There's a particular allure I feel and have always felt regarding Martin’s debut show in 1989. It presents a level of artistic confidence that is incredibly inspiring: a notion that, with the right vision, groundbreaking work is possible from the get-go. Look by look, there is a feeling that what is being presented is entirely self assured, containing the framework or an entire universe to be decoded in years to come. But that's what makes Spring 1989 special, encoded within is not just the philosophical foundation for the future of Martin’s work, but the philosophical foundation for so many designers of my generation and future designers, a feeling that nothing is impenetrable to deconstruction: *everything* is on the table. 

My enamored rambling about this show is neither new nor helpful to anyone wanting strictly information, of course. But I think it’s important for people to understand that this show wields emotional resonance, that the elements put into it can, if you let it, create a feeling akin to viewing a masterpiece painting or a groundbreaking album.

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The show took place at the Cafe De La Gare in Paris, in the 4e arrondissement, notably outside of the seemingly universal and all-necessary 1er arrondissement arrangements for fashion houses at the time. This convention was rarely broken as many editors and press members had become accustomed to near royal treatment, often having the seating layout and accommodations adjusted to fit their stature and importance. This was not the case for this show. This show was to occur on the Maison’s own terms. Most discussions regarding runway shows begin at the first look. That is not the case in this presentation. As guests were arriving, the loudspeakers were playing the busy hum of the team backstage, finalizing things before the show began. It's a small act all things considered, but contextualized against Martin's broader ambition to bring process to the forefront, this is perfectly in tune. It’s a reminder that what you are experiencing is a product of many hands, hands that have likely worked tirelessly to bring all of it together and continue to work tirelessly up until the end. I imagine these hands would continue to alter and perfect the looks should time have permitted, but that was not possible: the show was going to happen. 

This hum is abruptly interrupted by the overwhelmingly loud introduction to The Velvet Underground’s “Guess I’m Falling In Love,” a  fast paced track released alongside some of the band’s best work. Using the Velvet Underground feels very conscious, they were a band known for disrupting a seemingly impermeable landscape, changing much of what followed, in tune with what Martin must have known he would accomplish. Additionally, the band was known for playing exceptionally loud in early live shows, ushering in a new era for music in a blaring and unforgiving way. In just the first show, Martin did just that. 

The first model then steps out. She is shirtless, wearing simple unfinished white trousers, a jabot tied into a hand bra, and the iconic black Tabi boots. On her chest is the faint impression of a V-neck tee shirt, made visible by sunburn. The hair and makeup appear undone and unkempt in a perfectly personal way, with stark black eyes and deep red lips. 

This is not at all in line with the typical image of a runway model for 1989, or for any of the 1980’s at all for that matter. Inge Grognard, makeup artist for much of Martin’s early work (and being 14 at the time), was in charge. She described Spring 1989 as chaotic, saying that preparation rooms were dark and many of the supplies needed for the show were not yet available (namely the stark and heavy black eye makeup) Like the rest of the team she was able to improvise, finding a non cosmetic pigment that was mixed with applicable grease to use in and around the models eyes, sometimes covering them completely in the way that you’d see eyes crossed out in a confidential document. This, along with the sheer veils, created an atmosphere of anonymity, which I will detail in a later section.

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The next couple of looks followed closely to the first, showing predominantly simple white garments and a number of unique and brash hair and makeup motifs. A number of important garment motifs were put forward too, all of which were maintained throughout the Maison’s history. Some of the notable ones are the slim but pointed shoulders, garments engineered to be worn backwards comfortably, and multilayered ensembles, all with finishing details like exposed seams and unfinished hems. In the same way that Yohji Yamamoto or Rei Kawakubo were picking monochromatic palettes to emphasize shape and cut, so did Martin within this show. When a set of garments are limited to a short list of colors to work with, the shapes and cuts must do the talking. Martin would of course go on to experiment with a whole range of palettes and even prints, but this show is particularly interesting to me because he seems set on defining and spearheading his Maison’s legacy through cut and shape. 

The show was said to be split into multiple different sections based on palette layout, from white to red to black and then to the full ensemble. As mentioned before the white section is simple, relying on an almost entirely monochromatic palette and a strict emphasis on attitude and cut. This is continued through the red and black section mind you, but the white section seems to convey the Maison’s themes particularly well, though I do think the “Margiela shoulder” is better suited and made more prominent by the color black for these particular blazers and overcoats.

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The red section introduces a number of staple motifs that the house would go on to expand in the future, most notably the now-iconic full face masks, first appearing in an all red, multilayered look. This look contains so much of the Maison’s outlook for change: predominantly the active celebration of anonymity. This was conveyed in multiple ways: through Martin’s reluctance to speak with press or appear in photos, the use of white trench coats (typically the changing room uniform of models backstage) on the entirety of his team and on the runway, and finally, the masks that appear from show to show. In an era that was defined by supermodels and celebrities being dressed by eccentric and individualized designers (all of which were very famous and very recognizable), Martin was presenting a new idea for communication through fashion. He opted to remain anonymous, placing heavy emphasis on the importance of his team and using predominantly street-cast models (some of which he covered the face of entirely, as mentioned above). 

These things may seem small, but contextualized against the broader state of the fashion community predating him, one that was predicated on the unquestioned power of fame and iconography, it is not hard to see that Martin was desperately needed. He was, in a way, bringing fashion back to earth, letting everyone know that the action of attitude through fashion was something that anyone could do, in a truly artistically conscious way.  The rest of the red sections follows suit, using layering and trompe l’oeil techniques, along with more iterations of the veil presented in the first look. This was combined with the same imperial and striking shoulders, pointed collars, exposed seam tailoring and a bold red iteration of the Tabi boot, with a solid black heel. Seeing these motifs continue from white into red and then into black give them an entirely different feel, and overall help to reaffirm the audience's understanding of Martin’s vision through cuts alone. 

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The red show transitions subtly into the black section of the show. The white section was abruptly interrupted by the first all red ensemble, but the red section makes this transition slowly, having small black details appear throughout the red looks and eventually into completely black dresses and jackets. The all monochromatic and predominantly black looks help with the stark contrast that the hair and makeup was looking to achieve as well. There is something so captivating about the pointed shoulders and collars in this particular color when paired with the black eye makeup shown throughout, it’s all very empowered. The small cream/white elements that typically underpin these garments are really complimented as well in the process, serving to accentuate the more outlandish motifs and cuts as well as making the smaller layering techniques more clear, where in single color looks they were more obscured. The first look of this section sets the tone so well. 

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Another mainstay of the Maison was (and still is) their artisanal line, now signified by line 0 on the iconic numbers label. While this particular insignia had not yet been developed by the team, there were still many garments produced entirely by hand by select staff at the Maison, often exploring themes in a more conceptual manner. This creates a space for Martin and the team to explore ideas with complete and uninhibited creative freedom. This eventually panned out into garments such as broken ceramic plates refashioned into a vest, standard denim jeans painted black, white and pink to chip away over time and convey age, and parkas constructed entirely out of winter gloves, to name a few famous examples. With these garments they are able to ignore the sell-ability and wearability aspects they typically have to meet (though they now sell for and are worn by die-hard fans), opting to focus entirely on the conceptual. As it currently stands, there weren’t any garments artisanally produced for the debut show. What is interesting though, is that the *idea* for artisanal and conceptual garments had already been considered, and actually developed during and after the show. Laid onto the catwalk was a long stretch of white fabric, presumably marked and scuffed by the models as the show went on.

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In preparation for the second show, Autumn Winter 1989, the same stretch of fabric was rolled back out in-studio, and various models walked across it once again, this time with the soles of their Tabi boots painted red. This, of course, left a bold and contrasted impression on the used runway fabric, which was then constructed into an artisanal vest that was to be worn by a model for Autumn 1989. Small things like this are why Martin’s work is as special as it is, there is always consistent emphasis on a conceptual and immaterial theme at hand, that cannot be bought. It inspires consideration, not consumption. Which is entirely against what the fashion system promotes! 

These are small acts in the grand scheme of the Maison’s history, and anyone not immediately in the know of them would probably associate Martin’s legacy with the more popular motifs like the Tabi boots and deconstruction. But these artisanal garments carry so much weight, embedded in each and every one of them is some element of the Maison’s DNA. Furthermore, in the action of creating an item that is not necessarily predicated on wear or seasonal trends, the Maison transcends conventional uses of clothing, instead portraying individual examples of their work as pieces of art: being made by hand in the same way that a painter would create a painting or a sculptor would sit with and contemplate their sculpture. It, along with much of the Maison’s output, posits the idea that clothing can be transcendental, holding within an entirely conceptual universe that conveys themes as large and complex as consumption, transience, belonging, and many more. These are conversations we are used to having now, but in Martin’s era they were quite novel.

Ultimately, Martin is one of the biggest reasons that many of us in this community feel they can do the things they do. As with many other enthusiasts my age, there is this tireless effort to confirm and defend fashion’s place within the world of art, to make the case that there are substantive and conceptual works we can engage with that defy the frivolity typically associated with the form. And it is not often made easy. 

The current fashion zeitgeist is rife with problems: ecological harm, exploitation, appropriation, patriarchal norms, body shaming, and many, many more. It would be foolish to say (or expect) any individual artist to address these issues in an all-encompassing and resolving manner. And there are certainly elements of Martin’s work that neglected these elements. But *good* work in any of these directions should be noted when it happens, and Martin was quite ahead of his time in this regard. His emphasis on re-use and appreciation of already-existing clothes is a notion that's found its way into popular consciousness nowadays, his attempts at deconstructing the patriarchal and objectifying impediments placed on women by the very form he existed within, and his dedication to finding and promoting beauty in non-consumable, non purchasable concepts (that still held artistic meaning) were all unprecedented for his time and his industry. 

And that precedence is still important today, though I don’t think a designer has yet to step to what Martin created. But there certainly is hope, there are many emerging designers that are addressing the industries’ issues in a meaningful and impactful way. There is truly infinite potential, and in some respects, we have Martin to thank for it.

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It’s important for people to understand that this show wields emotional resonance.

Maison Martin Margiela's First Show, Spring 1989: Deconstruction and Interpretation

Raf Simons is one of the most important and influential designers to date. He graduated from the LUCA School of Arts in 1991 initially designing furniture, though changing his artistic focus to fashion following his exposure to [Martin Margiela](https://www.archivepdf.net/post/from-margiela-tabi-boots-to-high-end-punks-cultural-appropriation-in-fashion)’s work in Paris (namely autumn 1989). His eponymous label started in 1995 and has been creatively independent since, while he’s done creative direction at Jil Sander, Dior and Calvin Klein. He’s spent a majority of his work covering youth culture, managing to capture a raw sense of beauty in the process, a beauty that is truly hard to describe. It's an attitude of sorts that maintains a quiet sense of conviction for what it looks to establish beyond itself. 

He asserts his vision with direct and indirect allusions to different modes of being, all the while casting a wide net of visual references to various artists and cultural products (most notably his work with Peter de Potter, Willy Vanderperre, Peter Saville, David Sims and more recently Sterling Ruby and Brian Calvin, to name a few). Alongside visual references, Raf is able to intertwine emotional atmospheres synonymous with being young: rebellion, curiosity, addiction, triumph, independence, belonging, and self fortification (to name a few). Raf’s unique ability to capture and maintain these feelings aesthetically has kept his work relevant to youth today.

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He does this effectively through curation as well, most notably his 2003 work *The Fourth Sex* which was co-curated with Francesco Bonami. It’s 440 pages and is seriously worth reading. The book was produced amidst arguably the best decade for Raf Simons - his early work  from roughly 1995 to 2005. It’s sometimes hard to describe why, but the shows throughout these years seemed to best encapsulate the raw energy and unique attitude Raf set out to establish. Some of his most iconic individual garments were produced at this time too, notably the AW01 Riot Bomber, AW02 Nebraska and Virginia Creeper raglans and hoodies, SS03 Consumed Button Up, AW03 “Closer” Parkas, and the hand painted SS04 hoodies/pants/cloaks to name a few. All of these garments have since reached a sort of icon status and all continue to fetch absurd prices online.

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In this article, I’m going to focus on the Spring/Summer 2004 collection, [“May the Circle Be Unbroken”](https://in-the-name-of-raf.tumblr.com/tagged/ss04), a pivotal moment for the label. In retrospect, it’s up there with the very best of his collections. Raf had achieved a level of creative freedom after a number of semi- successful shows and had just premiered his now critically acclaimed *“Closer”* collection with the help of Peter Saville. SS04 is a shining moment amidst some of his best seasons to date. As I mentioned earlier, Raf’s work is sometimes an act of curation - the process by which symbolism and concepts from seldom combined worlds culminate into wearable art. It will be hard not to be biased in writing this article, because the book Siddhartha is deeply meaningful to me, making it difficult not to break into an endless rambling of how important and substantial it is, instead of a real analysis of its themes. I would like to imagine Raf approached it the same way when conceptualizing this collection: a love letter to a book that likely aided his journey as a young person, the same way it has aided mine (and hopefully now yours too).

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Siddhartha was written in 1922 by Hermann Hesse (soon approaching its 100th anniversary), and is considered to be one of the most important coming of age novels of the 20th century. It’s difficult to be brief about the themes and meanings of Siddhartha as it is packed with symbolism, allusions to ancient Hindu, Buddhist, Gnostic and Ascetic teachings, as well as metaphors of development and growth. It's surprisingly dense for such a short book at only 152 pages. The book follows a young man named Siddhartha who lives along the same timeline as The Buddha. The name Siddhartha is composed of two sanskrit words: siddha (meaning achieved) and artha (meaning goal). 

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It’s a fitting name for the young man in question. Siddhartha grew up quietly as a Brahmin’s son next to his friend Govinda, practicing the art of silent meditation and contemplation of the Atman (being the eternal soul or spirit). They grew up looking to achieve enlightenment together. He soon comes to find that he will not find the Atman on the path he has been given, and needs to establish himself separate from the life afforded to him. We then get to follow his pursuit of enlightenment and growth by establishing and abandoning different means of being and presenting, amidst a world of pain, malevolence and confusion. He faces self-deception, dissatisfaction, and a rapidly changing relationship with the natural and spiritual world around him, all the while looking to form a sense of internal identity in the name of something bigger. 

This initial principle is, to me, similar in ways to the persistent struggle of the youth to establish identity and pursue their own enlightenment by their own means of action. It bridges a connection to the youth of our century, who face the same dissatisfaction, self deception, and confusion towards the world around them, all while chasing enlightenment. Raf’s work has always been contingent on this moment, the moment that a young person decides to forgo the life familiar to them in chase of something more. 

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There are a lot of visual and graphic references to the themes of the book in the SS04 collection. I see this as a sort of “setting of the scene”. The original book itself relies heavily on depictions of the natural world, and paints a beautiful picture in the mind of the reader that lays out the importance of nature as a theme. The environment of the 2003 show was anything but conventional for Paris fashion, taking place in the Parc Floral de Paris, an area almost entirely covered in forest and greenery (making the primarily light color palette stand out). The clothing plays heavily into themes of nature as well. Most accessories resemble traditional beadwork and incorporate semi precious stones and sticks along with small charms and pendants referencing Gautama Buddha and other religious symbology. The models also walk barefoot through the grass and some of them are seen only wearing pants with no shirt. To me both of these assert a statement about nature in that the models bodies are less tethered to material items and more directly connected to the natural, potentially a statement on Siddhartha’s time with the Samanas. 

The color palette is difficult to contend with for me. It’s obvious that a lighter palette is used because it’s a Spring/Summer show, but it’s hard for me to directly attach meaning to it. Descriptions of the characters in the book don’t do much to help understand what Siddhartha was wearing, as it generally was not a  and in some looks are shown wearing as little as a single garment on their bodies. This seems to assert something about our connection to nature, by removal of material barriers to the environment. It depicts the clothes we wear as both a removal from and simultaneous connection to the natural world around us. The most direct references are the graphics with abstract depictions and quotes from the 1962 edition of the book seen on standout pieces and most prominently on the printed/patchwork blankets and cloaks.  There are graphic references to events in the book’s timeline and concepts such as skulls (likely referencing Siddhartha’s near suicide), meditative poses, abstract schematic-like depictions of what, to me, are modern components of connecting object to spirituality and identity (see the back of the hand painted hoodie and embroidered on button down iterations), as well as black and white depictions of characters in different periods of the book. 

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The color palette is a bit difficult to contend with. It is easy just to say that a lighter palette was used in keeping with it being a Spring/Summer show, but I think it’s more conscious than that. In an abstract sense, I associate the muted, quiet color palette with the act of meditation and contemplation. There isn't any reference to this specific color in the book, but a core principle of Siddhartha’s self development and eventual self discovery comes from the act of quiet internal action, and I tend to picture the garments Siddhartha  wears all the while being light and airy seeing as Indian summers are hot and humid. In some practices, traditional Brahmin garbs are primarily white color palettes with small accents of color, in the same way that the primarily all white looks for this show have small accents of similar colors. 

The cuts are very different though as Raf follows suit with his more typical silhouettes (like all-white iterations of the bomber and perfecto jacket, as well as hoodies and loungewear). This fact would call into question cultural appropriation (especially considering it was customary for Raf to use predominantly white models, as was typical at the time), but with the cuts being different and no confirmation of traditional Brahmin garments being the direct inspiration point, it’s hard to say (along with this show taking place before cultural appropriation was a factor often considered by major fashion houses). Raf seems to create an indescribable atmosphere. It’s in some senses bold and stark in contrast to its environment but also seems quiet and contemplative. As if each person walking is on the brink of actualization; part of their own story.

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Following his departure from home, Siddhartha embarks on a path of extremes in pursuit of the Atman. Alongside Govinda, he renounces material comforts as a travelling Ascetic who practices fasting and assimilation into nature and solitude. He suffers all the pain brought on by the natural world in order to conquer it and all of its severity, but is still discontent. They then follow that by pursuing the teachings of The Buddha, where he finds the teachings unsatisfactory, leaving Govinda to stay and him to start anew. He then crosses the river of his youth into the city with the help of a kind and simple Ferryman, who practices perception of life through the lens of nature. In the city he transforms his life of non-possession into a life of materialism and opulence in pursuit of love from a courtesan named Kamala, with whom he learns about love and unknowingly births a son. Over years, his love and internal spirit are corrupted by greed and an affliction with alcohol and gambling. When realizing the state of his life, he abandons Kamala and his possessions and returns to the river basin to commit suicide, where he is greeted and saved by a now older Govinda, who is still a follower of the Buddha, yet to achieve enlightenment. Govinda goes on to continue his journey and Siddhartha assumes a life next to the Ferryman who helped him in the first place, to learn to study the river and examine the events of his life. 

Through the river, Siddhartha learns of the interweaving, persistent continuity of life as an unbroken chain, and of his place in it. Years later, Kamala and her son approach to cross the river and Kamala is killed, leaving Siddhartha to his son. His son then abandons him and forges a path of his own, forgoing the care and teachings of his father in pursuit of his own enlightenment. This breaks Siddhartha’s heart, but through the river learns to accept it as part of the cycle in which he belongs. The novel finishes with Govinda visiting Siddhartha, who is now the Ferryman, and is seen by many as having been enlightened. Siddhartha explains that enlightenment is not taught, but communicated through unity and compassion, along the continuous unbreaking flow of life, like that of a river. Govinda then kisses Siddhartha’s forehead, and they both share enlightenment together. 

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In some practices, traditional Brahmin garments are primarily white in color palette with small accents of color, in the same way that the primarily all white looks for this show have small accents of similar colors. The cuts are very different though as Raf follows suit with his more typical silhouettes (like all-white iterations of the bomber and perfecto jacket, as well as hoodies and loungewear). This fact would call into question cultural appropriation (especially considering it was customary for Raf to use predominantly white models, as was typical at the time), but with the cuts being different and no confirmation of traditional Brahmin garments being the direct inspiration point, it’s hard to say (along with this show taking place before cultural appropriation was a factor often considered by major fashion houses). Raf seems to create an indescribable atmosphere. It’s in some senses bold and stark in contrast to its environment but also seems quiet and contemplative. As if each person walking is on the brink of actualization; part of their own story. 

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“May The Circle Be Unbroken” is a fitting name for a tribute to Siddhartha. I see the circle in question as a return or cycle. Siddhartha begins the book by the riverside with his companion Govinda, quietly mastering the process of meditation, listening, and contemplation. This quiet listening is the action that prompts him to embark on his own in the first place, to question the ideals and processes he’s been afforded, to leave and seek his own enlightenment. By the end he has come to understand the extremes of the human condition. He has persisted through self deception, the severity of nature, opulence, and internal suffering all to find that the initial action, the perception and contemplation of the world around him next to the river as a child, was the action of enlightenment, and that he is a part of an unbroken, ever flowing life.

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He learns that the process of enlightenment is not to be taught or learned, but to be communicated through experience and compassion; to be radiated unto others. That, to me, is the circle to be unbroken. The path that youth now (and forever) will inevitably follow: a calling to find themselves in the world, and to embark on a journey. All to find that enlightenment will not be taught to them (nor will they teach it), but uniquely experienced along the flow of events of their lives. It is an emission through being: and through unity it is shared. In an abstract way, that seems to me to be the source of inspiration for Raf Simons’ attempts over decades to communicate through young people. It’s the monolithic spirit that art looks to portray and capture, generation after generation. It looks to come as close as possible to describing an atmosphere, a unique radiating energy that is not to be communicated in the first place. It is the feeling of paths not yet embarked upon, circles not yet closed and extremes waiting to be lived. It is the essence of life through youth. 

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Let's shift our focus to the Spring Summer 2004 collection, “May the Circle Be Unbroken”, a pivotal moment for the label.

Collection Deep-Dive: Raf Simons SS2004 'May The Circle Be Unbroken'

When looking at the unique world of Japanese fashion culture both past and present, it is almost impossible to overlook Kapital. They have maintained a true sense of authenticity and individuality in both their creative direction and products, and with each season seem to be even more self-assured than their last. Kiro Hirata is the main architect of the brand and it’s creative direction, though it was Kiro’s father, Toshikiyo Hirata, who had initially started the company in Kojima Japan in 1985. Kojima was actually the source of the name itself as well, as it is often referred to as “the capital of denim”. 

When most people think of Kapital, they think of a couple of mainstay themes: Boro denim, Century denim, and the catalogs, all things they continue to produce. The yearly lookbooks that they release are, to me, most pertinent to understanding the unique way Kapital approaches the world - acting as a visual language of the philosophy of Kapital. They produce these with full creative control with often little change to the core team, adhering to guidelines set only by themselves with seemingly no limitation. This in itself seems to defy the way we collectively approach the fashion process, to remain true and unique at all costs. They have and continue to participate in eccentric defiance. 

The garments they produce all seem to exist underneath the same unique umbrella of experimentation. They will often create confusing proportions and cuts that fit on the body in a challenging way, best described by David Sedaris, saying “These are clothes that absolutely refuse to flatter you, that go out of their way to insult you, really,” though going on to say that he still cannot get enough of them. And that’s speaking only of the proportions, let alone the distinctive choice of fabrics and how they choose to distress their clothing (often to an extreme extent). I say none of these things disparagingly. Kapital seems to do all of these things not just for the sake of being strange or unique, but to pose genuine questions about the concept of novelty in clothing production: leaving no convention or cultural influence unturned. 

This can all be said for a lot of Kapital clothing, but they also produce some items that look to replicate traditional cuts and processes, such as their famous Boro denim (see some examples below). This famous way of making denim uses traditional Japanese sashiko stitching that dates as far back as the early Edo Period of Japan’s history, appearing in the early to mid 1600s. It was originally used as a fabric mending technique to repair hard-wearing garments, and is really a genius process. It increases durability, can be used to easily mend multiple fabrics together, and is often decorative and beautiful (though the beauty in the process was only recognized after the fact). Kapital recognized this and made Boro denim a mainstay, prompting lots of creators in recent years to develop unique boro styles of their own.

I mentioned earlier that Kapital’s core team has remained consistent, and the two people on board with the most creative control are Kiro Hirata and Eric Kvatek. Kiro himself described their joint process as “small ideas that come together, little by little, in a big puzzle” when creating the direction for each new catalog. Kiro leads creative direction of the garments themselves while Eric handles artistic direction for the photos of each lookbook. Because of this, the two have been able to develop a strong dialog throughout the years and have seemingly learned to better play into each other’s strengths and weaknesses. With that strong foundation, the Kapital team is able to create a completely unique experience with every lookbook they produce - all in alignment with Kapital’s broader philosophy and outlook. 

The books themselves explore modes of being: across culture and across time. Every year, the team submerges themselves into the setting or culture they are looking to explore, and evoke images and clothing that ties directly to it (with more publications for each season produced per year, post 2007). The way they express these modes will vary widely, ranging from meticulous recreation to theatrical exaggeration. They manage to cover an impressively broad range of cultures and lives in doing so. In the “Denim Monster” series along with the [2016 “Fukkin Kountry” lookbook](https://beta.archivepdf.net/scans/kapital/fukkin-kountry-lookbook) they explore New York City motorcycle culture and counterculture broadly, providing a unique look into the hard and fast lifestyle of the people involved, in an extreme and dramatic sense. 

This is contrasted with works like the 2005 “The Tide is High” lookbook, which provides a more intimate and personal look into the work, lifestyle and spirituality of native Jamaican people, in a more representational sense. I mention both of these because they exist on opposite ends of the timeline of the catalogs, and demonstrate Kiro and Eric’s abilities to portray topics in a multitude of ways, from homage to fanatical reenactment. Throughout these books Kapital is able to produce garments that assimilate perfectly into the lives of the people being portrayed, looking as though they have been worn for years on end in the very environments in which they are being portrayed.

Image from Kapital Fukkin Kountry Lookbook.

Even as the popularity and success of Kapital grows, they maintain a very D.I.Y process when creating their catalogs. Since as recent as 2013 (the creation and release of [KAPITAL WORLD by Hsiang Chin Moe](https://youtu.be/jNTufov1FGs), a fantastic look into the process of Kiro and Eric), the team was seen working with a small crew of photographers and models, using charity shop belts and shoes, and exploring environments on their own. This is not often how major fashion labels go about their campaigns, in that they typically have a huge budget and production team. Because of this D.I.Y process, the photos made thereafter often have a very raw, unproduced kind of feel. This is most apparent in Kapital’s early catalogs, where the team seemed to best tap into this feeling. That’s not to say anything negative about their later work, but there was a notable uptick in production quality and setup (which is a positive in its own way). 

Compelling storytelling through fashion photography is not easy either. Kapital, unsurprisingly, has managed to do it multiple times in a very captivating way. One of the best examples of this type of storytelling came from the 2006 catalog, Aloha Brigade. Amidst the typical display of portraits, landscapes, and clothing for that season's theme, there were 6 pages that had small portions of a hand written story through sections of fragmented text. The story is written through the perspective of a 12 year old boy who follows his grandfather on horseback and details stories of his grandfather’s past, his own dreams.

Another great example of storytelling in their lookbooks came from the Spring 2008 catalog “Sea Gypsies”. In this case, the team still used handwritten messages over select photographs, though in a less structured and more sporadic nature than their previous examples. Though less direct, these fragments of text helped to contextualize the visual story being spun by the clothes and photographs: to evoke relationships, beliefs, and memories.

Looking at older works of art through new lenses of analysis or perspectives is always important. That’s why it’s important to talk about cultural appropriation when looking at Kapital’s work broadly, as their catalogs largely center on the depiction of a broad set of diverse cultures and geographies. I would also like to preface that I, personally, do not belong to many of the subcultures covered in Kapital’s catalog, and am speaking purely from outsider observation contextualized against much of the current discourse. 

A lot of the current discussions surrounding the usage of cultural and religious themes/imagery is around making the distinction between appropriation and appreciation. Which is a very worthwhile conversation to have, because historically, many of the perspectives and cultures being depicted in these works have often been marginalized, being left out of the broader artistic conversation and subjected to othering or exoticism (A 2014 interview with Kerry James Marshall did a good job of explaining this phenomenon in art history - link at the bottom). And that is solely within the context of artistic depiction, many of these communities continue to face hardship directly as a result of long-standing, systemically racist and prejudicial structures. The fashion system is no stranger to that, as the broader set of standards continue to be informed by Eurocentric perspectives. All this to say that the appropriation discussion is important, and is very important to view older work through this lens. 

This is by no means to say that Kapital deliberately participates or participated in cultural appropriation, but reflecting on their work through that perspective can be informative. The usage of traditional Japanese garment techniques and imagery can be read, to me, as an act of appreciation, given the label's Japanese heritage and tight relationship to the traditional denim processing techniques of the region they come from, Kojima Japan. This is a bit of a more difficult distinction to make for some of the other catalogs though. We can examine this, again, in the 2006 “Aloha Brigade” catalog, which explores imagery and themes surrounding the lives and culture of indigenous Cherokee people. 

On the one hand, I would argue that the meticulous recreation of traditional garments for creations’ sake is appreciative, as the team would have to come to understand the intricacies of the garments themselves and what goes into creating them - a deliberate act of learning. On the other hand, Kapital’s commonplace usage of (appearingly) ethnically European models to portray some of these cultural garments can be read as theatrical - seemingly removed from the point of exploring the culture and most importantly, the people in it (especially knowing that compelling portraiture is a big part of Eric’s work). The idea of entirely using components of these cultures for financial benefit (the active sale of their clothing in alignment with that given catalog) could be seen as appropriative. 

Ultimately, this is not always an easy distinction to make, though intention is one of the biggest factors in outlining that distinction in a given work. And this is also only examining one particular catalog and one particular subculture, of which I personally do not belong. Additionally, seeing that these catalogs pre-date much of the current discourse around culture appropriation, it’s not surprising that we may see some things as questionable within the current lens. But we should take the time to interrogate any important work of art that way, to keep up with more informative and more inclusive perspectives.

In keeping with the conversation about usage of visual themes from other cultures, I would argue that in recent years, Kapital has pushed in an interesting direction. They have continued to pursue an eccentric and unique approach to their styling, but are seemingly shifting their focus from one individual culture per lookbook to an all encompassing approach, using styling and patterns from all sorts of global sources. This is an interesting approach, and can be read as using their clothing as a means of curation and appreciation of multiple cultures and stylings into a cohesive piece of work. And to do this all in keeping with their usage of traditional Japanese fabrics and garment making processes as well! By and large it is an interesting approach and not something you often see. The way I feel about them now is how I always have: utmost respect for committing to eccentricity. 

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All in all, looking into the work of Kapital is no easy task, and writing a digestible or all encompassing piece on their philosophy is harder than it looked to be at the outset. Their team has managed to cover so many themes and in doing so develop a truly unique visual language for themselves, both in their garments and in their photography. That, in itself, could be the philosophy: maintaining individuality and authenticity by any means necessary. Regardless of how you feel about the clothes themselves, you cannot argue with Kapital’s cultural potency, and the lasting impact they've continued to have on other labels and young creatives alike. And I think that influence will be lasting, given the recent appreciation of new and archive Japanese fashion - my (and many others) introduction to the world of Kapital. I am happy to have been introduced and we encourage you to browse through a [selection of works hosted exclusively on ARCHIVE.pdf](https://beta.archivepdf.net/scans/kapital)!

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When looking at the unique world of Japanese fashion culture both past and present, it is almost impossible to overlook Kapital.

The Legacy of Kapital: The Philosophy & Cultural Depth Behind the Cult Japanese Brand

Calvin

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The yearly lookbooks that are released are most pertinent to understanding the unique way Kapital approaches the world - acting as a visual language of the philosophy of Kapital. They produce these with full creative control with often little change to the core team, adhering to guidelines set only by themselves with seemingly no limitation. This in itself seems to defy the way we collectively approach the fashion process, to remain true and unique at all costs. They have and continue to participate in eccentric defiance. 

Kapital, a cult Japanese fashion brand founded in 1985 in Kojima, Japan, stands out for its authenticity and individuality, with Kiro Hirata leading the creative direction. Known for unique themes like Boro denim and Century denim, Kapital's annual lookbooks reflect its philosophy, showcasing experimental garments, challenging proportions, and distinctive fabric choices. The brand explores diverse cultures and historical periods, with each catalog offering a unique visual and storytelling experience. Despite its growing popularity, Kapital maintains a DIY approach to catalog creation, emphasizing raw, unproduced aesthetics. The text delves into the complex topic of cultural appropriation, questioning the brand's portrayal of various cultures while acknowledging the difficulty of making clear distinctions. In recent years, Kapital has shifted towards a more encompassing approach, incorporating global sources into its styling, all while maintaining a commitment to eccentricity. The brand's lasting cultural impact is acknowledged, prompting appreciation for its unique visual language and influence on the fashion industry.

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Kapital has consistently approached fashion from multiple perspectives since its birth in 1984. Though the clothes themselves are held in high regard for their visual details and construction, it can be argued that the brand's editorial lookbooks shift its clothing into an unbelievable context. Photographed by Eric Kvatek and directed together with Kapital’s Kiro Hirata, the Kapital lookbooks serve to bring its readers into worlds unbeknownst to the everyman, its content ranging from the spiritual beings of faraway islands to the desolate lifestyles of the countryside and misfits of city alleyways, to name a few. It’s no wonder that so many individuals from all walks of life gravitate to such a culturally diverse brand 

Calvin

Writer

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The Legacy of Kapital: The Philosophy & Cultural Depth Behind the Cult Japanese Brand