The Unseen Layers of Comme des Garçons: A Collector’s Passion and the Future of Fashion Auctions
There’s something profoundly intriguing about a brand that defies easy description. Comme des Garçons isn’t just fashion—it’s a philosophy, a rebellion, a whisper of the avant-garde. So when I heard about Octavius La Rosa’s upcoming auction of 265 rare pieces from his 4,000-item collection, I couldn’t help but think: this isn’t just a sale; it’s a cultural moment.
What makes this particularly fascinating is how La Rosa’s collection challenges our perceptions of the brand. Alex Baddeley, the auctioneer, describes Comme des Garçons as “subdued wearable base layers” and “forgiving”—words rarely associated with Rei Kawakubo’s deconstructed, often provocative designs. But here’s the thing: Comme des Garçons has always been a paradox. It’s both avant-garde and wearable, radical and timeless. La Rosa’s collection, spanning from the 1970s to the 2000s, captures this duality perfectly.
From my perspective, this auction isn’t just about selling clothes; it’s about preserving history. La Rosa’s passion for the brand is palpable—he’s not just a collector; he’s a curator. His decision to part with the “crème de la crème” of his collection to fund his Dot Comme business expansion feels like a strategic sacrifice. It’s a reminder that fashion, at its core, is about evolution.
One thing that immediately stands out is the estimated prices. A black polyurethane raincoat from the ’80s? £500–£700. A wool pantsuit from the “Pirates” collection? £800–£1,200. These aren’t just garments; they’re artifacts. And yet, what’s striking is how accessible these prices feel compared to the astronomical sums fetched by other luxury brands. Comme des Garçons, it seems, remains rooted in its anti-establishment ethos, even in the auction house.
What many people don’t realize is how much Comme des Garçons has influenced modern fashion. Kawakubo’s “Broken Bride” collection from 2005, for instance, wasn’t just a runway show—it was a performance, a provocation. La Rosa’s inclusion of pieces from this collection in the auction is a nod to its emotional and cultural impact. It’s a reminder that fashion can move us, not just clothe us.
If you take a step back and think about it, this auction is also a reflection of broader trends. Baddeley notes a surge in interest in Japanese design, and Comme des Garçons is at the forefront of that movement. But it’s not just about Japan; it’s about the global appetite for fashion that challenges norms. In a world where fast fashion dominates, Comme des Garçons stands as a counterpoint—a brand that never plays it safe.
This raises a deeper question: Why do we collect fashion? For La Rosa, it’s not just about owning pieces; it’s about storytelling. His plan to open a resource center for fashion historians and designers in Paris underscores this. He’s not just selling clothes; he’s building a legacy.
A detail that I find especially interesting is how La Rosa sourced his collection. Thrift shops in Japan? Online auctions? It’s a far cry from the glamorous image of high-end collecting. But it’s this grit, this dedication, that makes his collection so authentic.
What this really suggests is that fashion collecting is becoming more democratized. Baddeley mentions that fashion auctions are attracting individual collectors, not just museums and dealers. This shift is significant. It means that fashion history isn’t just preserved in institutions—it’s lived, worn, and cherished by everyday people.
Personally, I think this auction is a turning point. It’s not just about Comme des Garçons; it’s about the future of fashion as a collectible art form. La Rosa’s passion, combined with Baddeley’s curation, has created something rare: a sale that feels both deeply personal and universally significant.
In my opinion, the real value of this auction lies in its ability to inspire. Whether you’re a fashion historian, a designer, or just someone who appreciates creativity, there’s something here for you. Comme des Garçons has always been about pushing boundaries, and this auction is no exception.
As I reflect on this, I’m struck by how much fashion can tell us about ourselves. Comme des Garçons isn’t just a brand; it’s a mirror. It reflects our desire for innovation, our need for self-expression, and our longing for something that feels truly unique.
So, as the gavel falls on September 15th, I’ll be watching—not just as a commentator, but as someone who believes in the power of fashion to shape culture. Because, in the end, that’s what this auction is really about: not just selling clothes, but selling ideas. And in a world that often feels homogenized, ideas are the most valuable currency of all.
