Comme des Garçons
January 17, 2014 Paris
But their deliberate placement seemed significant. On the jackets, the holes fell exactly where pockets would be. This suggested a negation of utility that was also borne out by the way zippers were used. The teeth were too far apart to ever close, creating another kind of hole, sinister when the unzippable gap extended the length of the spine. This being a Comme collection, it may simply have been the alchemizing of the ordinary to produce a new decorative element. Or it may have implied something deeper, darker about masculinity: the useful rendered useless. And if we were to run with the notion that the jackets were "holy" rather than merely "holey," the way that detached lapels were used as scarves might have signified the stoles of liturgical garments. All speculation, of course—there is no earthly reason why Rei Kawakubo would be remotely interested in addressing the finer points of priestly Christian garb. Unless she felt that the ascent of a new Pope who seems interested in engaging with the whole world, rather than that small portion of the Church which is devoted to maintaining its power base, was worthy of comment.
On the other hand, there was a tip of the cap to human faith in Julien d'Ys's extraordinary hair situation. A long, glossy protuberance which dangled in front of the models' faces was viewed by some as a mosquito's proboscis, by others as an alien face-hugger. It was, according to d'Ys himself, representative of the trunk of Hindu elephant god Ganesh, worshipped as the god of wisdom, prosperity, and good fortune. Such positivity cast a different light on Kawakubo's parade of dark suiting. Suddenly, it seemed sober rather than somber, and its occasional dull Lurex sparkle was the sheen of success.