/fa/ - Fashion

>>6453426
>repeated over and over and over
mhmm it is definitely i've something i've noticed as well.
every pair of trouser has the signature asymmetrical back pockets restating the point, maybe even laboriously but idk, the details and purpose are definitely evident but what i find most intriguing is definitely how it came to be, or rather; her motivation.
evidently shes advocating a point but i dont know what it is or why she would and for so long, i would risk guessing maybe its a sort of protest against the rigidity of social construction and maybe resentment of the monotony many people confine themselves too (sort of, stuck in cultural cycles, etc).
again, i would hesitate that maybe she felt sort of bewildered at the authoritarian stance a lot of japan took w/ westernisation and felt like there was something she had to preserve, which she expresses through her work.
idk, pls shine light.

i cant believe i skipped on the yy, rei.k comparison, i was fully thinking it.
i think in that YY ('poet of bleck'?) documentary the narrator mentions the interesting relationship between YY and cdg and how they both conceived their status in paris around the same time or s/t.
i've always been interested about that relationship and even though rei is a bit reclusive and seemingly less 'rock&roll' than yy i'm sure they get together for lunch dates (i want to believe #__#).

but yeah the contrast in work between yy and cdg is also what sort of brings me back. despite them being in that 'post-war japan artist wave' generation the work has distinctly different themes and ideas.
Although that sort of japanese eccentricity always shines through the sort of disciplined and 'firm' ideas of yy are starkly contrasted to the whimsical and kind've 'go-lucky' impression i get from a lot of cdg.
idk i think especially looking at it now a lot of similarities can be drawn between the work but it's more or less very easy to identify a yy pieces from a cdg/
i1/2