Hang five. We’ve got everything you need for the perfect beach day. Chanel bikinis, one pieces, cover-ups, hats and a little bling. BYOB (bring your own board) #CHANEL #LOTD
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We’ve gone viral, broken the internet, and binge-watched every episode of Silicon Valley. Now it’s time to re-boot with Prada and Miu Miu from the 90′s. Check out or brand new curated shop called TECH SUPPORT! And travel back to a time before you spent your summer on the internet.
MIU MIU BELT BAG 1999
MIU MIU BELT BAG 1999
MIU MIU BACKPACKS AND TECH BAGS
PRADA TECH DRESS 1999
PRADA SLIP DRESS 1996
MIU MIU FLORAL DRESS 1997
As told by a collector with 100 CDG pieces for sale in her vintage NYC store and over 20 years of experience.
Resurrection Vintage at 45 Great Jones Street is built like a railroad apartment and is as narrow as a subway car. Yet, when we visited, we didn’t feel claustrophobic—in fact, our hearts swelled when we saw the vintage Comme Des Garçons on their golden clothing racks. A week before we arrived, there were exactly 100 pieces, but with the excitement of the Met Gala and general cult following of Comme, Resurrection was selling things fast.
Katy Rodriguez, co-founder of the vintage hot spot (visited by Kate Moss the first day they opened shop in ’96 out of an old funeral parlor in the East Village), has loved Comme des Garçons ever since she first laid eyes on one of Rei Kawakubo’s designs. What exactly was it? “I don’t remember! All I remember is just absolutely loving it.” The fact that her first memory is of a feeling rather than a garment expresses what Comme des Garçons is telling—the brand isn’t about clothes as much as the way the clothing makes you feel. Walking through the store, we fell in love repeatedly (first with a three-tiered skirt and finally with a deconstructed blazer). Speaking with Katy made us realize that falling in love with a piece of Comme des Garçons isn’t a transaction, but rather an emotional roller coaster. And Resurrection’s collection put us through it.
First, there’s confusion on how to wear it.
Just looking at the names of Rei’s collections, which range from “Mud-Dyed” to “Abstract Excellence” and “Bad Taste” to “Kaleidoscope,” is enough to realize nothing is off-limits. Nothing, that is, except for convention, which is the only thing Rei’s clothing isn’t. The result is some initial confusion (unless your name is Katharine Zarrella) as to how to wear most of her pieces, which, in the pursuit of beauty, can be unflattering and unruly, often covered in bumps or layers.
Then, gratitude when you realize there is truly nothing else like it.
The debate on whether fashion is art will never have an answer. Some designers consider themselves artists while others don’t. Rei Kawakubo’s work, though, seems to exist in an amazing realm all its own. “I’m not even sure if it matters if it’s fashion or art; it just matters if it’s great. The problem is there is not a lot of great out there. There is a lot of fashion and there is a lot of art, but not a lot of great,” Katy laments.
You’ll feel jealousy when seeing someone cool wearing it with confidence.
In the ’80s, models like Paulina Porizkova and Christina Brinkley were everywhere, except on the Comme des Garçons runway. Instead, they used who Katy described as “really cool-looking models” who wore Rei’s avant garde like it was a plain white tee. “It was like…if you saw someone wearing that stuff, you’d say, ‘That must be a cool person.’” Katy mentions how Comme des Garçons wouldn’t look out of place on someone like Basquiat (and she’s right; he walked their runway in ’87).
And excitement when you realize you, too, can be cool!
Comme des Garçons is French for “like some boys,” but it isn’t just for some boys or even for some girls; it’s for everyone. Even though Katy loves Alaïa, she didn’t feel like the girl who could wear his clothes. With Comme, it was the opposite: “It’s so thorough, and it’s so complete. You are able to be totally enveloped in it, but you get to be yourself still. You don’t feel like you’re supposed to be somebody else.”
Then, crushing sadness thinking about how different fashion feels now.
Katy talks about how, behind the colors and the fabrics and the shapes, fashion is an emotional thing: “even if you don’t really care, it’s still a decision, a choice, and there is emotion there.” Yet designers whose work is ingrained in emotion is getting harder to find. “What has happened in the fashion industry is, they’ve stripped everything of its emotion. There aren’t a lot of designers like that left. I think when people make those emotional connections, it’s with someone like Yves Saint Laurent or Rei.”
And finally excitement again….
When you remember the following:
1. The Rei Kawakubo exhibit opens on May 4th at the MET.
2. Resurrection has an ever-expanding archive when you want to add a piece of CDG history to your closet (that’ll look just as at home out in the streets as it does in a museum).
Thanks for the kind words and ink from our friends over at Fashion Unfiltered. Check out what they had say about our Comme des Garcons show.
THE VINTAGE STORE’S FOUNDER, KATY RODRIGUEZ, DISCUSSES THE SPECIAL SALE AND ALL THINGS CDG
BY KATHARINE K. ZARRELLA
STYLE - APRIL 21
From left: Fall 2005 Bad Bride ensemble; Fall 1996 padded rubber floral dress; Fall 2007 ensemble / Photos: Courtesy of Resurrection
Photos: Courtesy of Resurrection Vintage
It’s safe to say that fashion folk are biting their nails in anticipation of the Met’s upcoming exhibition, Rei Kawakubo / Comme des Garçons: Art of the In-Between, which will celebrate and explore the designer’s singular aesthetic, approach, and 40-year career. With that in mind, it would be silly for a vintage store not to capitalize on the current CDG craze, but vintage store and archive Resurrection’s Homage to Rei: 40 Years of Comme des Garçons stands out. It’s not simply a gaggle of CDG wares thrown together to be flung at shoppers at outrageous prices. Rather, it is a carefully—even lovingly—curated selection of over 100 pieces put together by the vintage outpost’s co-founder Katy Rodriguez, who is a true CDG expert—after all, she and Resurrection have been collecting and selling Kawakubo’s work for over 20 years. The sale, which is on now, features garments from famed collections like 1997’s “Body Meets Dress, Dress Meets Body,” 1996’s “Flowering Clothes,” and 2007’s Fall outing, which dealt with girlhood, coming of age, and sex, and boasted those unforgettable pants and jackets embellished with grasping 3D hands. Also on offer are jackets from Fall 2012’s 2D collection, ensembles from the haunting Spring 2006 “Broken Bride” outing, ruffled harness looks from Fall 2008’s “Bad Taste” romp, and so, so much more from the 1980s all the way through 2016.
As a CDG obsessive myself, I can say entering Resurrection’s sale-cum-exhibition, which is located at 45 Great Jones Street, is somewhat of a religious experience. Nowhere else have I been able to touch, ogle, try on, and yes, buy such essential and rare pieces of CDG history. Even if you aren’t looking to splurge on some seriously special Comme finds, Resurrection’s CDG sale is worth a visit for anyone interested in fashion, if only to marvel at the clothes’ shape, construction, and fabrication. Here, Rodriguez speaks with Fashion Unfiltered about collecting Comme, why it’s one of the most woman-friendly fashion houses, and why there’s nothing quite like CDG.
Katharine K. Zarrella: What makes Comme des Garçons so collectable?
Katy Rodriguez: Originality, availability—or actually, unavailability—and that it takes most people a few years to catch up to Rei’s visions.
KKZ: Do you remember the first piece you acquired personally? What drew you to it?
KR: That’s a tough question. My memory is not what it used to be. But I recall seeing the editorial and advertising campaigns in the 1980s first, and then being struck by how different the clothes were. I was drawn to the pureness, beauty, and sensitivity of the clothes—the label, the care tag. Everything was considered. It was a powerful moment.
KKZ: Have you purchased any pieces that you refuse to part with?
KR: Sure, I love the 1983 and 1984 collections. I have a lot of pieces from those collections. I don’t really part with much of that stuff. It was such a cool moment when things started to be totally different from the 1970s. I also love Fall 1994, Fall 1996, Spring 1997, Fall 2005, Fall 2006, Fall 2007, Fall 2009, Fall 2012…I guess I’m drawn to the Fall collections.
KKZ: What pieces do you find your clients asking for most frequently?
KR: Our clients ask for the greatest things we can find. I have a lot of people for the early pieces, but then people are also crazy for the glove pieces and the flat collection [Fall 2012]. 40 years of material makes for a lot of requests.
Left: 1984 Ikat dress; Right: Spring 1997 Lumps and Bumps ensemble
Photos: Courtesy of Resurrection Vintage
KKZ: What types of women do you find generally come to Resurrection in search of CDG?
KR: All types of women come to us for Comme. It’s sort of ageless, which is highly unusual in fashion. It also suits a lot of different body types. I see Comme des Garçons as very woman-friendly.
KKZ: Do you find that people collect CDG differently than, say, Alaïa, Prada, or another brand?
KR: Collector personality is very specific. I’m not sure it matters so much what’s being collected. People who collect are usually very focused and know what they like and what they are looking for. It’s true of people that collect CDG, Alaïa, Prada, or whatever. More simply, the thing is different, but the drive and personality is very similar.
KKZ: What CDG pieces do you suggest new Comme collectors snatch up first?
KR: I always suggest people buy what they love. If you buy what you love, you cannot make a mistake.
KKZ: Seeing as you sell pieces from so many iconic houses at Resurrection, how do you feel that Comme des Garçons has impacted the evolution of fashion over the years?
KR: There is nothing else like Comme, and the house has maintained its integrity and authenticity for 40-plus years—a near impossibility in fashion. In some ways, Rei’s work seems to allow other people to be different. So designers, stylists, artists, and performers find a lot of inspiration in Comme des Garçons. She’s provided a roadmap of sorts. It takes a lot of courage to be first.
KKZ: Do you feel the Met Exhibition will change the way in which people collect CDG? If so, how?
KR: It’s hard to say. Some pieces will become more expensive because they are displayed in the show or catalog. But it will also bring a lot of material to the surface that might not have seen the light of day without such a big and important exhibition. More than dollars and cents, I hope it will inspire a generation of young people to go out and be creative and fearless like Rei and her colleagues at Comme des Garçons—and to be generous like Rei by supporting other talents like Junya [Watanabe], Tao [Kurihara], Jun Takahashi [of Undercover] etc.
KKZ: Do you think this exhibition will have a different impact on visitors than previous blockbusters like Punk: Chaos to Couture or Alexander McQueen: Savage Beauty?
KR: CDG has been around a lot longer than McQueen and arguably punk. People don’t always realize the origins of their inspirations, likes, and dislikes. For some, their references will come full circle and others will discover something new. I imagine it will be impossible to leave the exhibition without being awe-struck by Rei’s imagination.
Rei Kawakubo throws a grenade at fashion’s conventional narrative. She’s the conceptual artist who sits atop a multi-million dollar commercial empire. She’s the provocateur, the high priestess of radical, whose designs can be worn by just about anybody who’s willing. She’s the 74-year-old designer with 40 years experience of making clothes that feel consistently new and challenging. And, then, just when you thought you had her figured out, the notoriously private designer becomes the subject of the Metropolitan Museum of Art’s latest blockbuster fashion exhibition, Rei Kawakubo / Comme des Garçons: Art of the In-Between, which runs from May 4 until September 4, 2017.
“It’s always really exciting when the Met gala crosses over with us,” says Katy Rodriguez, co-founder of Resurrection, a high-end vintage mecca with outposts in New York and L.A. Founded in an East Village funeral parlour in 1996 – “hence the name” – Resurrection has gone on to be one of the foremost destinations for high-end, often avant-garde vintage pieces. “Our thing has always been to try and do fashion at the highest level. Whether that’s a couture version of a T-shirt, it just has to be the best of whatever that thing is. That’s what we do.”
The best of the best: it’s no wonder Rodriguez has collected Comme des Garçons since the beginning. “Rei’s one of the designers we feel a real affinity for. Those clothes make a lot of sense in our store, the sensibility of fine and raw, fancy against street, being slightly off and looking at something with a slightly different perspective. The clothes are great – and they’re consistently great, they’ve been great for 40 years,” she says.
“Those clothes make a lot of sense in our store, the sensibility of fine and raw, fancy against street, being slightly off and looking at something with a slightly different perspective” – Katy Rodriguez
To coincide with the Comme commotion resonating from the Met extravaganza, Resurrection is presenting Homage to Rei: 40 Years of Comme des Garçons, an exhibition and sale of vintage pieces which will be hosted in the New York store, with pieces also available to purchase online for those unable to make it in person. Homage to Rei is expertly curated by the Resurrection team: “Every piece is chosen for a reason, there’s no bulk or basics, it’s all really specific,” Rodriguez notes. Certainly, she has an eye for it. “I really think it’s more that I’ve got the heart for it. I really care,” she says.
The exhibition will include some of the maison’s most iconic, rare designs: from distorting S/S97 Body Meets Dress, Dress Meets Body pieces (hailing from the collection commonly known as ‘lumps and bumps’), A/W12 ‘flat collection’ capes and the A/W08 ‘bad taste’ collection cage tops, with additional pieces ranging from the 1980s to last season. The sale will also include clothes by Junya Watanabe and Tao Kurihara, designers fostered under the Comme umbrella. It’s a must for Comme devotees and curious newcomers alike.
Resurrection might deal in the best, but Rodriguez has an open-door attitude, and there’s no ‘look-don’t-touch’ snobbery here. “To go and see the Met exhibition is going to be amazing, then to come down to us, see some of the same things and to be able to touch them and try them on, wear them, buy them… I think that’s kinda cool. It gives people more of an opportunity to get into the clothes. I don’t really know where else you would go to find what we’re about to show.”
“To go and see the Met exhibition is going to be amazing, then to come down to us, see some of the same things and to be able to touch them and try them on, wear them, buy them… I think that’s kinda cool” – Katy Rodriguez
Not everyone might immediately ‘get’ Comme des Garçons, but there’s an inclusivity in the brand that mirrors Rodriguez’s open-hearted approach. “What’s really cool about Rei – and it’s kind of how Yves Saint Laurent was – is the people that like and buy her clothes feel a personal connection to her. There’s something she’s able to translate through her clothes that gives people a sense that they know her,” explains Rodriguez, adding that she also spots a parallel in the compassion Yves Saint Laurent and Kawakubo have for ‘real’ – albeit fantastically dressed – women. “Obviously you have to have a certain sensibility and be someone who can ‘do’ fashion, but you don’t have to be perfect to wear the clothes. You really don’t have to be young to wear them either, which I think a lot of designers don’t consider at all.”
“Obviously you have to have a certain sensibility and be someone who can ‘do’ fashion, but you don’t have to be perfect to wear the clothes. You really don’t have to be young to wear them either” – Katy Rodriguez
The Met Gala red carpet – where even couture is not safe from the glare of a thousand flashbulbs and critical eyes – will really test its attendees this year, says Rodriguez. “There’s going to be the people that want to take the opportunity to wear a cool, freaky look, who think ‘I’m not going to be the hot babe but this is going to be cool as hell’ – and then there’s going to be the people who cannot divorce themselves from the whole sexy thing.” In other words, attitude and spirit, not money or BMI, is what will make the best Met outfits this year. How refreshing, how revolutionary; how Comme.
With over 120 pieces in the Resurrection exhibition, the scale of Homage to Rei is impressive. “It’s a tremendous amount of work,” admits Rodriguez. “We figure we must have photographed and edited well over 300 images to be able to put them on the internet so people anywhere can see. Sometimes I look at these things and think, ‘Why am I doing this? It’s so much work!’ But it’s because I think it’s important and I love it. We just want to show people things that they might not have seen before.” Below, Rodriguez talks us through a preview of pieces that will be available to purchase in the forthcoming sale.
“I love this season with all the wildly colourful pieces. I’m not a real fur person so Comme’s faux fur is a perfect substitute. I love the disgustingly cute neon-ish bows. Rei has a way of making the painfully cute desirable.”
“One of my all-time favourite collections: romantic and tacky at the same time. We have a pair of black tulle bloomers from this collection that are perfection.”
“This is my personal jacket. I have many pieces from this collection and buy when I can. The clothes, show, models were all perfect. I’d love to know what music was played.”
“This collection is full of blankets. I’m always trying to figure out how I can stay as close as possible to my PJs and favourite blanket. Rei made that fashionably possible with this collection.”
“What’s not to love? Super rare, just amazing. A great example of how she’s able to deform the figure through clothing but somehow it’s still very beautiful and very feminine too, with the palette and the gingham. I can’t really think of anything in fashion quite like it, before it.”
“The ‘flat collection’ was a really game changer. If you look at that collection and then you start to look at what’s happened since, every time it’s become more conceptual but in such a grander way. There’s elements of those other designers here [Westwood’s Seditionaries jackets and Margiela’s Doll & Flats collections]. Usually someone does something challenging and if there’s some sort of reference to it it’s watered down. And what’s so interesting about Rei’s flat collection is it really takes it to another level, which not many people are able to do. It’s sort of like taking the baton and keeping the race going. There’s nothing dumbed down about it. At that time new had to be 3D, it was supposed to be some crazy complicated thing, but she made new flat and felt. It’s just another example of really comes down to talent.”
“The actual gowns they made to then take apart for this collection are so beautifully done. I love this collection because it sits between the really Victorian, femme stuff from Comme and men’s tailoring. I’m one of those people who loves really feminine things or very masculine things – I don’t really fall in the middle.”
Homage to Rei: 40 Years of Comme des Garçons opens April 18, 2017, at Resurrection Vintage, NY and online.
HOMAGE TO REI: 40 YEARS OF COMME DES GARCONS
We are excited to announce that our friends at Vogue.com have released an online feature and preview of Resurrection’s upcoming presentation Homage To Rei: 40 Years of Comme des Garcons.
Our Comme des Garcons show opens Tuesday, April 18th exclusively at Resurrection New York and will display over 100 retail pieces. Our complete online presentation launches 4/18/17 only at ResurrectionVintage.com.
Looking for MET help? Contact Stylist
“I don’t know where else you’re going to go where you can see 100 pieces of Comme des Garçons that you can try on. I don’t,” says Katy Rodriguez, co-founder of vintage mecca Resurrection, in reference to an in-store exhibition opening April 18 at the company’s newish outpost on Great Jones Street. Timed to capitalize on the CDG mania sparked by the Met’s upcoming exhibit, “Rei Kawakubo/Comme des Garçons: Art of the In-Between,” Resurrection’s display will include looks by Junya Watanabe and Tao Kurihara, who have worked under the larger Comme des Garçons umbrella, in addition to displaying for-sale pieces designed by Kawakubo between the 1980s and today. “There’s some really great stuff,” says Rodriguez, “so we said, ‘You know what? Let’s just do it all.’ ”
Rodriguez has been buying Comme des Garçons—for business and pleasure—since 1996 when she and Mark Haddawy founded Resurrection. (Evidently it was a good year: Rodriguez considers “Flowering Clothes,” Kawakubo’s Fall 1996 outing, a “perfect” collection.) “It’s just one of those things,” muses the buyer. “I guess I just liked it from the time I was a kid. I grew up in San Francisco, and at that time, that type of dressing was really popular. The Japanese things really hit California—both San Francisco and Los Angeles—in a major way. I think a lot of Hollywood people and a lot of arty people gravitated to it; it fit that West Coast [vibe].”
In fact, the market has not only shown that Comme des Garçons has a wide appeal, but, unlike many brands that emerged in the 1980s, it has been able to stand the test of time in a changing vintage industry. Here, Rodriguez shares her unique perspective on that business, the role Kawakubo has played in altering the collectible clothing market, and how Comme des Garçons has changed in the 21 years she’s been buying it.
On museums versus archives . . .
We work with the Met; we love them. When [the curators] come down to Resurrection, they bring their gloves and the whole thing. Those presentations they do up there are the best; they’re stunning. Something about seeing the clothes like that, and the grandeur of it is obviously exciting, but there’s also something really fun about being able to interact [with the clothes], to be able try them on, turn them inside out and see how they were constructed, buy them. We’re sort of there to do that. Especially now, with social media and fashion magazines and all of these iconic images online, to get to see the [actual] clothes, or even just seeing the evolution of the old labels. If you’re clothes geeks like we are, that’s exciting.
On the ways Comme des Garçons has changed the historic and collectible clothing industry . . .
Comme des Garçons is one of the few brands that we buy consistently all the way through. I don’t care when it’s from; it doesn’t have to be 10 years old, or 20 years old, all those old signifiers. . . . It’s really weird at this point to say that what we do is vintage, because I think the connotation is completely separate from what we do, [which] is buy and sell design. Comme des Garçons is one of the brands that made [that] okay in our world. A company like Comme des Garçons allowed me, a buyer, to kind of jump off [a] script [that said], “This what vintage people do. This is what a vintage store looks like.” You could just see [the value and importance of Comme des Garçons]. It was so obvious. You would see the glove collection or something and it was like, Duh! We’re just going to buy this now because everybody’s going to want this next year—and every year after that.
On Rei Kawakubo . . .
In 21 years, I’ve met everybody, but I’ve never met Rei. She’s such an enigma. I don’t really hear a lot of backstory about what happens at Comme des Garçons, like I hear what’s going on at every other house because of my job. I don’t know how involved she is; I just know that it’s still so progressive. Most people just rest on their laurels; they get that signature thing. That’s the whole point, right? Design things that everybody wants and then make it over and over for 800 years, tweak it a little bit, and that’s how we make money. That’s really how [the] business operates, so it’s pretty astonishing really what Kawakubo’s done. There are so few brands—designers, houses, whatever—where there’s total signature integrity.
We look at all these old clothes that get offered to us, and every once in a while there’s something new. You see it and go, “Oh, okay, that’s important. I can totally see that everybody’s going to want that in 10 years.” Comme des Garçons consistently [provokes that emotion]. I think that’s a very Japanese thing: The future, the past, it’s all kind of built into one. I think that’s something Kawakubo—really all of them under the Comme des Garçons label—do really well. I think it’s an inherent part of their designs and they really do stand alone in that way. Even more so now with these later [Comme des Garçons] collections where a lot of the stuff seems not easily wearable, and it seems very “for the runway.” It doesn’t really feel like very many other people are doing concepts, are willing to do concepts that probably won’t sell. But 10 years from now, people will learn a lot from them, and they’ll be able to see [those] things in a completely different way.
On how Comme des Garçons has changed over the years . . .
For me, the most obvious [change] right off the bat is the materials. The technology of the fabrics has really changed. The early stuff is way more natural; [now it’s more about] plastic and polyesters. At this point it seems like [Kawakubo] is really challenging the idea of wearability in a different way. In the 1980s [Kawakubo’s designs were] more personal. They would challenge me to wear something different, unusual, unconventional—all of that stuff. The shows she does today, I feel like they challenge the world at large. I don’t feel they are quite as much directed at me, the buyer, the person who is going to come in and buy something off the rack, like it was previously.
On how vintage is bought today . . .
It’s been really interesting how [our industry has] changed over 21 years. People just want something great. I don’t think they really care if it’s 30 years old or 40 years old; they just care that it has some sort of iconic weight and that it’s good design. Younger people are not doing Ossie Clark or Thea Porter or even the classic Versace; they don’t see it in that way anymore, and I think it’s really cool. I think that this industry really needed that.
You can still go into a mom-and-pop vintage store, and it can still be cool and fun in that way that it’s always been—kind of like going into an old book store—but [young people] are looking at totally different designers. They’re looking at Raf Simons and Helmut Lang and Comme des Garçons and Ann Demeulemeester, as opposed to looking at Versace, Mugler, Alaïa. They don’t even bother with that. I would say that Comme des Garçons is definitely a designer, a house—at least from our perspective—that broke that barrier because it just it was sort of timeless, and you could see its importance in its moment.
We’re super excited to see the never before seen Comme des Garcons shows posted on Vogue.com. While we have many favorites SS 1997 Body Meets Dress, Dress Meets Body aka Lumps and Bumps is still classic. A lot has been written about the collection so let’s skip the prose and get down to the images. The detail shots posted on Vogue are our new favorites.
We are excited to announce Resurrection’s forthcoming collection of archival Commes Des Garcons (1980 – 2016) opening Tuesday, April 18th. Resurrection will pay homage to the upcoming Metropolitan Museum of Art’s exhibition honoring Rei Kawakubo with over 100 pieces of the designer’s groundbreaking clothing, and rare ephemera. Our Homage to Rei collection will be on display and for sale exclusively at our boutiques and online store.