When discussing avant-garde fashion, few names spark as much intrigue and admiration as Comme des Garçons. Founded by commes des garcons Rei Kawakubo in 1969, the Japanese fashion house has continuously defied conventional ideas of beauty, wearability, and form. In an industry where trends often dictate success, Comme des Garçons thrives on rebellion, pushing boundaries season after season. Nowhere is this defiance more evident than in its runway shows—surreal, sculptural spectacles that dismantle traditional fashion rules and reconstruct them into something entirely new.
The Philosophy of Rei Kawakubo
Rei Kawakubo has long rejected the notion of fashion as mere decoration. Her vision for Comme des Garçons is rooted in the power of clothing to provoke thought, emotion, and even discomfort. Rather than designing to flatter the human form or fit within market trends, she often creates garments that distort, obscure, or reshape the body entirely. This deliberate abstraction challenges the viewer’s perception of what clothing is supposed to be, turning the runway into an intellectual and emotional experience rather than just a display of seasonal styles.
Kawakubo’s refusal to follow traditional design principles has led to iconic collections that remain etched in fashion history. Whether presenting dresses that resemble cocoons or exploring the idea of “clothing as not clothing,” her work has never sought approval from the mainstream. Instead, it seeks to redefine what fashion can represent—philosophy, politics, identity, or even pure chaos.
Deconstructing the Runway
Comme des Garçons runway shows are not just fashion presentations—they are living art installations. Each show is meticulously crafted to serve a narrative or concept that often transcends clothing. Models walk with purpose, often in silence, against stark backdrops or amidst unusual stage settings. The garments themselves sometimes border on the architectural, featuring exaggerated silhouettes, heavy layering, unconventional materials, and asymmetry that defies symmetry.
One of the most talked-about collections was the Spring/Summer 1997 show titled “Body Meets Dress, Dress Meets Body,” where models wore padded dresses that distorted the body’s shape with protruding humps and curves. It was a jarring yet groundbreaking statement on body image, beauty standards, and how fashion can manipulate perception. Many critics didn’t know what to make of it at the time, but it later became one of the most influential collections of the decade, inspiring designers and artists alike.
The Rejection of Commercial Appeal
Most designers rely on creating at least some wearable, sellable pieces to sustain their brands. Comme des Garçons operates on a different plane. While the brand does have more commercial offshoots—like its Play line and collaborative sneakers with Converse—its core collections remain defiantly anti-commercial. Kawakubo does not design with the customer in mind; she designs for the idea.
This approach has puzzled and captivated audiences for decades. Season after season, Comme des Garçons has proven that a brand can thrive without conforming to market logic. The label has cultivated a loyal following of creatives, intellectuals, and fashion-forward consumers who admire its commitment to innovation over profit. In this way, Comme des Garçons runway shows serve not just as artistic expressions, but as critiques of consumer culture itself.
Influence Beyond the Catwalk
While many of Kawakubo’s designs may never make it to the average person’s closet, the influence of Comme des Garçons is undeniably widespread. Designers like Yohji Yamamoto, Martin Margiela, and even mainstream names like Alexander McQueen have drawn inspiration from her work. The ripple effects of her conceptual shows can be seen in editorial photography, performance art, and museum exhibitions around the world.
Comme des Garçons’ frequent collaboration Comme Des Garcons Converse with the art world—through installations, exhibitions, and boundary-pushing campaigns—further cements its status as more than just a fashion label. Kawakubo’s creations have been displayed in the Metropolitan Museum of Art, and the 2017 exhibition “Rei Kawakubo/Comme des Garçons: Art of the In-Between” marked only the second time the museum devoted a solo show to a living designer, the first being Yves Saint Laurent.
Conclusion: The Rule Breaker We Need
In a world where fashion is increasingly driven by algorithms, trends, and fast-paced consumerism, Comme des Garçons stands as a bold reminder of fashion’s artistic roots. Its runway shows challenge us to think, question, and see beyond the surface. They are not simply events to showcase clothing—they are conversations about form, identity, and society. By breaking the rules, Comme des Garçons has written its own, and in doing so, changed the language of fashion forever.