One of the hallmarks of Comme des Garçons is its approach to deconstruction. Rei Kawakubo has often taken a stance against traditional forms of fashion, choosing instead to dismantle the very structures that define clothing. Deconstruction in fashion means taking apart conventional garment patterns and reshaping them into something entirely new, often with exposed seams, unfinished edges, or pieces that seem intentionally incomplete. This technique became a signature of CdG , starting in the 1980s, when Kawakubo began experimenting with torn fabrics, uneven hems, and garments that appeared to be falling apart.
Through deconstruction, Kawakubo creates a sense of rawness and imperfection that challenges the notion of polished, flawless beauty. This rejection of traditional aesthetics is what sets Comme des Garçons apart from more commercial brands. Instead of adhering to the norm, the brand actively disrupts it, forcing the fashion world to reconsider the value of imperfection and the meaning of beauty.
Asymmetry and Unconventional Silhouettes
Another defining feature of Comme des Garçons’ avant-garde style is its embrace of asymmetry and unconventional silhouettes. Many of the brand’s pieces are intentionally lopsided, with garments featuring one sleeve longer than the other, uneven hemlines, or irregular shapes. This asymmetry is a direct rejection of the symmetrical, body-conforming garments that have dominated much of fashion history. In doing so, Kawakubo encourages wearers to rethink their understanding of proportion and balance in clothing.
Comme des Garçons often plays with exaggerated proportions, creating oversized or distorted shapes that seem to defy the body’s natural form. For example, many collections have featured garments that add bulk around unexpected areas, such as the shoulders, hips, or chest, resulting in shapes that are both unfamiliar and thought-provoking. These exaggerated forms serve as a commentary on the limitations of traditional fashion and the way it attempts to shape the human body into predetermined ideals of beauty and proportion.
Black as a Symbol of Rebellion
While Comme des Garçons is known for experimenting with different materials, shapes, and techniques, one recurring theme is the use of black. Throughout its history, black has been a dominant color in the brand’s collections, often symbolizing rebellion, nonconformity, and mystery. In the 1980s, when the fashion world was largely dominated by bright, bold colors, Kawakubo’s insistence on black set her apart. Her collections from that era were often described as “anti-fashion” due to their stark contrast to the trends of the time.
For Kawakubo, black represents more than just an aesthetic choice. It reflects her desire to strip away superficiality and focus on the essence of the garment itself. The use of black also serves as a blank canvas for the exploration of form and texture, allowing the construction and materiality of the garment to take center stage without the distraction of color.
Gender Fluidity and Androgyny
Comme des Garçons is also celebrated for its approach to gender fluidity and androgyny in fashion. Long before the concept of gender-neutral clothing became a trend, CdG was blurring the lines between traditional men’s and women’s wear. Kawakubo’s designs often reject the binary distinctions between masculine and feminine clothing, instead offering garments that can be worn by anyone, regardless of gender.
This androgynous approach is particularly evident in the brand’s menswear and womenswear collections, where similar silhouettes, materials, and styles are used for both genders. By doing so, Kawakubo challenges the societal norms that dictate how men and women should dress, Comme des Garcons hoodie promoting the idea that fashion should be about personal expression rather than adhering to traditional gender roles.
Art and Fashion Intersect
Comme des Garçons occupies a unique space where fashion and art intersect. Rei Kawakubo has always viewed her work as more than just clothing design—she sees it as a form of expression that transcends the commercial aspect of fashion. Many of her collections have been likened to performance art or sculpture, with garments that push the boundaries of what is wearable or functional.
