“Fashion is like eating, you should not stick to the same menu.”
~ Kenzō Takada ~
THAT is a quote from the late Japanese fashion legend Kenzō Takada, who succumbed to Covid-19 at age 81 on October 4, 2020, at the American Hospital of Paris in Neuilly-sur-Seine.
To write about Asian fashion designers who have created ‘perfect storms’ in the cutthroat world of fashion without an ‘epitaph’ on Takada would be a review not worth writing.
Way before stalwarts like Rei Kawakubo of Commes des Garcon and Yohji Yamamoto burst into the scene in the 80s, Takada was already an icon.
The son of hotel owners, (which probably explains his quote on fashion and eating) he was determined that Paris was the city he so desperately wanted to go to and make a name for himself, which he did in 1965 (via cargo boat to Marseille) after the home he was staying in was demolished to make way for the 1964 Olympic Games in Tokyo.
He was given a sum of money and without batting an eyelid, spent it on a one-way ticket; not to the blues, but to almost instant stardom.
True, he barely could utter a word in French and the only work he could procure then was in a pet store.
In 1970, he held his first fashion show at a run-down shopping mall, in Galerie Vivienne which he rented, using barely experienced models.
But these unknown faces and ‘clothes hangers’ strutted down the runway wearing a motley and variegated cotton creations so bizarre that the Elle magazine editor-in-chief, who was in attendance, held her breath and probably ran the marathon of her life afterwards to put the designer on the publication’s cover.
His studio and boutique materialised in 1976 at Place des Victoires, he presented a men’s line in 1983 and by 1988, Kenzo Kenzo, his debut fragrance enthralled the world.
His body of work leaned towards the romantic, amorous, his hues lucent, distinct and integrated with traditional “engravings”. There were also those touches of homespun ornamentation, which in the 1970s was exactly what almost every one coveted.
He was the ‘Flower-Power’ designer who although based in Europe, never abandoned his roots.
Kenzō travelled the globe extensively, and who can forget his series inspired by Japanese work clothing, Japanese textiles, military infused robes, capes so heavily emblazoned with colours, detailed blouses, peasant-style wraparounds, lithographed velvet and blanket throws bedecked with Peruvian streaks?
In the 90s, Moet Hennessy Louis Vuitton (LVMH) bought the Kenzō Takada brand; the fashion designer gracefully bowed from the world he so much loved in 1999, still worked, but on a more personal scale.
He partied with Grace Jones at New York’s Studio 54, loved gambling, was deeply theatrical, (he rode on an elephant at one of his shows) painted, created elaborate costumes for operas, and lived a life sublime.
Thank you, dear maestro, for the gift of fashion, for paving the way for Asian designers, and most of all, for the sanctity of the absolute.
Anais Jourden Mak
Here is a name that has the potential to last for a long, long time.
Anais Jourden Mak, the Hong Kong-born and raised designer whose creations are causing massive tidal waves in the fashion industry.
Her brand is based in her home country, though she studied fashion at the Studio Bercot in Paris.
During her studies, Anais would travel back and forth between Paris and Hong Kong, and perhaps this sets the catalyst for her designs. Her talent is unquestionable, and that hunger to succeed surpasses all else.
Returning home, she began forging relationships with local clothes manufacturers and tailors, and the aspiration to create garments which are unique to her cultural heritage came to light.
It was from her eagle-sharp eyes and a natural flair for fashion, plus spending countless time observing these craftsmen, and of course pushing the envelope that the designer was able to sharpen her characteristic design philosophy: an ingenious yet curiously-twisted take on clear-cut muliebrity which is “obsessed” on restrained volumes and intensive textile research.
Her designs are universally appealing, and her Anaïs Jourden brand is very much rooted in formal clothing, old school components and from a controlled upbringing in Hong Kong.
Amalgamating artisanal and technical styles culminated in clothes which are perfectly contemporary – Anaïs Jourden is about nonchalant moods, about conveying a stirring blow; she twines the rules of the standard feminine appeal instead of taking it apart.
She designs layered tulle skirts complemented with shimmering highlights, her cardigans, cropped tops and knitwear are glitzy; her collections personify an alternate take on make-believe princesses, not of the Frozen (film) kind, but more on making women truly beautiful inside and out.
Prabal Gurung
Quoting fashion writer Jasmine Fox-Suliaman, “When we think of designers who not only tap their cultural roots to inspire their work but also choose to use their work to uplift communities, we think of Prabal Gurung.
“The Nepalese American designer may be based out of New York, but he continuously uses his work to raise awareness of what’s happening around the world.
“Look to his S/S 19 collection, inspired by the foothills Nepal. Beyond creating beautiful clothing, Prabal has started a foundation to help undereducated children in Nepal and is dedicated to creating sustainable jobs and income.
“Basically, this designer is changing the world one piece of clothing at a time.”
Prabal Gurung was born in Singapore and was raised in Kathmandu, Nepal. A graduate of New Delhi Institute of Technology, Prabal made the decision to move to New York in 1999, and attended Parsons School of Design and soon interned with fashion Guru, Donna Karan.
He also worked with Cynthia Rowley for two years and moved on to become the Design Director at Bill Blass. After five years, Prabal left to start his eponymous label.
As a designer, he is firm on how women should dress; " My desire is to make clothes which brings out a woman’s beauty.”
He has formidable women in his family, and fully understands the processes of dressing up, which of course, is a gruelling task for many.
Of his designs, his Ready to Wear (RTW) Fall 2020 collection is a sight to behold.
Paying particular attention to evening wear, each one is steeped in concupiscence; it starts with a ‘kiss’ – a suggestion of what is to come next; an ornate and orgasmic parade of leopard printed coats, a plethora of feathers, silvery cutout wrap dresses, an abundance of crystal embellishments, opulent sweaters paired with intricate sarongs, and frocks delightfully designed using completely contrasting checkered patterns.
Writing on fashion is at times, more difficult than describing a painting. Both are filled with many paradoxes, but equally satisfying when the message is conveyed.
Fashion designers come and go like the sun sets and rises. Few stun the world. 2020 changed everything; what we used to deem as important became completely hollow.
Fashion is not spared either, but beauty in the times of distress is the most affecting of its kind, no? – The Vibes, January 9, 2021
