Japanese fashion might make you think of Hello Kitty, but – believe it or not – there’s more to it than just neon colours and manga. SUPERSWEET’s Emmi Ojala visits Future Beauty: 30 Years of Japanese Fashion exhibition to see what is and used to be Japanese fashion beyond pink kitties.
For already decades, a troop of Japanese designers has shaken the rest of the fashion universe with their alternative visions on fashion. Future Fashion exhibition throws the visitor all the way back to the 80s, when the Japanese design aesthetics aroused wonderment amongst the discoing Westerners and their radiant body stockings. Contradictory to Jane Fonda, body perfect and the rest of European beauty ideals, the Japanese designers such as Rei Kawakubo, Yohji Yamamoto and Issey Miyake found their inspiration in imperfection and excessively loose fits. The ideas about imperfection were translated into designs through unfinished, frayed fabrics and holes. Also voluminous shapes and cocoons around the figure were typical for the feng shui of Japanese fashion: the space between the cloth and the body was viewed as rich, energised space, also known as the hidden elegance of Bag Lady Chic.
The two characteristics – loose fit (Ma) and imperfection (Wabi-Sabi) – are a classic element in Japanese fashion. The exhibition proves that Japanese whereas fashion doesn’t necessarily scream “you sexy thing”, it’s often praised for deconstruction and achromatic colour palette. It’s obvious the Japanese designers have a fashion vision greater than silhouettes that come with an instant success guaranteed. They have abstracted and simplified clothing from its conventional shape and material, exploring the relationship between flatness and form. Even though the experimentalism might have taken a toll on practicality, the Japanese designers are sure to inspire. Besides, isn’t true love for fashion blind for practical matters?
Next to swelling with the originality of Japanese fashion, the exhibition also displays design tributes paid to the local traditions. However, there’s no history of Japanese costume to be seen, only traces of it translated into language of innovation. Whereas Tao Kurihara has wrapped his love to origami around fashion designs creating wearable paper lanterns, Takada Kenzo and Yamamoto have given the kimono a straight, modern appeal. Apologies, historians, this exhibition doesn’t get ancient!
The richness of shapes and materials displayed makes one see a different side to the culture of kawaii and V-fingers. Austere, it might seem, but hidden under all the layers, folds and extraordinary materials lies an intelligent sense for creation and boldness to experiment. This is Japanese design that has gone deep, got philosophical and redefined the substance of fashion. Except for one corner dedicated to brands for the young, the exhibition is free from grinning animals. So if you want to holla to Kitties, you’d better do that on Oxford Street.
From top to bottom: mintdesigns Autumn/Winter 2008-09; Rei Kawakubo/Comme des Garcons Autumn/Winter 1995; Final Home/Kosuke Tsmura 1994
Words: Emmi Ojala
Photography: (top to bottom) Ben Hassett, Taishi Hirokawa, Takashi Hatakeyama, Takashi Hatakeyama; Courtesy of the Barbican