Also, Issey Miyake, who presaged Kawakubo and Yamamoto in the west, was designing in the early 1980s with a sensibility that illustrated a dhared vision (although, by the end of the decade, Miyake’s work was clearly different from theirs). On some occasions, their aesthetics were so new that each designer’s work was hardly distinguishable from the others’, as seen in a pair of editorial spreads that appeared in American Vogue in April and July of 1983. In the April publication, work by these three designers appeared separately in photographs by Irving Penn, but the clothes, in a predominantly dark palette with loose, unconstructed silhouettes, were somewhat indistinguishable. That July, the portrayal of the Japanese triumvirate was even more daring and evocative than in the previous editorial spread. In contrast to those taken in Penn’s sterile studio, the photographs by Hans Feurer were taken outdoors and featured models, solo and in groups, as well as details of the clothing. The models’ odd eye makeup (ombré’d masks made from a gradation of blue shadow, or a solid horizontal line across closed eyes and continuing across the face) and their wind-blown, swirling manes evoked a sense of boundless freedom as they moved briskly past the camera.
-Japan Fashion Now - Formalism and Revolution : Rei Kawakubo and Yohji Yamamoto - In praise of Shadows : Convergence and Divergence by Patricia Mears
It’s very refreshing to finally know the context of photos you’ve seen reblogged a hundred times.