon and polyurethane plain weave padded with goose down
8.6: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Dress of blue-and-white
gingham stretch nylon and polyurethane plain weave padded with goose down
8.7: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Top of red-and-white gingham and skirt of beige-and-white gingham, both stretch nylon and polyurethane plain weave padded with goose down
8.8: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Top and skirt of red stretch nylon and polyurethane plain weave padded with goose down 8.9: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Dress of red-and-white gingham stretch nylon and polyurethane plain weave padded with goose down
8.10: Body Meets Dress—Dress Meets Body (Spring/summer 1997) Coat and skirt of red stretch nylon and polyurethane plain weave padded with goose down
〔ご参考〕
・
Rei Kawakubo/ Comme des Garçons: Art of the In-Between
・
メトロポリタン美術館の見所スポット情報その1
【Rei Kawakubo/ Comme des Garçons:
Art of the In-Between特集】
(1)
メトロポリタン美術館で川久保玲さんの特別展:プロローグ
(2)
Kawakubo’s collections: 1. Absence/Presence; 2. Design/Not Design
(3)
Kawakubo’s collections: 3. Fashion/Antifashion; 4. Model/Multiple; 5. High/Low
(4)
Kawakubo’s collections: 6. Then/Now; 7. Self/Other; 8. Object/Subject
(5)
Kawakubo’s collections: 9. Clothes/Not Clothes (9.5 Fact/Fictionまで)
(6)
Kawakubo’s collections: 9.7 Order/Chaos; 9.8 Bound / Unbound
(7)
メトロポリタン美術館で川久保玲さんの特別展:関連グッズ販売コーナーの様子
前回に続いて、メトロポリタン美術館で川久保玲さんの特別展『Rei Kawakubo/ Comme des Garçons: Art of the In-Between』の会場の様子を、パンフの説明とあわせた特別バージョンでお届けしてます。詳しくはプロローグからご一読くださいませ。
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