Comme des Garcons Six Magazine, Number 4, 1989

Comme des Garçons is one of the world’s most innovative and trailblazing fashion brands, helmed by its inimitable founder, Japanese designer Rei Kawakubo (b. 1942), who has a penchant for breaking fashion and cultural norms. 

Perhaps no designer better embodies fashion cool than Kawakubo. And when she makes industry veterans lose their cool, well, that’s a fashion moment. The only living designer apart from Yves Saint Laurent to have a retrospective at the Metropolitan Museum of Art’s Costume Institute, Kawakubo has permanently changed fashion — her designs for widely loved vintage Comme des Garçons dresses, shirts and other clothing and accessories challenge traditional ideas of beauty with a creative and transgressive exuberance.

After studying art and literature at Keio University in Tokyo, Kawakubo worked as a freelance stylist before establishing her own label in 1969. Comme des Garçons — which is also known as CDG — officially launched in 1973, and Kawakubo opened her first store in Tokyo three years later. She has since been instrumental in pioneering many concepts now familiar in contemporary fashion.

One of Kawakubo’s most iconic moves was her introduction of androgynous styles (Comme des Garçons means “like the boys” in French) with asymmetrical, twisted silhouettes that envelope the body. While she told the New York Times that the “basics of clothing lie in men’s fashion,” Kawakubo believes in the concept of humanness in clothes (she titled her spring 1995 show “Transcending Gender”). In the 1970s, when color-blocking was the norm, Kawakubo stuck to her monochromatic color palette dominated by shades of black with uncompromising dedication, although with evocative and powerful use of red and white.

Comme des Garçons is also known for an often shocking take on fashion. Deconstructed tailoring, violently slashed fabric and sculptural shapes are some themes that run through the brand’s collections, but Kawakubo never explains the meaning of her conceptual pieces, which fall somewhere between art and fashion. For Kawakubo, the body is a mere support, an easel that holds the canvas on which she exercises her formidable creative energy in a perpetual quest to invent a brave new world using fabric, or its equivalent, as her brushstroke. Today's enthusiasts of 1990s fashion revere Kawakubo for her progressive pink plaid grunge dresses, velvet jackets and nylon skirts of the era, which resembled little else back then. They were modeled by the likes of Naomi Campbell and other luminaries of the industry. 

Even though the brand has over the years worked with other innovative designers such as Tao Kurihara and Junya Watanabe and has launched more commercial offshoots like PLAY, known by the iconic heart motif with eyes, the premier men’s line Homme Plus and the multilabel Dover Street Market that opened in 2004, the essence of Comme des Garçons remains Kawakubo’s otherworldly and undefinable creations, which are impossible to ignore.

Find vintage Rei Kawakubo shirts, jackets, day dresses and other clothing on 1stDibs.

Though he was born in Switzerland, photographer Robert Frank’s greatest legacy was his representation of places and figures across the United States, the bulk of which was published in a seminal book titled The Americans.

Frank emigrated to America in 1948, settling in New York City, where he was hired as a fashion photographer for Harper’s Bazaar by the magazine’s legendary art director Alexey Brodovitch, who also recruited Lisette Model, Richard Avedon and mid-century-era style-setting couple Leslie Gill and Frances McLaughlin-Gill. Frank’s artistic style — and use of a 35mm Leica, an unconventional choice in the fashion world — proved not to be a fit, however, and he left the job after a few months. He went on to produce street photography around the city while working freelance jobs for the likes of Vogue, Life and other publications.

But it was leaving New York that would produce Frank’s most notable work. Throughout the 1950s, with the support of a Guggenheim Fellowship and guidance from Walker Evans, he embarked on a series of cross-country road trips, traversing nearly every state in the continental U.S. and producing a wealth of arresting photographs of its inhabitants. The black-and-white images pioneered what became known as a “snapshot aesthetic,” capturing a spontaneous moment. Subjects are often out of focus and rarely looking toward the camera, and rippled fabric or bent grasses often suggest movement and breeze.

After an initial publication in France, where the photographs appear alongside essays, The Americans was released in the U.S. in 1959 with a foreword by author Jack Kerouac, who espoused Frank’s ability to capture a uniquely American spirit.

“That crazy feeling in America,” Kerouac wrote, “when the sun is hot and music comes out of the jukebox or from a nearby funeral, that’s what Robert Frank has captured in tremendous photographs taken as he traveled on the road around practically forty-eight states in an old used car.”

Following the release of The Americans, Frank turned much of his attention to film. He would go on to produce a film version of Kerouac’s The Beat Generation and cofounded the New American Cinema Group in 1960. He died in 2019.

Find Robert Frank photography on 1stDibs.