Keywords such as “deconstruction,” “subversion,” or “avant-garde” often lean more towards the ready-made analysis of Rei Kawakubo’s designs, rather than reflecting genuine paradigms of creation. This may call for a more rigorous reading of the issues she mobilizes with each collection, while still acknowledging the persistence of practical and technical articulations that, for their part, remain intact.

*Comme des Garçons A/W 2025 Womenswear Collection. Photography by Nikita Laganovskis (@nikitalaganovskis).*

The subtext of A/W 2025 offers an entry point that the garment itself clarifies: “Recently we feel that big business, big culture, global systems, world structures maybe are not so great after all. There is also strong value in small. Small can be mighty.” 

This idea is conveyed through an exacerbation of volume and a geometry rendered relentless, imposed upon the various models. Fabrics such as Prince of Wales checks, tartan, and blue striped suits — characteristics of institutional or bureaucratic wardrobes — are here made supple, distended, and almost dreamlike, offering an easy analogy with the Möbius strip. Indeed, through twisting and hypertrophy, these garments carry both the monumental nature they evoke while simultaneously signifying a critique of that very monumentalism. The theatrical figures with velvet pleats, characters with oversized and asymmetrical skirts and drapings, are so many illustrations of a symbolic power increase that, once overwhelming, reveals its sometimes burlesque nature. The discourse on 'small' finds an echo in the meticulousness and skill evident in each papier-mâché headpiece, each assemblage of tulle with draping, where nothing seems left to chance.

*Junya Watanabe A/W 2025 Womenswear Collection. Photography by Thian Benton Fieulaine (@tbfieulaine).*

The filiation of Watanabe’s work is unequivocal. His A/W 2025 collection stands as an homage and an explicit love letter to Jimi Hendrix, the collection emulating rock archetypes with a flourish of zippered denim or leather jackets, long-haired textures and sunglasses. The show’s music also anchors the collection within the framework of a reminiscence, from which the designer’s earliest memories of fashion took place. The music corresponds to the 2024 release of a series of previously unreleased Hendrix studio sessions, which propelled Watanabe several years into the past through this vivid Madeleine de Proust.

But opting for cosplay or a faithful reproduction of the archetype in question would be far too simple. Watanabe, in turn, seeks out another framework, another standard for reinscribing clothing as material of distortion and alteration: Cubism. Perfectos, trench coats, or bombers (pillars of the contemporary wardrobe) feature oversized pyramidal protrusions, immense rectangular structures enveloping shoulders or hips. Frames and visible armatures are incorporated, converting the daily wardrobe into a terrain for spectacle, deformity, or play. (Still on the idea of paradoxes existing in the same space : underneath the extreme jackets were a lot of really wearable clothes.) The mode of fragmentation, the process of accentuation, is noticeably similar to Kawakubo’s; let’s just say the focal point is placed on different emblems. The pinnacle of this exercise in deformation perhaps finds form in the jacket composed of two inverted Dr. Martens boots replacing the sleeves, a radicalization of the perfecto’s distortion that borders on the absurd. As a structural matrix, the piece suspends functionality in favor of a deliberate interrogation of its formal and symbolic dimensions.

*Noir Kei Ninomiya A/W 2025 Womenswear Collection. Photography by Puck Cato Verheul (@puck_verheul).*

The positioning of the Noir show is different, and attempting to outline a thematic triptych would amount to excessive generalization. Almost the entire show unfolds to a dissonant piano procession by Yasuaki Itakura. It is upon this absence of melody that figures emerge, their lexicon rooted in biomorphism, the imitation of natural forms through technical materials. This is made explicit through glossy resins and plasticized fringes reminiscent of scales or feathers, while the towering 3D-printed headpieces recall antlers. Ultimately, this combination of craftsmanship and complex material expression allows, as Ninomiya has demonstrated for over a decade, for clothing to be treated as an organic growth around the body, where symbiosis always operates on a sensitive plane. 

The final two minutes of the show form a last, colorful act: the erratically played piano notes vanish, giving way to a techno-infused 'Ode to Joy' by Hakushi Hasegawa, a longtime collaborator of Ninomiya. Models adorned with ribbons, rainbows, and pompoms contrast with the rest of the collection. It marks a return to a stance evoking childhood, carefreeness, or at the very least, a less frictional position — an almost escapist shift, far less imbued with apprehension or vertigo than the opening. One will recall that similar thematic concerns were already at work in earlier collections by Ninomiya, the closest being A/W ’24. The presence of a childhood grammar (hula hoops, scoubidous, rainbow tutus) was then rendered diffuse across the entire set of looks. This time, it is reaffirmed as a final tour de force in A/W 2025, tending toward an understanding of the “small” as the visual discourse of an age carried by playfulness, bliss, and a sense of calm.

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When form and proportion allow each designer to reflect on grotesque power, distorted archetypes and the organic.

Beyond Monumentalism: Comme des Garçons, Junya Watanabe, & Noir Kei Ninomiya A/W 2025

Felix Ramirez

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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 

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.

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. 

Aloha Brigade Lookbook

Fukkin Kountry Lookbook

Kapital’s Spring 2011 ‘FARMY’ is a distinctive homage to Americana. As a portmanteau of the words farm and army, this Spring editorial sets the collection against a backdrop of rural America. Inspired by Western traditions, the lookbook combines Japanese Americana garments with American flags and molded stars resembling the 50 states. Models are shown walking along a flat and empty highway road, dubbed DENIM RD, resembling free-spirited hitchhikers, and John Deere tractors and old, rusty, American-made muscle cars emphasize the ruggedness of the Spring 2011 collection. 

Fabrics are crafted on traditional looms, and natural fibers are dyed manually with mud, persimmons, and indigo to create vibrant orange tones blended with brown and navy blue colors. American stars are presented as handheld signs, bracelets, and necklaces. Western Denim button-up shirts are layered with patchwork sweaters and distressed, patched KOUNTRY denim jeans. Bandanas are used as headwear, neckwear, and even skirts. Military green jackets are complemented with Vibram-outsole boots and colorful Tabi low-top trainers. 

The themes of FARMY provide a deep reflection of the Japanese interpretation of Americana: workwear with durable utility, patriotic accessories, and garments that showcase the work ethic and free spirit of rural America. 


Photography: Eric Kvatek
Clothing: Kiro Hirata / Kapital
Hair & Make-up: Nicola Corl
Production Assistant: Matt Skocich
Aerial Photography: Dave Lepka
Kiro’s Assistant: Toru Tsuchimuta & Kohei Manabe 

FARMY Lookbook

Kapital

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The Legend of Harajuku is the perfect title to describe Goro Takahashi, who himself is an enigma in Japanese and American society. Broken up into 3 volumes, the first volume provides an introductory outlook on Goro Takahashi’s life journey. The book utilizes various styles of photography to narrate his life experiences and interactions, all while building the foundation to display Takahashi’s fascination with Native American society and culture. The grainy images of a young Goro Takashashi is juxtaposed with detailed images of his craftsmanship and products. The sections of the book have a focus on the various products that Takahashi has masterfully crafted throughout his lifetime, such as belts, leather goods, and rings.


Established by Goro Takahashi following a profound spiritual encounter during his initiation into the Lakota tribe in the United States, Goros is a distinguished Japanese brand celebrated for its exquisite, handcrafted jewelry inspired by Native American traditions. Crafted in small batches, the jewelry is exclusively available from a sole storefront in Harajuku, Tokyo. The brand has cultivated a devoted following due to its highly limited and exclusive inventory, accessible only to those willing to endure hours of anticipation for entry and engage in a ceremonial shopping experience. This exclusivity has solidified Goros' legacy as one of Japan's most renowned brands, emphasizing its dedication to craftsmanship, cultural exchange, and a distinctive human-centered retail model. This approach has garnered worldwide attention, inspiring pilgrimages from enthusiasts across the globe.

Legend of Harajuku Goros, Volume 2

Legend of Harajuku Goros, Volume 1

Goros

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For almost 5 decades, Issey Miyake has been pioneering the concept of modern Japanese heritage in fashion. As a survivor of post World War II trauma, Issey Miyake was born into the destruction of his country and participated in its rise and redemption. After his studies, Miyake would travel to Paris then New York to accumulate experiences and ideas to build his fashion empire. His Western travels would land him back in Tokyo, where he established his namesake brand that would ultimately revolutionize Japanese fashion and global fashion as a whole. Miyake has spent the past 5 decades reinforcing his design motifs: texture, shape, fabric, proportions, and technology. He blends these motifs with his equilibrium balance of Eastern and Western heritage. Miyake often references his Western experiences but never forgets his Eastern roots, creating a different world for his garments to exist in.

Issey Miyake was revered as a mystic figure with a profound understanding of humanity. Born in Hiroshima in 1938, witnessing the city's destruction by a nuclear bomb shaped his existential perspective. Miyake's career began in Paris, influenced by the May 1968 protests, and later, he established the Miyake Design Studio (MDS) in 1970. His design philosophy focused on simplicity and pragmatism, creating garments that made life easier. Collaborations with artists like Irving Penn and a commitment to sustainability marked his influential career. Miyake's contributions extended beyond fashion, impacting Japan's creative scene, and his ethos of moving forward and fostering curiosity transcends art and clothing. After relinquishing design control in 1999, he focused on innovative textiles until his passing. Miyake's legacy is defined by a relentless pursuit of progress and curiosity.

The book, Issey Miyake: East Meets West, came out in 1978 and features an impressive contrast of designs influenced by both Eastern and Western cultures. East Meets West was the first ever monograph that was created about the living fashion designer, and its importance is unquestionable. With over 200 pages of full bleed color images featuring some of Issey Miyake’s colorful clothing, the book truthfully depicts the designer’s passion for design, culture, and authenticity. From editorial photos shot by the likes of Noriaki Yokosuka (as covered in our previous post), to the capturing of runway spectacles that combine movement with clothing, it goes without saying that East Meets West immerses you into the fantastic world of Issey Miyake.

East Meets West

Designer Issey Miyake and photographer Irving Penn first met in New York City in the 80’s. Penn and Miyake kicked it off and eventually Irving Penn flew to Japan to photograph the early days of Miyake’s Design Studio. Penn was able to view the behind the scenes of Miyake’s experimenting with his process of creating the pleats for “Pleats Please!”. The book shows some of Miyake’s most famous pieces in beautiful detail photographed on clean white backdrops with bright light to capture the pleat pattern. The models all were draped in garments of bright colors and intricate patterns and pose in an almost theatrical manner. During this time in the 80’s Miyake had been working with several ballets and theatre plays doing costume design. As a child he also had always wanted to be a dancer so we continue to see these performance arts inspiring Miyake with further collections. The photos were used as advertisements for Issey Miyake, they also made this limited run book of the stunning photographs the two artists collaborated on in the 80’s.

Issey Miyake Photographs by Irving Penn

Making Things

Issey Miyake

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View Felix Ramirez's contributions at ARCHIVE.pdf.