The Influence of Deconstructionism on The Function of

Clothing as a Medium

To what extent has deconstructionism redefined clothing as a medium for

conceptual art and self-expression rather than mere function or beauty?

Visual Arts Extended Essay

Table of Contents

Introduction ..................................................................................................................................... 3

Historical Context ............................................................................................................................ 5

Deconstructionism as a Philosophical Concept ........................................................................... 5

Deconstructionism in Art and Literature ..................................................................................... 6

Deconstructionism’s Debut in Fashion (Rei Kawakubo x Yohji Yamamoto 1981 PFW) ............ 7

Design Elements in Deconstructionist Fashion................................................................................ 9

Deconstruction of the ‘Ideal Body’ - Asymmetry in “Lumps and Bumps” collection by Rei

Kawakubo for Comme des Garcons (PFW 1997)..................................................................... 10

Deconstruction of ‘Perfection’ - Deconstruction and Reconstruction as seen in Margiela’s

“Stockman” Jacket (1997). ......................................................................................................... 13

The Deconstruction of Gender – As seen in the work of Martin .............................................. 14

Margiela, Rei Kawakubo, and Issey Miyaki. .............................................................................. 14

Key Designers of the Deconstructionist Movement....................................................................... 17

The Maison Margiela Case ........................................................................................................ 17

Rei Kawakubo of Comme des Garçons ..................................................................................... 19

Comme des Garcons Autumn Fall 1994 Ready-to-wear Collection........................................... 21

Conclusion..................................................................................................................................... 21
Introduction
Art is subjective, shaped by individual beliefs and opinions. However, one quality of art that can

make it arguably "good" is its influence on others. In the fashion industry, this influence is

transformative; it not only defines trends but also pushes the boundaries of what clothing can

represent. Fashion as an art form has the power to reshape culture and change how we see the

world.

Throughout history, the fashion industry has always had a strong emphasis on maintaining absolute

perfection and a certain standard of beauty.. The goal of the industry for a long time was to sustain a

carefully constructed image of luxury, sophistication, and wealth. Fashion houses like Christian Dior,

with their “New Look” collection that embodied post-war femininity, and Chanel, known for their

timeless and chic designs dominated this era. Every collection released by all the top fashion houses

were made with a classic vision of beauty in mind, which eventually solidified the purpose of high

fashion as a status symbol for the elite.

However, the industry experienced a massive shift in the late 20 th century with the emergence of

deconstructionism, a philosophical design and aesthetic movement that opposed traditional beauty

standards and celebrated individuality instead of perfectionism. Introduced by French philosopher

Jacques Derrida, the deconstructionist theory explored the instability of meaning and the

importance of revealing hidden contradictions in a piece of work. Creatives in the art and design

world were inspired by principles from this theory and began to deconstruct and re-assemble their

respective art forms to destroy the traditional conventions of shape, functionality, and the set rules

for art. This progressed further as a method for critiquing societal standards of beauty and
questioning conventional notions, turning art into a medium for self-expression and artistic

freedom.

This movement was led by a group of revolutionary designers part of the Anti-Fashion

Movement, including Rei Kawakubo of Comme des Garcons, Yohji Yamamoto, and later Martin

Margiela and the Antwerp 6. They turned the world of fashion upside down, going against every

standard prevalent in fashion at the time. These individuals were and still are so important to the

history of fashion, that everything before them seems strangely outdated, and everything after them

bears the mark of their work. They were responsible for moving the fashion conversation towards

the conceptual, and changed the priceless commodity of the fashion world from beauty to

individuality..

This essay will be exploring the extent to which the deconstructionist movement has influenced

contemporary fashion, arguing that it has fundamentally changed the industry’s approach to design

and expression by challenging social conventions, promoting authenticity and

individuality, and creating a new perspective that fostered freedom rather than conformity.
 Historical Context
Deconstructionism as a Philosophical Concept
Deconstructionism is a way of thinking that challenges the idea that meanings are fixed or

absolute. Instead, it argues that meanings are constantly shifting based on individual perception

and context. This concept was introduced by French philosopher Jacques Derrida as part of the

postmodern movement in philosophy. It was his response to Structuralism, a method of

understanding human behavior and culture through patterns and structures. While Structuralism

focuses on clear, underlying rules, Derrida believed that meaning is far more fluid and open to

interpretation.

One of the main ideas in deconstructionism is to challenge "either/or" thinking, like the opposites

of presence/absence or self/other, which were seen as foundational in Western thought. Derrida

argued that these binary oppositions limit our understanding of more complex ideas. Instead of

viewing things in strict categories, deconstructionism pushes us to explore the grey areas in

between. By doing so, it questions traditional hierarchies and opens up new ways of thinking

about meaning, identity, and interpretation.

One of the core components of deconstructionism is the avoidance of binary oppositions that

were the foundation of most Western thought (i.e., presence/absence, self/other), which Derrida

believed limited the possibility of uncovering contradictions and underlying ideas. Derrida

proposed the idea of working within the grey instead of perceiving the world in black and white.

By challenging these oppositions, deconstructionism opened up a space where traditional

hierarchies could be questioned, allowing for a new space where creativity and freedom was at

the forefront.
 Deconstructionism in Art and Literature
The first field to adopt deconstructionist principles was literature, where it challenged the idea that

a text has a single, fixed meaning or an absolute authoritative interpretation. Authors and critics

would deconstruct texts as well as analyze contradictions and binary oppositions to reveal how

structure is unstable. The influence of deconstructionism eventually spilled over into the art and

design field in the early 1960s and 1970s, where artists explored the instability of meaning and

questioned hierarchical structures within art. Deconstruction encouraged the critique of power

structures and dismantling established traditional conventions.

Deconstructivist Architecture
Bernard Tschumi first introduced deconstructionism into architecture as a movement called

‘Deconstructivism,’ departing from traditional design to create more expressive and engaging

buildings that could tell a story and reflect culture and social context. Deconstructivist architecture

can be characterized by its fragmented, non-linear forms, built on Derrida’s concept of

emphasizing the instability of structures. Deconstructionism in architecture consists of a lot of

fragmentation, with structures appearing disjointed or broken into parts, giving them a sense of

instability and complexity. Non-linear forms and irregular, asymmetrical shapes replaced

conventional linearity, while juxtaposition and collage bring together diverse elements in

unexpected and visually complex arrangements. Deconstructivist designs often explore intricate

surface treatments that challenge conventional notions of facades, emphasizing conceptual ideas

over pure functionality.

The deconstructivist movement in architecture completely revolutionized the perception of

structure and form by the late-20th century, providing a space for freedom of expression in a field

where precision was the standard expectation. The movement soon infiltrated other areas of design

including the fashion industry, where the ideal version of beauty and lifestyle held the most

importance. Fashion had always been an unspoken medium for subtly displaying social status,

cultural values, and income level. High fashion conformed to stereotypes that maintained a

standard of beauty and luxury.

Deconstructionism’s Debut in Fashion (Rei Kawakubo x Yohji

Yamamoto 1981 PFW)
In the 1980s, Japanese designers Rei Kawakubo and Yohji Yamamoto introduced

deconstructionism into fashion, implementing features like fragmentation, asymmetry, distortion,

and juxtaposition of elements. Rather than just breaking away from the standard of perfection like

in architecture, they used fashion to reject beauty standards, defy gender conformity, and turn it

into a medium for artistic expression.

They made their debut at a joint show in 1981 in Paris, where they rejected Western conventions

of fashion design and destroyed the stereotypical version of Oriental fashion. The garments

displayed were oversized, boxy, and shapeless instead of enhancing and flattering the body like

traditional haute couture. People considered the monochrome color palette boring and unattractive

and were appalled at the intentionally unfinished tailoring and out-of-proportion shapes and

silhouettes. Deconstructivist fashion wasn’t just about unconventional forms—it was a way of

challenging the idea of functionality itself, with designers intentionally leaving garments

unfinished or exposing their internal structures, much like in architecture.

The deconstructionist approach was further developed by Belgian designers like Maison Margiela

and the famous Antwerp 6, including Anne Demeulemeester and Dries Van Noten. Until then,

Belgian fashion was unheard of, and the possibility of it spreading throughout Europe was

unthinkable. However, these designers brought the Belgian fashion scene to life, with the debut of

both local fashion identities and globalization occurring simultaneously, creating a hybrid ‘glocal’

fashion movement.

Deconstructionist fashion soon became a living critique of the fashion industry. For the first time,

fashion was seen as more than just beautiful garments but as an intellectual movement that would

change the industry’s future.

Design Elements in Deconstructionist Fashion

The meaning of literally deconstruction translates to the act of breaking something down into

separate parts in order to understand its meaning, especially when it is different from how it was

previously understood. In the initial phase of the movement in fashion, designers deconstructed

common garments like blazers and coats to highlight the construction process and craftsmanship

involved. They used visible seams, raw edges, asymmetrical silhouettes, and distressed textiles to

give garments an unfinished look, celebrating imperfection instead of hiding it.

This concept is resonant in the zen principle of ‘Fukinsei’ a concept that comes from ‘wabi sabi’,

a Japanese concept of aesthetics. Wabi sabi is a world view, centered on the acceptance of

transience and imperfection, often described as one appreciating beauty that is “imperfect,

impermanent, and incomplete in nature”, which is also a core concept of the deconustructionist

movement. At the time, Japanese fashion had a very significant influence on the Western fashion

scene. Wabi sabi influenced the deconstructionist movement, led by Japanese designers Rei

Kawakubo and Yohji Yamamoto, who brought this concept to the Western fashion scene. While

Western designers experimented with Japanese aesthetics, the Japanese designers turned the

ancient wabi sabi concept into a significant fashion movement that persists today.

Alison Gill, in “Deconstruction Fashion: The Making of Unfinished, Decomposing, and

ReAssembled Clothes,” links deconstructionism to “Le Destroy” and the anti-fashion movement,

which critiqued mainstream fashion and was pioneered by Kawakubo and Yamamoto. Gill argued

that deconstruction should focus on the creation, un-creation, and re-creation of garments rather

than mere style. She proposed four components of deconstructivism: antifashion as a counter-
culture inspired by punk and streetwear; ‘Zeitgeist,’ or the spirit of the times; eco-fashion practices

of reusing and recycling; and the idea that fashion, beyond utility, creates a relationship between

body and garment.

Deconstruction of the ‘Ideal Body’ - Asymmetry in “Lumps and Bumps”

collection by Rei Kawakubo for Comme des Garcons (PFW 1997)
Asymmetry is a dynamic design principle that can bring movement, energy, and emotion to a

garment that might otherwise feel rigid and static. Symmetry in the context of fashion has

traditionally always been linked to harmony, order, and classical beauty. In contrast, asymmetry

introduces disorder and unpredictability, challenging these ideals and prompting viewers to

reconsider what is considered beautiful or acceptable. Early deconstructivist designers used

asymmetry to push back against conventional symmetry and traditional female silhouettes. They

intentionally created garments with uneven or exaggerated proportions, incorporated irregular

shapes, and altered the length and placement of elements in an outfit. By doing so, they used

asymmetry to critique societal expectations of gender, beauty, and identity.

One of the most iconic examples of asymmetry from the early deconstructionist movement is the

“Bump” collection by Rei Kawakubo for Comme des Garçons (Spring/Summer 1997).
 Figure #7: Comme des Garcons S/S97

Rei Kawakubo’s “Lumps and Bumps” collection can instantly be recognised by the large, bulbous,

padded protrusions featured on otherwise traditionally constructed clothing. Traditional feminine

beauty in context of the body has often been associated with the hourglass figure, the classic

cinched waist, rounded hips, and balanced bust which hasd been the ideal standard for centuries at

that point in time.

These bumps are meant to disrupt the human form’s natural symmetry by appearing in

unexpected places on the body- such as on the hips, shoulders, and back, creating an askew

silhouette that draws attention due to its strange proportions and off-centered balance.

The use of gingham patterned cotton fabric here (Image on the left in Figure #7) may have been

intentional, it enhances the exaggerated form and asymmetry of the garment due to the repetitive

horizontal and vertical lines in the pattern being visibly disrupted and warped. This creates a rather

jarring visual tension between the body’s natural shape and the artifical forms opposed on it.
However, the ‘bumps’ or protrusions are not meant to be seen as accessories or additional

elements, but as a part of the overall form for a reason.

The significance of the irregular, almost grotesque bumps can be interpreted further through

Bulgarian-French philosopher Julia Kristeva’s theory of the abject, where the boundaries of the

body are disrupted with the intention to cause discomfort or unease. Through the garments in this

collection, Kawakubo confronts the ‘abject’ in a way, by putting emphasis on the elements of the

human form that are usually hidden/surpressed.

The art of asymmetry has another layer of meaning when incorporated in garments like these, and

in this case it has transformed the collection into somewhat of a reinterpretation of the human

form. Rei Kawakubo created her entire brand around the concept of rejecting the beauty standard

for men and women. With the literal translation of the name Comme des Garçons being “like

some boys”, she wanted to liberate women from cultural and social conventions related to beauty

and gender.

In conclusion, the ”Bump” collection could be characterized as a distortion of the standard figure,

emphasizing the imperfections of the human body that disrupt the smooth, continuous lines of the

ideal female form. Rather than merely dressing the body, Kawakubo re-defined what it represents

by using shape and dimension to question the limit of human thought and experience, and

simultaneously dismantle one of the biggest standards existing in fashion, the ‘ideal body’.
 Deconstruction of ‘Perfection’ - Deconstruction and Reconstruction as
seen in Margiela’s “Stockman” Jacket (1997).
The disassembly and reassembly of clothing is central to the deconstructionist movement in

fashion, directly challenging traditional garment construction. In conventional fashion, garments

are meticulously crafted to hide their inner workings, with each piece sewn together seamlessly.

Deconstruction, however, flips this process by taking garments apart—cutting them at the seams,

removing linings, and reassembling them in unconventional ways. By deconstructing garments,

designers expose elements typically hidden, like seams, linings, interfacings, and structural

components (such as boning or underwires). These ‘hidden’ details become central to the design,

highlighting the craftsmanship behind garment-making. Deconstruction can also involve altering

the fabric itself, using techniques like fraying, ripping, or distressing to create a raw, unfinished

look.

Reassembly involves ‘reconfiguring’ a garment’s parts in unexpected ways, such as attaching sleeves

in unconventional places or combining multiple garments into one piece. This approach defies

traditional silhouettes and functions, emphasizing the creative process over the finished product.

By revealing the construction process, designers celebrate the craft and creativity in fashion,

challenging the idea of perfection.

A notable example of this can be found in the work of Martin Margiela (founder of Maison

Margiela), particularly in his early collections in the late 1980s and 1990s, like his “Stockman”

Jacket in 1997. In this case, Margiela took the concept of disassembly and re-assembly literally and

twisted it into something provocative. He took apart a traditional tailor’s mannequin, also known as

a ‘Stockman’, and used its fabric shell as a base for the jacket. The manneqin, usually an unseen

tool in the process of garment-making, was turned into a garment itself. The jacket retained the

original seams and markings of the mannequin, exposing the internal construction typically hidden
in a finished garment. The fabric shell of the mannequin was left with its raw edges and shabby

look, directly challenges the polished aesthetics of traditional fashion. By reasembling the

mannequin into a wearable jacket, Margiela blurred the lines between the process of making a

garment and the garment itself. The form of the jacket was unusual, with a silhouette that

mimicked the human torso. The jacket was assembled using both the fabric of the mannequin and

additional mateials, like cotton and linen. These materials were put together in a way that

highlighted their contrasting textures and colors, making the Stockman jacket more of an art piece

than a functional garment. Its unconventional design and visible construction tying the look

together and creating a statement that questions the role of fashion in society.

Margielas work, particularly with unconvntional pieces like the Stockman jacket, became iconic in

the world of deconstruction fashion. He not only disassembled clothing, but also the traditional

ideas that defied what clothing could be. This piece, like a lot of his other works was not just about

aesthetics but also about provooking thought and a better understanding of the craft behind

fashion.

The Deconstruction of Gender – As seen in the work of Martin

Margiela, Rei Kawakubo, and Issey Miyaki.
The concept behind deconstruction extends to the ‘deconstruction’ of gender streotypes, the

fashion movement’s relationship with gender neutrality is deeply intertwined with specific design

techniques, influential designers, and collections that shaped the movement’s impact on both

fashion and society. Since one of the core concepts of deconstruction strongly oppose of the use of

binary oppositions, revolutionary designers including Rei Kawakubo and Issey Miyaki decided to

extend it to the binary opposition “Feminine/Masculine”.

For centuries, fashion was used as a medium to express one’s gender identity and social status.

Womenswear was characterised for it’s softness and elegance, different colors and shapes would

determine their social class and standing. High class women would wear delicate, pastel colored

gowns with fitted bodices and flowing skirts. The more elaborate and ornamented a lady’s clothes

were, the higher her social class was assumed to be. On the other hand, Menswear consisted of

sharp angles, broad shoulders, and stark colors, emboding a sentiment of masculinity and strength.

This is still applicable today, where the way one dresses is symbolic of their gender identity and

respectability. The entire concept of fashion was laid on the foundation of enforced gender

stereotypes and societal expectations, leaving no room for self-expression and individuality.

Nowadays, in contemporary fashion, a large number of fashion houses create unisex or genderfluid

collections. One may ask the question of how this came to be, and the answer would be the

deconstructivist fashion. Designers like Rei Kawakubo made major breakthroughs within the

trespassing of boundaries, with the intention of transcending

convention rather than removing the labels from gender.

In the words of Kawakubo herself, “the sexual overkill and exposed bodies in fashion are the result

of men designing for women. I think that more interesting results arise when women design for

themselves.”. She completely rejected the set standards for women, and adored creating silhouettes

and non-traditional forms that challenged the conventional binaries in which clothing has always

been characterized.

Clothes were given androgynous silhouettes, the designs were a mix of masculine/feminine

elements, like tailored blazers in contrast with baggy trousers or dresses with structural and sharp
lines. Garments were designed with gender neutral cuts and shapes that emphasized neither the

male or female body, such as shapeless and ‘boxy’ shirts, straight leg pants and unstructured coats.

Designers like Vivienne Westwood with her punk-rock aesthetic woud often combine materials

typically associated with specific genders, such as traditionally masculine fabrics like tweed and

feminine laces and silks. Margiela and Rick Owens for example, used extremely unconventional

and rather unattractive color palettes for their womenswear collections like his completely grayscale

rotation from. They also popularized the use of jeweled accessories in men’s fashion, and bulky

belts and ties in women’s fashion. They also popularized the use of jeweled accessories in men’s

fashion, and bulky belts and ties in women’s fashion.

The reason this aspect of deconstruction was so extremely contoversial in society during the ‘70s

and ‘80s, was due to the industry’s long standing history of restricting women’s empowerment and

perpetuating patriarchal ideals. This not only played into politics and the subversion of women’s

rights, but profoundly impacted these people’s psyches and prevented society from moving

forward and becoming more accomodating for the longest time. Women’s clothing

wasn’t just the way it was for ‘aesthetics’. The suffocating corsets, tight bustiers and heavy layering of

the time not only physically constrained their movement, but enforced passivity and this perverted

view of femininity. This limitation in personal freedom and public participation deeply affected

their self-perception and societal roles by promoting a submissive ideal of innocence and naivety.

On the same note of toxic ideals, menswear emphasized rigid, uniform silhouettes and symbolised

traditionally masculine traits of strength and dominance. This created an extremely narrow view of

masculinity that stifled emotional expression and enforced conformity. This approach

simultaneously marginalised more feminine or non-hetero men that didn’t identify with these

ideals, perpetuating a very harmful culture of toxic masculinity. Since a majority of fashion house

were headed by powerful men, these ‘design’ choices were never purely aesthetics or a reflection of
societal norms. They were deliberate scheming partiarchal moves put in place to maintain

dominance and control over society.

Deconstructivist fashion and the rebellion against gender stereotypes are so incredibly important in

this aspect, they challenge and dismantled these restrictive forms and created a space in the

restricted world of fashion where a more liberated and authentic expression of identity was

allowed.

Key Designers of the Deconstructionist Movement

The Maison Margiela Case
In October of 1988, a few hundred people received an invitation by telegraph informing them that

the first Maison Martin Margiela runway show would take place in the fall of 1989 on a delerict

playground in a North African neighborhood in the outskirts of Paris. Most of them had no idea

who that was, and furthermore many of them probably thought it was rather unusual that an

invitation to a Paris fashion week runway show was telling them to go to a playground in the seedy

part of town. At the time, nearly every brand that was showing during Paris fashion week would do

so in humongous tents that were assembled outside of the Louvre. The tradition was rarely ever

ignored, the press and fashion critics were given special treatment, and the layout of their seats

were strategic to fit their role and position in the fashion hierarchy. However, this concept went

against Margiela’s entire outlook and beliefs, this show was to occur on is own terms. Right now, in

fashion we have this very strong mix of luxury with streetwear. Back then there was no such thing.
fashion was luxury, that was it. The only reason that people even showed up to this event was

because Margiela had interned for Jean Paul Gaultier, and was already fairly well connected in the

Paris fashion scene at the time.

The runway was a simple white cloth, laid on an uneven ground and the models stumbled across

barefoot leaving behind red paint prints, creating a spectacle that utterly shocked both fashion

critics and the public. The invitations to the show were drawn in crayon by the children in the

neighborhood, and to show appreciation the first row was reserved for them. The critics hated it,

the industry loved it.

In his previous show, he hid the identity of the models by covering their faces and essentially

leaving beind the persona. He used the human body as a carta bianca on which he could recreate

his own perspectives and ideas. His aesthetic is based on a relationship between the top layer and

what’s beneath it, following a very “absence equals presence” kind of ideology. This show was the

first depiction of the iconic Tabi boots, an animal or deer-like shoe with split toes made of thick

leather and chunky soles inspired by Japanese socks that are still worn by people all over the world

today. They quickly gained recognisition for their unconventional and masculine appearance, a

balanced mixture of both contemporary and traditional fashion. He was also the first to turn

vintage clothing into new items, following in the footsteps of Vivienne Westwood who often uses

historical references in her work. He refused to use logos in his work, his desigs were marked by a

rectangle and white stitches. Most importantly, he was a master of deconstruction. Most of his

designs were minimalistic in a weird sort of way, he would use traditionally constructed garments,

take them apart and then reconstruct them in unconventional ways. His entire brand was based on

authenticity and individuality, and he placed a lot of importance on the work that went behind
creating fashion. He was the first to feature inverted seams, exposed linings, and weird fabric

combinations in his designs, unknowing that it would inspire countless designers and continue on

as a significant trend almost 40 years later. Margiela famously avoided the spotlight, and was

known to refuse interviews and any kind of public appearences. This was done in order to shed

light on the harmful effects of self- glorification and the importance society put on one’s

appearance and social standing. This not only challenged the industry’s obsession with celebrity

culture but created a disparity between the garments and the wearer. The oversized look,

androgynous silhouette, monochrome color palette was first debuted by Margiela himself. He

changed the definition of what beauty and fashion was in the eyes of people all over the world,

changing the value of clothing to art. Today, his influence is still discussed and many believe that

the freedom we have in the realm of fashion today is owed to him.

Rei Kawakubo of Comme des Garçons

Rei Kawakubo, the Japanese designer behind Comme des Garcons, has undeniably left a lasting

mark on the fashion industry and society at large. She founded CDG with the intention of

challenging the fashion industry’s standards and express her own thoughts and ideas on tem.

Dissatisfied with the available clothing options, she sought to create garments that were both

unique and made a statement. She wanted to create clothing that was more than just a commodity,

she aimed to create pieces that could be seen as works of art that had never been seen before. Her

avantgarde approach was characterized by its deconstructivist silhouettes, unconventional shapes

and forms, and different aesthetic. She defied convention in order to redefine fashion. She

founded CDG in 1969, and started showing her labels in Tokyo around the year 1975. She

debuted in Paris alongside one of the other pioneers of the deconstructionist movement, Yohji

Yamamoto. She wanted to incorporate Japanese principles in her work and challenge tradition

conventions of western fashion at the same time. Instead of creating formfitting and symmetrical
clothing that adorned one’s body in a manner that conformed to the beauty standards of the time,

her garments would envelope her models on the runway. She was the first to incorporate the Wabi

Sabi principle originating from Japan that celebrated irregularity and imperfection.

In Kawakubo’s metamorhpsis colletion (AW ’94-’95), she displayed a collection of clothing where

the manipulation of the material was the focal point. She showed garments made up of abject

boiled woollen cloth, shrunk after being stitched to look like ill-fitting sweaters. She also showcased

military style greatcoats and despoiled workwear.

The garments featured oversized silhouettes, exposed seams and linings and mixed a number of

cheap and high quality fabrics like plastic and denim. The collection, named ‘Eccentric’ was

dominated by a dark color palette that rebelled against the traditional beauty standard for

womenswear that was meant to be visually pleasing (i.e., flattering silhouette, well-fitted waistlines,

and conventionally attractive colors)

 Comme des Garcons Autumn Fall 1994 Ready-to-wear Collection

Ever since her first debut, Kawakubo consinstently worked at redefining the contours of the

‘fashionable body’ with collections that work in the grey area rather than being black or white.

Throughout her career, Kawakubo’s work ignored function, with her love for strange proportions

and distaste for anything that was slightly conventional. In 1987, Vogue predicted that Rei

Kawakubo would be recognised ‘as the woman who will lead fashion into the 21st century’

Conclusion
Deconstructionism is one of the most overlooked and understaded aesthetic movements that has

literally redefined the fashion industry and the foundation it was built on. The departure from the

utilitarian mindset and societal expectations influenced by the patriarchal ideologies have impacted

the world of contemporary fashion beyond the runway. Fashion being a form of self expression

and cultural commentary has and will always be a vital part of self-expression in any individual. The

principles of this movement have not only revolutionised design but brought about a broader

culture that celebrates freedom and expression, challenges societal standards and is authentic.

If the incredibly important designers that pioneered this movement never dared to go against the

majority, our world would be incredibly different today, especially with fashion being a reflection of

many aspects of our society. Designers like Maison Margiela, Rei Kawakubo, and Yohji

Yamamoto have inspired a countless number of designers to speak up for what they believe in and

take risks that may turn the world of fashion upside down yet again. These individuals redefined

the meaning of beauty, created the possibility for freedom and expression, and brought about a
whole new era of fashion that still has a major influence on what we see on the streets today. The

term deconstruction in fashion was never about the actual ‘deconstruction’ of clothing, but the

dismantling of beauty standards, gender conformity, and twisted ideals that had been influencing

the way we see fashion for centuries.