In the world of high fashion, where trends commedesgarconco.com/ often reign supreme and conformity can dominate runways, one brand has consistently chosen to defy expectations and challenge conventional beauty: COMME des GARÇONS. Founded by Japanese designer Rei Kawakubo in 1969, COMME des GARÇONS (CdG) has grown from a small Tokyo-based label to a global fashion powerhouse. With its avant-garde aesthetics, intellectual approach to design, and refusal to fit neatly into industry norms, CdG has carved out a unique identity that resonates far beyond the traditional boundaries of fashion.
Origins: The Rise of Rei Kawakubo
Rei Kawakubo was not trained in fashion. She studied fine arts and literature at Keio University in Tokyo and only entered the fashion world after working in advertising and later as a stylist. In 1969, she began designing clothes under the name COMME des GARÇONS, which translates from French as “like boys,” signaling her early intent to blur the lines between masculine and feminine clothing.
By 1973, she had officially founded the label, and its androgynous, deconstructed designs quickly stood out in Japan’s conservative fashion scene. In 1975, she opened the first COMME des GARÇONS store in Tokyo, and by 1981, she made her debut at Paris Fashion Week, sending shockwaves through the global fashion community.
The 1981 Paris Debut: A Revolution in Black
COMME des GARÇONS’ first Paris collection was controversial. Titled “Destroy,” it featured primarily black garments, distressed fabrics, asymmetrical cuts, and silhouettes that hid rather than accentuated the body. The press dubbed it “Hiroshima chic,” a term laden with problematic connotations, but also an indication of just how radically different the presentation was from prevailing fashion norms. Kawakubo had introduced an entirely new visual language—one that emphasized imperfection, absence, and disruption over polish, presence, and conformity.
This moment marked the beginning of what is now often referred to as “anti-fashion”, a term closely associated with both CdG and Kawakubo herself.
A Philosophy Beyond Clothing
Rei Kawakubo has famously resisted being labeled simply as a fashion designer. In her words, she creates “not clothes, but ideas.” Her collections often explore conceptual themes such as gender identity, deformity, mortality, and transformation. Each show functions as a visual essay, expressing thoughts on social constructs, beauty standards, and the limits of human form.
CdG’s garments are not always meant to be wearable in the traditional sense. They may feature exaggerated shapes, unfinished seams, or materials typically excluded from luxury fashion, like vinyl or industrial mesh. But they are always intentional and thought-provoking.
Kawakubo rarely gives interviews, further fueling the mythos of the brand. Her silence allows the work to speak for itself, and what it says is often complex, challenging, and deeply original.
Collaborations and Expansions
Despite its high-concept roots, COMME des GARÇONS has not shied away from commerce. Under the guidance of CEO Adrian Joffe—Kawakubo’s husband—the brand has expanded into a multi-faceted empire. Sub-labels like COMME des GARÇONS Homme, COMME des GARÇONS Play, and COMME des GARÇONS Noir cater to different audiences while maintaining the overarching brand identity.
One of the brand’s most successful endeavors is Dover Street Market (DSM), a multi-brand concept store first opened in London in 2004. DSM blends fashion, art, and commerce in a curated retail space that reflects CdG’s experimental spirit. It has since expanded to Tokyo, New York, Los Angeles, Beijing, and Singapore.
The label has also engaged in unexpected collaborations with mainstream brands like Nike, Converse, and Supreme, bringing avant-garde sensibilities to streetwear and sneaker culture. The heart-shaped eyes logo of CdG Play, designed by Polish artist Filip Pagowski, has become a global icon and introduced the brand to a broader, younger audience.
Notable Collections and Shows
Over the decades, COMME des GARÇONS has presented numerous unforgettable collections. Some highlights include:
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Spring/Summer 1997: “Body Meets Dress, Dress Meets Body” – Also known as the “lumps and bumps” collection, it featured dresses with foam protrusions that distorted the body in provocative ways.
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Autumn/Winter 2012: “2D” – A surreal take on flatness, where garments looked like cut-out paper dolls.
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Spring/Summer 2014: “Not Making Clothing” – A radical declaration of fashion beyond wearability. These pieces were pure sculptural art.
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Autumn/Winter 2017: “The Future of Silhouette” – Shown at the Met Gala exhibition “Rei Kawakubo/Comme des Garçons: Art of the In-Between,” it blurred the boundary between clothing and installation.
Each show reinforces Kawakubo’s role not just as a designer, but as a true artist and philosopher of form.
Cultural Impact
COMME des GARÇONS’ influence extends far beyond the runway. It has shaped how people think about clothing as a form of personal expression and social commentary. Designers like Yohji Yamamoto, Martin Margiela, Raf Simons, and Demna Gvasalia have acknowledged Kawakubo’s influence. In the realm of pop culture, artists from Kanye West to Frank Ocean have referenced CdG in lyrics or worn the brand in editorial spreads.
The label’s presence in global art museums and academic fashion discourse further confirms its status as more than just a brand—it is a movement, a mode of thought, and a cultural force.
Legacy and Future
Now in her 80s, Rei Kawakubo continues to design for COMME des GARÇONS and guide the label’s evolution. Unlike many luxury brands that soften with time, CdG remains unapologetically radical. It does not bow to trends or financial pressures. It maintains an almost punk ethos in an industry dominated by commercialism.
COMME des GARÇONS has proved that fashion can be more than glamour—it can be philosophical, disruptive, even confrontational. In a world obsessed with beauty, Kawakubo dared to explore ugliness. In a field full of branding, she created mystery. And in a market chasing virality, she stayed rooted in authenticity.
Conclusion
COMME des GARÇONS is not for everyone—and that’s precisely the point. It challenges the very premise of what fashion is supposed to do. It asks us to reconsider the body, beauty, wearability, and the nature of design itself. Through Rei Kawakubo’s visionary leadership, the brand continues to be an enduring symbol of intellectual rebellion and artistic integrity in the fashion world.
In an era of fast fashion and esentialshoodieco fleeting attention, COMME des GARÇONS reminds us that true innovation isn’t just about being new—it’s about being necessary.
