<\/p>\n
\n\tPARIS \u2014 While shopping can sometimes be an endurance sport, Le Bon March\u00e9 is introducing a new layer.<\/p>\n
\n\tThe Paris retailer will host its very first women\u2019s fashion auction, partnering with P\u00e9n\u00e9lope Blanckaert\u2019s Penelope\u2019s Auction House to sell archival Japanese designer fashion, including pieces by Rei Kawakubo, Yohji Yamamoto and Issey Miyake.<\/p>\n
\n\tUnlike conventional shopping, bidding can offer a little thrill of competition and connection that a regular purchase may not.<\/p>\n
\n\t\u201cWhen you win a piece at auction, the experience is even more exciting than simply buying something. You can tell the story of how you fought to get that particular piece,\u201d Blanckaert said.<\/p>\n
\n\tThe sale will sit within \u201cSuper Japon,\u201d a store-wide offering that spans everyday Japanese culture, from convenience store items to accessible gastronomy, which opened in August.<\/p>\n
\n\tThe items up for auction go on exhibit in the store on Monday for one week leading up to the Oct. 18 sale date.<\/p>\n
\t\t\t\t\tComme des Garc?ons x Junya Watanabe fall 2009 collection.<\/p>\n
\t\t\t\t\t\t\t\t\tCourtesy Photo<\/p>\n
\n\tFor Le Bon March\u00e9, the auction will offer a way to bring a specialist collecting market into a department store, creating an event that combines an exhibition, shopping and a live experience.<\/p>\n
\n\tIt will also allow the retailer to present brands outside of its conventional assortment, drawing on Blanckaert\u2019s expertise and network of private collectors.<\/p>\n
\n\t\u201cThe idea was also to build on the fact that Le Bon March\u00e9 has always been a pioneer when it comes to in-store experiences and curation,\u201d said Le Bon March\u00e9\u2019s director of women\u2019s fashion Isabelle Fine.<\/p>\n
\n\tBut in an increasingly crowded landscape of pop-ups, brand activations and cultural programming, an auction can add a new dimension to the retail experience.<\/p>\n
\n\t\u201cI also wanted to bring a physical auction into the store because it offers a new way of interacting with customers,\u201d Fine added. \u201cI was interested in this approach to buying clothing as an object, and in the emotion that an auction experience can create.\u201d<\/p>\n
\t\t\t\t\tIssey Miyake x Yasumasa Morimura fall 1996 collection.<\/p>\n
\t\t\t\t\t\t\t\t\tCourtesy Photo<\/p>\n
\n\tBlanckaert and Fine wanted the sale to be accessible beyond established collectors, with a range of pieces and price points, so bidding starts at below 100 euros. The ambition is to bring auction culture into the store without turning it into an exercise in exclusivity.<\/p>\n
\n\t\u201cThere is a heritage and museum-like dimension to the project. But I wanted to make it more inclusive and democratic,\u201d Fine said. The pieces are curated with an eye toward also being on exhibit, not just for sale.<\/p>\n
\n\tIn the 1980s, when Parisian fashion was all power shoulders and cinched waists, a group of Japanese designers arrived with black clothes, asymmetry, holes and new silhouettes.<\/p>\n
\n\t\u201cTheir work was unsettling. It wasn\u2019t immediately understood. Today, these things no longer seem so shocking. But in the 1980s, they were genuinely radical,\u201d Blanckaert said.<\/p>\n
\n\tBut four decades later, their work is among the most coveted in vintage fashion.<\/p>\n
\n\t\u201cJapanese fashion is particularly relevant at the moment, perhaps partly in reaction to what we see at major fashion houses, where creativity is often governed by marketing and consumer demand,\u201d she said.<\/p>\n
\n\tJapanese designers operate on their own terms, she added, presenting a vision rather than tailoring it to commerciality. That uncompromising approach has helped move their work beyond the cycle of trends.<\/p>\n
\n\tThe auction is centered around Miyake, Yamamoto and Kawakubo, with additional pieces by Junya Watanabe, Kansai Yamamoto and Undercover. Most of the pieces are from the 1980s through the 2000s, with a few newer items. Among the highlights are pieces from Comme des Gar\u00e7ons\u2018 groundbreaking \u201cPirates\u201d collection from fall 1981.<\/p>\n
\n\tFor Blanckaert, the legacy of Japanese fashion goes beyond nostalgia.<\/p>\n
\n\t\u201cEarly 1980s Japanese fashion is particularly sought after because production was relatively limited at the time. With designers, the early pieces are often the most desirable because they\u2019re the rarest,\u201d she said. \u201cYet these garments can also be surprisingly wearable.\u201d<\/p>\n
\n\tBut their appeal isn\u2019t purely archival. Blanckaert pointed to the \u201cPirates\u201d collection, with jackets of woolen knits and felt with relatively straightforward construction. They are unmistakably Comme des Gar\u00e7ons, yet surprisingly easy to imagine mixed with modern Saint Laurent, for example.<\/p>\n
\t\t\t\t\tEnsemble Comme des Garc?ons x Noir Kei Ninomiya 2022 collection.<\/p>\n
\t\t\t\t\t\t\t\t\tCourtesy Photo<\/p>\n
\n\tThe pieces also follow the designers\u2019 evolution from the straightforward blacks to use of color to increasingly sculptural shapes.<\/p>\n
\n\t\u201cSometimes you look at a garment on a hanger and don\u2019t quite understand it. But as soon as you put it on, everything falls into place,\u201d Blanckaert said. \u201cThat\u2019s another interesting aspect of Japanese fashion: the relationship between the body and the garment.\u201d<\/p>\n
\n\t\u201cThese designers were pioneers in exploring gender, the relationship between clothing and the body and deconstruction. These are all themes we see in many collections today,\u201d Fine added.<\/p>\n
\n\tThe pieces were sourced through Blanckaert\u2019s network of former clients and private collectors. In 2011, she organized the first auction dedicated to Japanese fashion. At the time, the category was still relatively untested. Today, Japanese designers are firmly established on the vintage market and early examples can command extraordinary prices.<\/p>\n
\t\t\t\t\t Comme des Garc?ons 1997.<\/p>\n
\t\t\t\t\t\t\t\t\tCourtesy Photo<\/p>\n
\n\tThe initiative comes at a moment when fashion exhibitions are attracting audiences well beyond the traditional museum crowd, Blanckaert said. As more institutions devote space to designers and their archives, clothing is increasingly understood as a cultural artifact rather than simply a commercial product.<\/p>\n
\n\t\u201cFashion exhibitions attract different audiences, particularly younger people. Young people today are very curious about fashion history,\u201d she said. \u201cThey might be less interested in, say, Old Master paintings or 18th-century art, but an exhibition about Balenciaga\u2019s creations can be a much more accessible way to draw them in.\u201d<\/p>\n
\n\tFor Blanckaert and Fine, the live and online bidding will be an experiment. <\/p>\n
\n\t\u201cThat will be part of the fun and suspense of the auction \u2014 seeing who ends up with each piece. Collectors might find themselves competing with private buyers,\u201d Blanckaert said.<\/p>\n
\n\tFine added that this is a test for the new format of combining curation, commerce and competition within the department store experience. If it is successful, there are plans in the works for additional exhibition-slash-auctions in the future.<\/p>\n
#Bon #March\u00e9 #Hosts #Japanese #Fashion #Auction #Featuring #Iconic #Designers<\/p>\n","protected":false},"excerpt":{"rendered":"
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