Rei Kawakubo‘s return to Paris Fashion Week for the FW25 season with COMME des GARCONS was nothing short of revolutionary, continuing her tradition of challenging the conventions of fashion. The Japanese designer’s latest collection was a display of artistry, with each piece a standalone sculpture. Her mastery over form was evident as she manipulated fabric and shape to create a dramatic interaction between the abstract and the wearable.
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The show took place in a starkly minimalist setting in Paris’ Opéra neighborhood, an industrial space transformed by the simplicity of wooden chairs against a plain white runway. The ambient sound of angelic Japanese vocals set a serene backdrop for the dramatic presentations of Kawakubo’s designs. She let her work speak for itself, stepping away from overt theatricality to focus on the clothes’ powerful visual statements. The first look set the tone with pinstriped fabric crafted into ruffles that mimicked flowing water, leading into a parade of bold structures and intense layering.
Kawakubo’s use of geometric and checkered patterns was both innovative and visually captivating. By the second look, a geometric gown paired with an exaggerated wide-brimmed hat had taken the runway, followed by suits that seemed to defy gravity and velvet boxing silhouettes complete with gloves. The most memorable pieces involved black and white plaid enveloping a ballooned gown, accented with bright red tulle.
Mid-show, the collection took a turn with Adrian Joffe, Kawakubo’s husband and collaborator, explaining the underlying message of the collection. He described it as a critique of “big business, big culture, and global systems,” emphasizing the power and global relevance of small, independent acts. This thematic shift was reflected in the designs that followed, which used menswear fabrics to symbolize corporate excess and control, reimagined into grotesque, almost inhuman shapes.
As the collection progressed, elements of feminine fashion began to infiltrate and overlay the more structured bases. Kawakubo introduced cocktail dresses, crinolines, and layers of duchess satin in vibrant hues of pink, red, and watermelon. These pieces, while initially subtle, grew in extravagance and volume, culminating in a display of couture that resembled armored vehicles, a metaphorical and literal layering of strength and defiance.
The finale was a celebration of collective power, highlighted by the Bulgarian folk music symbolizing communal labor and resilience. It tied back to Kawakubo and Joffe’s support for young, independent designers through initiatives like Dover Street Market. As the show concluded, the designs transitioned from conceptual to increasingly playful and frilly, suggesting a victorious overtaking of oppressive structures by joy and femininity.
