To the energetic beats of techno legend Jeff Mills’ latest release, “Aquarius,” Comme des Garçons kicked off with a bang as multiple boys simultaneously took to the runway, continuously moving and weaving through the space in circular patterns. Their attire was a vivid display of deconstruction, with pieces sliced, layered, and overlapped in a technicolor explosion, aptly mirrored by the techno soundtrack.
Diverging sharply from the previous season’s “Orlando” theme, this presentation was an emphatic rejection of black. The final part of the trilogy, featuring opera costumes for The Vienna State Opera in December 2019, recounted the tale of Orlando, a character who changes gender while aging only 36 years over three centuries. Whereas last season defied gender norms with an array of dresses over trousers and a rebellious approach to menswear, this season continued breaking boundaries and challenging taboos.
Rei Kawakubo thrives on stepping out of her comfort zone, and the vibrant, multi-layered ensembles, though startlingly bold and clashing, were a testament to this. Models paraded in groups, entering and exiting the stage in rapid succession, creating a whirlwind pace for the show. Their braided wig hairstyles, a potential nod to the ongoing conversation about cultural re-appropriation, were exaggerated with lace fronts positioned midway down their foreheads, resembling theatrical props. Some even sported necklaces adorned with candy-colored wigs, reminiscent of youthful scalps.
The playful use of graphic prints and the blatant disregard for traditional tailoring or formality screamed punk. T-shirts morphed into harnesses, and jackets cropped at the hips resembled corsets, occasionally looking inside-out but flawlessly executed nonetheless. As the final group left the runway, clad in fabric emblazoned with “Comme des Garçons,” the backstage erupted in applause. The music ceased, and the lights abruptly dimmed — quintessentially Rei.