Indubitably most famous for his wonderful work with Lady Gaga, Joji Kojima is one of those high fashion darlings destined for greatness. Having only established his brand in July of this year (Formally he was Rupert Kojima of Hotel Gluttony) he is something of an up-and-comer, but already with a hugely established fan base. I am not sure whether to classify his output as art or jewelry, his work can be worn and it is certainly not a costume, but on the other hand it is hardly practical. Also try as I might I haven’t been able to grab a price list for the pieces below, so I have no idea about the, shall I say, accessibility of his accessories. Regardless I have booked some time into my Fashion Week itinerary to check out his exhibition at Restir Midtown in Akasaka – and I promise I will give you an in-depth look then.
I love the macabre atmosphere that surrounds his work and what the picture above does not convey is the sense of movement that accompanies his pieces. Whether it is slightly loose chains rattling or the skull ring above bobbing menacingly up and down on its stem-like stand, his jewelery has an impact far beyond the its static form. While I can certainly appreciate these as art, there is a far bigger part of me that wants to wear them – that is after-all their function.
I think I could just about get away with the magnificent shaped skull necklace in the centre and I would take great delight in making that a feature of any given outfit. But the rings I have selected above are quite simply that bit too fragile to wear outside of a party or photo-shoot. Maybe it is just me, but I find that quite frustrating that if they were just that little bit smaller and made of slightly sturdier materials that I could wear them quite happily. I do appreciate them as art, as impact, but they sit in a no-mans land between an object difficult to display and something to wear. My problem with so much high fashion is:
You only appreciate how beautiful the art is when it is worn,
You cannot wear it.
So why not make sculpture? Or am I to have disembodied mannequin hands littering my home to display this work on? Maybe the solution would be toned down versions for public wear, but is that abandoning the spirit of the catwalk as opportunity for art. Well, I might just have to go back to appreciating Jojo Kojima’s work from a distance and accept I may never wear it – maybe it only bothers me because I want to so much.
Oh well, at least ol’ Gaga can…