Rei Kawakubo/Comme des Garçons: Art of the In-Between—Gallery Views
12019-04-10T01:07:08-07:00Charles Sirisawat-Laroucheb6ad6d1a6de4c926cdef3dafe6adb7d5f4702fd8333992This exhibition depicts the focus on materiality and representational space which reify the stigma on contemporary fashion practices concerning gender specificity. Dress means body, body means dress. This collection will be analyzed more attentively concerning the control of bodies with a relational perspective.plain2019-04-17T12:25:06-07:00YouTube2017-06-05T20:34:55.000Z60yGE64Xzs4The MetCharles Sirisawat-Laroucheb6ad6d1a6de4c926cdef3dafe6adb7d5f4702fd8
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1media/Rei Kawakubo.jpg2019-04-01T13:48:01-07:00The Deconstructivist Approach: Understanding of the critical approach37image_header2019-04-17T20:10:09-07:00To better understand the deconstructivist approach that I will be using to understand feminine representation of fashion, the Japanese designer Rei Kawakubo exemplifies how fashion can reify self-styling. By experimenting with the embodiment of post-gender, Kawakubo uses the excess of fabrics to narrow the gab between men and women by turning the attention to the male-centred single narrative of women "weaknesses". Kawakubo uses the problematic scheme of male dominant discourse and the phallogocentric display of fashion into a kind of post apocalyptic setting (1). The critique of the limited understanding of genders and non-human intersectionality appears to me as a way to delve into an affective and posthuman museum practice. Kawakubo's oversized proportions and insights on fashion development highlight a wide array of possibilities in the self-organizing study of curatorial practices in the museums by challenging a humanist ideal of universal women (2). Instead of gendering her clothing, Kawakubo opts for an interdisciplinary approach toward the body. Her design alludes to the deconstructionist notion of complementarity discussed by Jacques Derrida (3).