For the third time in a row, during Paris Fashion Week, Kunihiko Moriniga played with our received wisdom on garments.
From the name of his brand mixing reality (Real), the incredible (Unreal) and the age (Age), we understand that he would like to dive us in a period between tangible and intangible but it is through experiencing the show that we really get his universe.
This year, for the Spring/ Summer 2016, the Japanese designer offered a whole collection made of photosensitive textiles, forcing the audience to stretch their hands holding flashing smartphones to reveal patterns and shades of primary colors.
Some will ask: Is this Fashion? Or is it just a spectacular dramatization of an industry critic? Is it a gimmick-show tailored to spill blogger’s ink?
If we summarize the Anrealage show to a mere wish to show to a gaggle of journalists that a fashion show is more about the personal experience than about the snapchat story, it is reducing the designer to a moralistic philosopher.
Here we have something else, something that deeply settle Kunihiko Moriniga into Fashion Tech, despite what the critics have to say, we find here a deep thinking on the textile.
“Reflect light, it gives a new light. Reflect reality, it makes a new reality.”
By partnering with a society specialized in reflective paint, firstly intended for markers and construction signs, Kunihiko Moriniga innovate. He innovates He distorts and twist other fields into fashion, therefore he innovates. He innovates because he succeeded to combine technical properties to aesthetic pursuit.
To those who were disappointed by the dressmaking or by the personality of showcased designs (which can be qualify as simplistic since we have references to origamis, to reflections…), I remind them that in February of 1966, from the hands of Paco Rabanne, it is a common three hole minidress that made history.
But they will say: innovation was in the fabric.