Figure 2.1: Autumn/Winter 1983 “Wrapped”

Kawakubo’s resistance to definition extends even to the component parts of each garment. In the ‘Wrapped Collection’ garments were wrapped and draped, with ‘flaps and appendages that could be tied
in a variety of ways so that each garment permitted a multiplicity of wearings’ (Shimizu, 1995). It can be seen in the garment in the above (Figure 2.1) that the dress could be tightened or loosen through a few knots with the option of adjusting the neckline open to the wearer. The garment which seems like it was largely made with as few seams as possible and with no traditional closure (buttons, zips or hook & eyes) allows the wearer to use creative means to adjust the end look of the product.

Figure 2.3: Comme des Garçons S/S 1998

The later ‘Elastic Collection’ (Shimizu, 2005) contained a number of elasticated holes. It was up to the wearer to decide which hole to use for which limb, and where to position the spare holes, which would reveal another layer beneath. Figure 2.3 shows a simple interpretation of said concept which consists of a rectangular piece of elastic fabric with 2 holes stitched onto the centre back seam of a basic dress. These 2 holes are left to the user and how she decides to use said garment. Kawakubo has successfully negotiated with the basic principles of design while adequately involving her own methodology. Avoiding the need to follow a 1-to-1 interpretation, she has seems to have created a new form of work but in reality is working around the basic principles of design.

3. Carol Christian Poell

Born in 1966 in Linz, Austria, Carol Christian Poell first enrolled in a school for commerce before completing several courses on fashion in Austria and completing a Masters from Domus Academy in Milan. Not much is known about Poell, no official photographs taken, but he has held his secretive persona up to this day. He started his company in 1995 and has, up to date, produced collections up till 2010 before he stopped taking part in the fashion calendar. The 2010 collection has been reproduced for less than 10 shops around the world. A unique phenomenon on the expansive terrain of international fashion, he is often asked if he feels like an artist or designer to which the answer is always “researcher” or “industrial designer” (Cosgrave, 2006). For Poell, fashion education was strict, where he majored in men’s tailoring to learn the nuances of making to measure with precision. However, it was only after graduation when he was set free, where he found greatest passion in his work, “I have every day to feel like I’m working on a scientific experiment” he proclaims.

An endless array of re-hashing and re-appropriating of what fashion was into what fashion is now until the next season when it becomes passé. Beyond what we see on the runway, the essence is in the intricate processes from ideation to production. It is in the ideation that designers find the greatest evolution in vision.

The creative process is unique and intertwined in linguistics. Austrian philosopher Ludwig Wittgenstein invoked the idea of ‘linguistic determinism’, affirming that language limits and determines our perception of objects.

Taking what the theory of linguistic determinism suggests, that ‘the presence of linguistic categories creates cognitive categories’, it is difficult to picture garments that do not take shape or attributes of a pre-existing definition or assumptions.In simpler terms, people have a harder time recognising colours and shapes that do not have specific names. Take for example many of ReiKawakubo’s designs for Commes des Garcons.

Categories and terms for every day garments such as ‘dress’, ‘shirt’ or ‘jacket’ amongst many, invoke preconceived ideas and assumptions about its form and function. Most fashion designers are trained in fashion schools. Fashion schools are taught using similar methodology by which terms and categories are used as a basis to simulate the creative process. Such defined terms are also required as a standard for grading. Therefore, linguistics, in terms and categories, have an imposing factor in the creative process.

The most common way to induce creativity in the world of fashion art and design is systematic. In the next article, we will talk about industrial design and how it relates to the fashion design process. Stay tuned!