Kei Ninomiya:
Objects of Desire
by Jek Woo
Objects of Desire
by Jek Woo
Anyone who has interacted with Kei Ninomiya will know that he is a man of few words, curt and to the point. Paradoxically, he is strangely expressive through fashion. Hailed as one of the most evocative and unique designers of our generation, he speaks volumes through his designs. It is definitely no coincidence that his most important aim is to constantly seek out ‘new forms of expression’, ones that are ‘new, surprising, and free’.
A rising star, the 32-year-old designer joined the Comme des Garçons group and launched his debut collection in October 2012, after meeting and working for designer and founder of Comme des Garçons, Rei Kawakubo in 2008. Under his belt is a degree in French Literature in Tokyo from the Aoyama Gakuin University—a curious choice, though this background and training has never been cited as an influence in his current practice.
"I find it more interesting and exciting to discover something new rather than to achieve what has been expected to be made."Kei Ninomiya
Ninomiya’s line ‘noir kei ninomiya’ delivers through the poetic nature of black. The depth of colour serves as a canvas for him to communicate a world of emotion, unearthing a trove of creative possibilities. One might assume that inspiration and ideas come to him easily. But Ninomiya clarifies that ‘there [has not been] inspiration from anywhere,’ that his work is ‘the result of formulas and repetitive studies’ and ‘manual labour’.
Experimentation is the foundation of his design, and creative ‘accidents’ often arise as a result. Patterning then is an essential step, drawing out a complex plan communicated simply to his manufacturers. In this manner, Ninomiya is a craftsman first and foremost, his interaction with material the fundamental basis for creation. This manipulation and technical discovery of material is his unique language of portraying the beauty of black. Ninomiya cites his experience with Rei Kawakubo as ‘the most valuable experience’ in the creative workplace, essential in shaping the nomenclature of this language.
This language creates what seems, at first sight, a dissonance in his collection. Garments appear as though sculptures, almost structural without the necessity of a wearer. Yet, on the body, they behave like armour, shielding the wearer with its volume and depth, while embodying an inherent fluidity and femininity. This unexpected movement is a consequence of Ninomiya’s incredible material innovation. Forgoing most traditional stitching techniques, he creates three-dimensional modules, riveting them at specific joints to create a piece. This allows his garments to maintain integrity of shape without imposing it on the wearer. Both the hard and the soft are elegantly expressed through a single garment.
When asked about this expression, Ninomiya stated that it was not a conscious statement, but that ‘he would like to be powerful in both [elements]’. Perhaps Ninomiya truly gives himself to the craft, concerned more with what his process of making says than the statement of a piece heading down the runway. Whether critics and consumers of fashion see them as art, as couture or as a technical exercise, Ninomiya intends them first and foremost as clothes, and seeing them on ‘real women, doing real work’ is simply amazing.
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