How to explain the Christian Dada AW 16/17 collection? Let’s start by saying that it is actually pretty grand, to which you can attest yourself when you see the pictures below. The venue for the runway was well chosen, a typical grand Parisian Hotel Prive as the backdrop – on the rue de Turenne no less, which is well known for all its men’s fashion boutiques. It’s in the heart of the traditional Parisian men’s tailoring district.

Dadaism being what it is, of course this collection had to be all about some form or type of deconstruction, where imperfections are highlighted in order to break taboos, to throw the classic and the traditional upside down in order to challenge the social contract that binds us all. So you would expect the end result to be something less traditional and more eclectic when it comes to fashion, and less beautiful – but surprise, surprise – it was not.

Young designer Masanori Morikawa from Japan had thus been instructed by Christian Dada to create something out of many different things, and sometimes it can be imperious what designers are capable of when actually put to the test. For by employing the following ratatouille and hodgepodge of sartorial devices all at the same time Masanori was able to create something rather unique, flaming, flagrant, aye even shocking, yet ultimately beautiful:

  • Traditional Japanese weaving techniques like Yokoburi and Yuzen
  • Multiple layerings of clothing
  • Digitalized jacquard, print, and embroidery
  • A bondage theme using ties, buckles, and ropes
  • And a visual element where the right is obverse from left and vice versa

The latter idea came from the designer being influenced by a famous Japanese photographer artist who can only see with one eye. In other words, what we can see on the right is never equal to what we see on the left as the photographer always looks through the lens with only one eye, an idea which the existence of a photographer with only one eye surely highlights. Right is never left and left is never right. The colors, shapes, and forms that we see through the left will never be the same as those to the right. So let’s make it easy on the eye and create a visual obverse from left to right and right to left in our fashion collection.

Dadaism? Sure, because it shows when you can see traditional class and style being deconstructed into a kaleidoscopic new mold for a new style and a new fashion, which, we have to admit, is rather beautiful in its scope, and a project in which Christian Dada with Masanori Morikawa has wonderfully well succeeded.
























Posted by Sandro and photos from the Christian Dada press.

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