A strange, space age Comme des Garçons queen emerged on the runway in an almost painfully slow strut, evolving to a much quicker pace to the futuristic soundtrack of Moebius, Plank & Neumeier this season predicting a possible sign of the future to come- well, the future of our appliances maybe. The music and the pace of the show was the perfect accompaniment to the theme of duality in almost every aspect of the collection. The first half was presented as an asymmetric folding, condensing and squashing of simple bleached muslin, then quickly turning to a wardrobe of all black narrating the story of a hyper-euro-austerity chic and wonderfully weird woman. A geometric fusion of debris and discarded appliances was used as avant-garde headpieces, slightly reminiscent of Alexander McQueen collection in Fall 2009, symbolizing the sudden crash of luxury exuberance. Vogue’s Fran Burns described it as “the idea of being compelled to keep adding and just to get it out.”
Long, electric white hair flowed down to bare knees, parted harshly down the middle with one cropped layer to frame cheekbones on both sides. Most models had it pulled over to one side of the shoulder while some had locks hanging long down exposed backs. An almost tribal style marking was painted in a t shape across foreheads and down the bridge of noses in a stark matte white like warrior paint. The rest of the face was bare and natural, skin soft and dewy as if it were freshly washed and untouched. “Crush. Energy explosion,” was Rei Kawakubo’s three-word decryption backstage after the show. This was a look rich in exquisite technique and structure being more than met the eye from afar.