<![CDATA[Jezebel: junya watanabe]]> http://tags.gawker.com/assets/base/img/thumbs140x140/jezebel.com.png <![CDATA[Jezebel: junya watanabe]]> http://jezebel.com/tag/junyawatanabe http://jezebel.com/tag/junyawatanabe <![CDATA[Fashion Weak]]> Editorial assistant Maria tallied up the models of color at Paris Fashion Week, and, much like New York, London and Milan, the runways were pretty white. Here are how some of the most influential designers cast their shows: Ann Demeulemeester: 29 models, all white. Balenciaga: 34 models; 2 dark-haired Spaniards, zero black, zero Asian. Celine: 42 models; 1 Asian, zero black. Chanel: 36 models; 2 Asian, zero black. Chloe: 28 models; 2 Asian, 1 dark-haired Spanish, zero black. Christian Dior: 58 models; 1 Asian, 1 black. Christian Lacroix: 30 models; zero Asian, zero black, 1 indigenous Brazilian. Jean Paul Gaultier: 36 models; 2 Asian, 2 black, 1 Latina (Omahyra). John Galliano: 52 models, 1 Asian, 1 black. Louis Vuitton: 49 models; 2 Asian, 2 black, 1 indigenous Brazilian. Vivienne Westwood: 25 models; 2 Asian, 5 black, 1 Latina. Yohji Yamamoto: 25 models, 1 Asian, zero black. Junya Watanabe avoided the blatant runway racism by covering all his models' faces with pieces of black fabric. That's one way to deal with it!

[Image from Vivienne Westwood's show via Getty.]

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<![CDATA[This Fall, Barbie Will Fight The Red Coats And The Apocalypse]]> Paris Fashion Week is underway, and the Frenchies, we fear, think the end is near. (Are things really that bad with Sarko et Bruni?) Rick Owens, Yohji Yamamoto, Junya Watanabe and Viktor & Rolf all presented variations on a futuristic post-apocalyptic warrior: Owens riffed on his signature layering to create a battleground look, Yohji turned Revolutionary War soldiers into an army of darkness, Junya Watanabe matched architectural suiting with snug headpieces, and Viktor & Rolf paired luxury and surrealism to create a contrast between whimsy, luxury, and nihilism. Vivienne Westwood also rebelled, deconstructing garments to reveal skin despite layers, colorful and bright fabrics distracting from the ominous nature of the almost-monsters she sent down the runway. (Also, she had kids paint on the clothes and accessories. Which is pretty badass.) And then there was John Galliano for Dior: Galliano went in the opposite direction, deciding that when the going gets tough, the tough revert into real-life Barbie dolls (above left). You have to see it to believe it, really. Annotated galleries of selected looks from each designer, after the jump.

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<![CDATA[Balenciaga, Gaultier, Comme des Garcons: The Critics Speak]]> We're still holding our breath to see what confections that crazy bastard Karl Lagerfeld will turn out for Chanel and that crazier bastard Marc Jacobs will whip up for Louis Vuitton, but it looks like they're going to have at least one tough act to beat: Nicolas Ghesquiere turned out one helluva show for Balenciaga. The critics? Madly in love. And clearly the bonhommie extends to Comme des Garcons and Junya Watanabe, as well. Jean-Paul Gaultier however? Potentially past his prime. Below, a "critical" roundup of the latest Paris shows.

Balenciaga:
"[A] blockbuster image for next season" "Using futuristic methods of pattern-cutting with ultra-sound waves and laser technology" ""thronging" technique" "carved with icy precision" —Hilary Alexander, The Telegraph



"How many designers would have the temerity to use something as bourgeois as a flower print, and then build an entire collection around it?" "If you're wondering why you should care about a collection that is so plainly ageist (it's the prints and small shoulders, not the hemlines)... Consider the impression of seamlessness made by the designs, though in fact there are seams. We may just be looking at the future." —Cathy Horyn, The New York Times

"So this was Balenciaga in full bloom" "another of Ghesquière's short-sharp revolutionary essays in couture technique" "standout shoulder lines, hand-span waists, and belled (almost panniered) hip volume" "undulating folds sutured together with curvilinear topstitching" "But would this be wearable? What a silly question...Nicolas Ghesquière is one of the very few who can have his cake, sell it, and sit back and watch the rest of the market scramble for the crumbs." —Sarah Mower, Style.com


cdg.pngComme des Garcons
"[T]here was a purpose to her chaos" "superbly captured the randomness in our culture and, at the same time, the impossibility of attaching a moral standard to it" "incredibly free and deft" "it all made lovely sense" —Cathy Horyn, The New York Times

"[F]rills tumbling down trousers like cutout streamers, semidetached squares of striped fabric and half capes as folded angel wings at each shoulder" "cartoon-like quality" "chaotic, yet it was filled with a manic energy" "But do not ask Kawakubo what that means for modern women. She just sends out her extraordinary clothes." —Suzy Menkes, International Herald Tribune

"Wherever you find fashion trends, must-haves or what's hot you can be certain you will never find Rei Kawakubo of Comme des Garcons." "commanded by a mysterious internal voice, known only to her" "collection concentrated...on" "the art of subtracting and reducing a garment to its barest essentials, re-constructing it with only the bare bones...and then contrasting it with another item of clothing that, at first glance, appeared to have no relevant relationship whatsoever" "might have been worn by an extremely directional Swan Lake corps de ballet" "clothes as brilliant, dreamlike scarlet specters" —Hilary Alexander, The Telegraph

"[S]omething deliberately demented" "a bewildering mash-up of layers" "How to make sense of this? Don't try: The madness was the message" "Then, of course, it all fell into place as a figurative observation of the state of modern urban consciousness" "within all this there are near-sane simple pieces Kawakubo will fill her stores with, and sell, too" "there is no one to touch the free-thinking experimentalism Kawakubo can bestow on fashion." —Sarah Mower, Style.com


watanabe.pngJunya Watanabe:
"[S]imple but effective" "infantile fascination this season with diaper pants" —Cathy Horyn, The New York Times

"[G]auzy, drape-y beauty" "made summer dressing seem, for the first time this season, beautifully effortless" "simple materials tethered to bands of utilitarian tape" "the only clue he gave afterward about his starting point was, 'It all goes back to Africa'" "delivered a rare sequence of delightful surprises" "one of the season's most sensitive interpretations of overground trend from an underground source" —Sarah Mower, Style.com


jpg.pngJean-Paul Gaultier:
"[S]ome solid looks" "reprising the pirate theme made the presentation seem old hat. He, too, has a thing for diaper pants." —Cathy Horyn, The New York Times

"Jean Paul Gaultier's shows are turning into a formula (Bring on the drag queen poseur puffing on a pipe!) and that is a pity" "riff on "Pirates of the Caribbean"" "he now needs the courage to send out a collection that can stand in its own right, without the bells and whistles and pistol-head umbrellas" —Suzy Menkes, International Herald Tribune

"[A] jolly, rollicking romp" "female versions of Johnny Depp in breeches" "All the familiar accoutrements of the buccaneer wardrobe were included" —Hilary Alexander, The Telegraph

"Captain Jack Sparrow is alive and well" "all that was missing was the gold teeth and the eye liner" "Like the Black Pearl, Gaultier's ship gets around" "The pirate conceit gave this layer-loving designer an opportunity to really pour it on" "instead of his usual solitary finale bride, Gaultier sent out a veritable bridal party in bohemian crochet, eyelet, and lace, or creamy clouds of tulle" "The pirate tale was thrill-a-minute, and, picked apart, filled with plenty of wearable booty." —Nicole Phelps, Style.com

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<![CDATA[Designer Junya Watanabe studied in the school...]]> Designer Junya Watanabe studied in the school of Commes des Garcons before branching out to design his own label, and his spring/summer 2008 collection — shown today in Paris — both reflects this and his own colorful, playful bent. There's something almost clownish in the too-big jackets, the neon, hyper-draped dresses on display. And while we don't exactly approve of the balloon short-shorts, whenever did we meet a chapeau we didn't like? Gallery below. (All images via AP.)

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