There was a sort of unintentional correspondence between Aganovich's Haute Couture S/S 19 collection, showcased in Paris during the local high fashion week, and the headpieces created by Japanese hair artist, head prop designer and wig maker Tomihiro Kono (河野富広) to complement the designs.
Both garments and wigs seemed to hide indeed a sort of duplicity: the clothes looked at times unfinished or mixing two patterns and prints together in the same designs.
In the same way the half wig/half mask headpieces were in some cases integrated into the designs or used in a decadently decorative way, almost as ties and bows.
Tomihiro Kono actually devised the idea of wig-cum-mask a few months before this show, while experimenting on his avant-garde wigs, and the headpieces ended up accessorising the garments in a striking way.
The main narrative behind the show - the second since the French Chambre Syndicale de la Haute Couture invited Nana Aganovich and Brooke Taylor to become pat of the high fashion schedule - told the story of a woman on a journey.
The latter could have been interpreted in many different ways: it could have been a journey through space, so from one place to another, or through the runway space - a carpenter's workshop - with models walking along the machines.
But it was also a journey through time, since the designs included historical references and Victorian moods (see the black gowns that wouldn't look out of place in a Gothic fantasy series à la "Penny Dreadful") and details such as the shoulder construction or the feather elements on jackets and skirts, combined with more modern, almost punk, touches.
The journey through time theme was also evoked by the treatments imposed on the fabrics that at times seemed to have been bleached or reduced to pale ghosts of their previous selves.
Last but not least, this was a personal journey through a multiple personality in constant evolution: we all change, the designers seemed to say, and that's why the models often donned clothes with unfinished hems that unravelled behind them, or represented a wide range of characters, from younger punks and rebels, to romantic yet strong girls (check out the white dresses with feathery hems matched with boxing style boots kept together by safety pins...), women ready to fight and more mature ladies, elegant and maybe finally happily content in their hearts.
The design duo employs for these designs the same patterns of their ready-to-wear collections, but the materials are different and more luxurious when it comes to Haute Couture: gold paint decorated for example a white shirtdress and refined textiles by Venetian Rubelli (for that Sofia Coppola's "Marie Antoinette" touch) were used for a sleeveless gown (Aganovich already used Rubelli's fabrics in their previous Haute Couture collection).
Tomihiro Kono's veiled masks hid, revealed and constricted the models' heads adding a mysterious edge to the collection.
The main theme of the collection was a woman's journey: did this inspiration reflect also in your headpieces?
Tomihiro Kono: Not really. I proposed my idea of using partial hair attached on masks 6 months ago to a designer. The theme of my pieces was Anglomania - so I combined punk, the looks of British fanatics and maniacs, mohawks, suede cuts, hairstyles inspired by the curly wigs of High Court Judges and 18th century styles. The idea was mixing royalty with eccentricity. That's why I also bleached hair partially to get some worn-out effect that matched the textures of clothes and I dyed the wigs unevenly mixing different colours.
Compared to the previous Aganovich Haute Couture collection in this one your wigs seem to have expanded into the clothes: in some looks they were used as ties or they seemed to be integrated into the clothes. Do you feel this is a new development and direction for your wigs? Do you see them becoming part of the actual outfit, rather than just something used to accessorise it?
Tomihiro Kono: Soon after I started wig-making I realised that wigs can be attached anywhere - so they don't need to just stay on the head, but they can be reinterpreted as expansions. In this case it was a positive collaboration between clothes and hairstyles. For a unique show like this one a wig can become an integral part of the clothes to create a strong character that may reflect the designer's vision. It may become also something interesting to see for the audience, something that adds a little bit of fantasy. Besides, historically speaking, hair was used as a part of costumes, so it can also be employed in a ritual way like an amulet, an accessory. Last but not least, think about the hair used as part of a warrior's clothes.
Which was the most difficult piece you made for this collection in terms of technique or materials?
Tomihiro Kono: These two pieces. Colouring the hair was a very difficult process as I used bleaches. I didn't want to damage the piece but I needed the effect.
Will you be working on any new exhibitions/installations soon?
Tomihiro Kono: In early April I’m producing an installation exhibition at the Kuukan Space in Yoyogi-Uehara, Tokyo, in collaboration with Tatami Antiques. The concept being the exhibition is Japan, Spring and Hanami (cherry-blossom viewing). I will be exhibiting some wigs and head props especially made for this exhibition. You will soon find further information about it on my site, www.konomad.com, so stay tuned!
Image credits for this post
Wigs by Tomihiro Kono; all images in this post courtesy and copyright Konomad.
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