Rei Kawakubo’s latest collection for Comme des Garçons Fall/Winter 2025 was a defiant ode to intimacy in an age of overwhelming scale. Presented at Paris Fashion Week, the show fused historical grandeur with avant-garde rebellion, challenging the dominance of corporate systems through meticulously crafted silhouettes.
The opening looks reimagined menswear staples – pinstripes, houndstooth and gray flannel – as distorted sculptures. Suits ballooned into angular shapes, their pockets replaced by crater-like voids, while a navy pinstripe ensemble seemed to envelop its wearer in a rigid, orchestral shell. These forms were metaphors for institutional excess, their exaggerated lines subverting traditional power structures.
Kawakubo’s manifesto, distributed before the show, proclaimed a belief in “the strong value in small.” This philosophy was materialized through layers of tartan, satin and velvet, where stiff corporate fabrics collided with delicate femininity. A black base dress sprouted crimson ruffles; a velvet crinoline erupted beneath tailored checks. The tension between restraint and exuberance culminated in a final tuxedo reimagined as an armored train of tulle – a union of toughness and softness that elicited audible gasps.
Bulgarian folk songs underscored the collection, their communal harmonies reflecting Kawakubo’s advocacy of grassroots creativity. Adrian Joffe, her husband and business partner, later linked the music to “workers in the fields, families doing things together,” framing the designs as a rallying cry for independent artistry. That ethos extends beyond the runway: Comme des Garçons’ Dover Street Market initiative continues to champion emerging designers, who are often overshadowed by conglomerates.
A teenage crowd gathered outside the venue, their cheers blending with the haunting vocals – a reminder that Kawakubo’s influence transcends generational divides. While her sculptural forms resist commercial replication, their emotional resonance cuts deep. A watermelon-colored satin bodice layered like botanical armor and tartan skirts stiffened into architectural curves demonstrated how fragility can coexist with strength.
Critics drew parallels to the Louvre’s current exhibition, which pairs historical artifacts with contemporary fashion. Kawakubo’s work similarly bridges eras, fusing Belle Époque volume with postmodern deconstruction. But unlike museum pieces, these clothes pulse with urgency, suggesting that true innovation thrives in niches rather than boardrooms.
©Photo: Comme des Garçons
