Paris, Milan and New
York should be getting nervous anytime now. It's the Asia Collection '99 Grand Prix
Fashion Show held every September at Makuhari Messe that should be the cause of their
worries. Margaret Dickinson reports on the intoxicating fashion displayed that night by
designers from all over Asia.
Photos by
Derek Wills
Among the sights to see in Japan, fashion is hardly the least of them. From the kids who
look like they just recorded an album with an indie rock label to the phenomena of the
girls with oversized socks, the message is loud and clear: Japan is style-conscious.
Apparently Japan is not the only Asian country to have a clue when it comes to fashion,
though. Makuhari's show made this a fact by featuring the works of designers from 13
different Asian countries including China, India, Indonesia, Japan, Korea, Mongolia,
Pakistan, the Philippines, Singapore, Taiwan, Thailand, Turkey and Vietnam. This grouping
of countries made for a diverse display of rich, vibrant colors and eclectic style.
Despite this diversity, though, there was a common thread, so to say, running through the
works exhibited that night: a strong sense of Asian influence among the designs. From the
colors and textiles used to the cut of the clothing, it was apparent that many of these
designers had their heritage in mind when they put pen to paper and began creating. Rather
than seeing the same blase, pouting face of the fashion industry, onlookers were exposed
to something new and fresh, with a little bit of history mixed in for good measure.
"I enjoyed seeing works by Asian designers," said Elizabeth Corley, a member of
the audience that night. "It's something that you don't see very often, something
different."
That
night, the fashion didn't just look good, it actually did what fashion is supposed to do
and made a statement. One example of this was the piece by Pakistani designer Mohammed
Amir. His creation was a white gown with a veil - standard dress for a strict Islamic
woman - complete with eye slits and all. There were a few things that weren't so standard
about this dress, though. It was sleeveless, for one thing, and the skirt, although it was
long in the back, was cut halfway above the knee in the front. Then there were the holes
cut into the material which exposed the hips. Something says this one wouldn't go over too
well with the Taliban. However funny it may sound, there is a grim reality behind it. If a
woman were to wear this in a country with fundamentalist Islamic rule, she would surely
face tragic consequences.
Yoshida Keiko, another onlooker, remarked on the Pakistani piece, "I think it was
interesting because that particular designer went against the culture of his country,
while some designers reflected theirs. Still others didn't incorporate their culture at
all into the pieces."
Some of those that perhaps didn't draw so much on their past but definitely explored the
outer realms of fashion were the pieces by the Singapore designers. Cynthia Ng Meng Sim
designed a piece that somewhat resembled a large wearable crepe paper ball. It sounds odd,
but it actually looked quite exquisite. Her fellow countrywoman, May Ng Wai Leng, created
a pink tarp-like wraparound dress which was covered with designs reminiscent of henna
tattoos. It seems that these two were inspired by another innovative Asian designer, Issey
Miyake.
Pakistan continued to push the envelope with Zareen Humayun's creation, a piece that
looked like a traditional Indian or Pakistani dress, except that the skirt was transformed
into an interesting pair of pants. Another Pakistani, Shella Hahim, created a costume that
also included traditional garb but on the back was an apparatus that resembled a large
leaf. It made the model look somewhat like a Hindu goddess.
Apparatus seemed to be popular that night. Models wore head coverings, facial coverings,
even hand coverings - not gloves, just material that covered their hands. The most bizarre
was the "hat" that Mongolia's Chimeddamba Odgrel created which could have been
inspired by the flying nun. It was a cap with a tall antenna-like thing sticking out of
the top with blue wings fanning out on the side. The most beautiful accessories were the
beaded pieces by the Philippines' Ramil G. Noveda and Thailand's Siroj Chaisam. Noveda
created a beaded mask-like accessory that covered half of the face. Chaisam's iridescent
beaded head covering seemed inspired by the twenties' flapper fashion.
When most people think of fashion, pretentiousness usually comes to mind. Although this
show was not completely free of that nose-up-in-the-air quality, stuffiness wasn't such a
strong theme. "I liked how it was in an auditorium-like setting. I think that made it
less snobby than, say, if it were at some venue on a side street in Paris," said
Corey Slagle, another attendee. More than location, it was some serious talent that took
the place of pretentiousness that night.
The Asia Collection 2000 Makuhari Grand Prix Fashion Show will be held next September
at Makuhari Messe. For further information contact the Chiba Convention Bureau
(043-297-2751) or check out www.sphere.ad.jp/ccb/
That
night, the fashion didn't just look good, it actually did what fashion is supposed to do
and made a statement. One example of this was the piece by Pakistani designer Mohammed
Amir. His creation was a white gown with a veil - standard dress for a strict Islamic
woman - complete with eye slits and all. There were a few things that weren't so standard
about this dress, though. It was sleeveless, for one thing, and the skirt, although it was
long in the back, was cut halfway above the knee in the front. Then there were the holes
cut into the material which exposed the hips. Something says this one wouldn't go over too
well with the Taliban. However funny it may sound, there is a grim reality behind it. If a
woman were to wear this in a country with fundamentalist Islamic rule, she would surely
face tragic consequences. 
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