Lifestyle
This L.A. couple kissed on a bridge and went viral. Now they're getting married
• Trino Garcia and Adam Vasquez, known on social media as TrinoxAdam, went viral when their kiss on a bridge was shared by photographer Henry Jiménez Kerbox.
• Today, with more than 2 million followers on TikTok, the Angeleno couple is challenging perceptions of masculinity, sexuality and Chicano culture.
• On Nov. 30, the two will get married, after nearly 20 years together, in a celebration in downtown L.A.
In May 2023, Adam Vasquez and Trino Garcia walked across a bridge overlooking the 110 Freeway, right next to Sycamore Grove Park, feeling nervous and a little shy. It was their first time being photographed as a couple, holding hands and sharing a kiss in public.
Henry Jiménez Kerbox, a photographer with more than 7 million followers on TikTok, had seen them and asked to take their picture. Little did they imagine that the impromptu photo shoot would go viral, their tender moment resonating with millions on TikTok and Instagram. Now, people know the couple as TrinoxAdam.
On the side of Garcia’s face, “Adam” is inked on the right and “Mexicano” on the left. Vasquez’s face mirrors this, with “Trino” on the left and “Chicano” on the right. As Garcia rolls up the loose, baggy sleeves of his jersey, he reveals a tender tribute to his childhood, family and God — etched into his skin is Charlie Brown, the face of his daughter Natalie when she was a baby and a portrait of the Virgin Mary.
With their tattooed faces, piercings and street-style clothing, Garcia, 39, and Vasquez, 44, don’t exactly fit the stereotypical image of social media influencers. But with more than 2 million followers on TikTok, they’re breaking barriers and challenging perceptions of masculinity, sexuality and Chicano culture. Here, the couple, who live in Van Nuys, share the story of their journey from closeted teens to beloved internet personalities.
An instant crush — and a soul connection
Nearly two decades ago, in Bakersfield‘s Central Valley, Garcia, then 20, spotted a photo of Vasquez in a friend’s work locker and was instantly smitten. It took him a month to finally spot Vasquez’s contact information on a friend’s phone at a party. “I have a really bad memory, but that day, I remember it,” Garcia says. He borrowed a pen and wrote the number down on his hand. The next day, he called Vasquez.
Adam Vasquez, left, and Trino Garcia.
Before he met Garcia, everyone Vasquez hung out with was dealing with drugs in some way. Vasquez himself was addicted to crystal meth, which he’d begun using when he was 12. But when the two went on their first date, to a Del Taco, Vasquez says he saw in Garcia a lifeline to normalcy: “Everyone I associated with always did what I did. So I never had that outlet to escape that.”
On a later date, they’d planned to see a movie, but Vasquez’s body started to ache and shake due to withdrawal.
“I told him, ‘I can’t go inside,’” Vasquez says. “So he took me back to my place. I went beneath the table and made myself feel better.” As he continued using, Garcia waited “and stood by my side.”
In Vasquez, Garcia recognized a kindred spirit yearning for acceptance. Garcia had struggled himself, as a single dad to baby Natalie and in not being accepted by his family after coming out. “I was drowning,” says Garcia. “He was struggling with his own struggles, and it made me feel really connected with him.”
After a month of dating, they moved in together. Vasquez continued to battle his addiction; Garcia would catch him using drugs under the table or find drugs in his pockets. But the two stuck it out. For Vasquez, Garcia and Natalie were part of the motivation to stop using. “I had our daughter that I wanted to be better for,” he says.
Vasquez has now been drug-free for more than a decade, and this year marks the couple’s 19th anniversary. On Nov. 30, they plan to get married in downtown L.A. at Scam and Jam, a monthly throwback dance party and celebration of Chicano culture hosted at the Regent Theater. At the first-ever Scam and Jam wedding, Vasquez says the couple hope people will “just dance and vibe together to share this special moment.”
“It’s an honor to find somebody that you’re with for so long,” Vasquez says. “There are so many levels to us at this point: We are friends, we are lovers, we are homies, and most importantly, we are fathers.”
A family forged in love
When Vasquez entered Garcia’s life, Garcia’s daughter was just 2 years old. Raising Natalie as a gay couple in Bakersfield came with its own set of challenges.
When they went to parent meetings at Natalie’s school, Vasquez was always the “uncle,” because they didn’t want their daughter to have unnecessary attention or trouble. Once, a mother of Natalie’s elementary school classmate confronted Garcia, saying she thought Natalie should go to counseling because she was missing a mother in her life. Garcia was offended, but he also felt fear: “What if we did something wrong?” he would ask himself. He also worried Natalie might reject them, as other family members had done, for “a normal life.”
“I’m never ashamed of them,” says Natalie, now 21, though she has noticed the judgments of others due to her fathers’ appearance. For instance, when she went shopping with Garcia and Vasquez, people would follow them to make sure her dads weren’t stealing anything, she says. The stereotyping bothers her, but in school, “People actually found it really interesting and cool” that she had two dads. (She calls Garcia Papi and Vasquez Pops.)
“[Queerness] has been something normal in my life,” she says. Growing up, she was surrounded by Garcia and Vasquez’s friends and would go to Pride parades with them, holding a little rainbow flag. “I never felt I was missing out on something. I always felt content having my two dads, because they were just so involved in my life.”
“We raised her as two parents,” Vasquez says. “Trino was there with her to get her nails and hair done. I would work hard to make sure she had everything she needed.”
They also encouraged her passion for dance. When Natalie was a baby, Garcia would record her moving to music; later, he took her to dance classes.
Adam Vasquez and Trino Garcia dance alongside rapper Snow Tha Product at Beaches WeHo in West Hollywood.
“I wanted her to see life the way I didn’t see it,” he says. “I wanted her to dream big and express herself.”
That involved some sacrifices. Eight years ago, with just $3,000 in their pockets, the family moved to L.A. from Bakersfield so Natalie could get better opportunities in dance. Their first apartment, in Rowland Heights, cost $1,600 monthly. Vasquez, who was working at both Red Robin and Chili’s, transferred to the Whittier locations so he could have a better commute.
“I became one of the best servers at Red Robin and Chili’s,” he says.
Garcia, after taking Natalie to dance classes, would stay late to clean the studios to cover her tuition. He asked Natalie to join him. “I’d be like, ‘You’re working for your dance, so put pride in it,’” he says. “And we cleaned it together.”
Their dedication paid off — Natalie is now in her second season as a dancer for the L.A. Clippers. She also recently introduced her first boyfriend to her dads, who “have always been a big support system,” she says. “They were willing to drop everything they had in Bakersfield to come over to L.A. [for me to] pursue what I really want to do.”
The journey to self-acceptance
Growing up as the only sons in their Catholic families, Vasquez and Garcia both felt the weight of cultural expectations and religious beliefs.
Brenda Garcia, Trino’s second eldest sister, was the only one in his family who initially accepted his queerness. She said he was “quiet,” “sensitive” and “a sweetheart” as a kid. When their father saw Garcia was attracted to the “girls’ stuff” of his four sisters, he put him on baseball and basketball teams to make him act more like a “boy,” she says.
“Those kids were my brother’s bullies,” Brenda Garcia says. “He is just not a sporty guy, and I could feel so much pressure on him.”
In fourth grade, Garcia went to church to confess to the priest that he found himself attracted to other boys. The priest told him to pray, so he kept praying. As he got older, to be the tough Chicano man that his father wanted him to be, Garcia intentionally had “become bad,” says Brenda Garcia. He fought with other kids, had lots of girlfriends and started to smoke.
Throughout it all, “[my attraction to men] didn’t go away,” he says. “It wasn’t until my daughter was born that the reality told me I need to wake up” and accept who he was. It was then, at age 20, that he came out and left Oxnard for Bakersfield.
Adam Vasquez, left, and Trino Garcia have a sip while talking to each other outside of a friend’s house in Compton.
With three sisters, Vasquez also was the only boy in his family. His father left the family for another woman when Vasquez was little. “He had a baby with her and called that son the ‘junior,’ but I was his first boy,” he says. “There was a lot of anger and emptiness, so I turned to drugs to fill up the void.”
Baptized as a Catholic, Vasquez now identifies as Christian. He said he found it hard to pray when he realized his sexual orientation and that he got into drugs as he felt he had turned his back on God.
Vasquez says in many Hispanic families, having a gay son can be the worst shame, especially as the only son in a Catholic family. When he told his mother he was gay, her initial reaction was devastating: “I don’t have a son anymore.” He moved out that same day.
“I’ve been told this is wrong, but I’ve never been so happy in my life,” Vasquez says. “Why [is] loving this man going to send me to hell?”
Redefining masculinity
In a world that often equates gayness with flamboyance, Vasquez and Garcia stand out. Their appearance — tattoos, baggy clothes and a style rooted in Chicano culture — might challenge stereotypes about what it means to be gay.
But beneath the tough exterior lie hearts filled with love and a desire for acceptance. Their tattoos, far from being gang-related, depict flowers, butterflies and words like “love” and the name of their daughter. This juxtaposition of traditional masculinity and open vulnerability is at the core of their appeal. They’re showing a generation of young men that there’s no one way to be gay, no one way to be a man.
Their viral moment in 2023 catapulted them into the spotlight in a way they never expected. On the June day the video was posted, Vasquez was working at Chili’s. His notifications “just went crazy” with people sending likes and following the couple. Later that month, they went to L.A. Pride, and, for the first time, people started to line up and take pictures with them.
Trino Garcia during L.A. Pride at Los Angeles State Historic Park in June.
The attention has led to a sense of freedom for the couple.
Now, on Instagram, TikTok and YouTube, they perform lip-sync music videos, share their outfits and post daily life or travel vlogs. They’re using their platform to challenge stereotypes and promote acceptance, particularly within the Chicano community.
“We’re being transparent, and we’re not hiding in the closet anymore,” Vasquez says. “We’re going outside, going to places where we shouldn’t be embraced. But people are finding the love in us. Because we could be their uncle. We could be their son.”
During this interview at a Starbucks in Van Nuys, a young girl approached, her eyes wide with recognition. “Are you Trino and Adam?” she asks, her voice trembling with excitement.
Without hesitation, the couple stood up, their faces breaking into warm smiles. They embraced the girl and her mother, taking time to chat and pose for photos.
Their message resonates beyond the LGBTQ+ community. They’ve been welcomed at lowrider shows and spoken at prisons, breaking down barriers and fostering understanding.
“Maybe you don’t agree with it,” Vasquez says, “but there’s someone we’re touching, someone that looks like us, someone that’s been hiding all their lives.”
From TikTok, a new chapter
Today, Vasquez and Garcia balance their social media presence with their day jobs as community integration facilitators at the organization Social Vocational Services, working with individuals with developmental disabilities and taking them on recreational activities.
“Living in the social media world can make you lose yourself fast,” says Garcia. “The bigger the numbers get, you feel like you’re floating, but when we go to work, clock in and [are] with all these people, it makes us grateful for where we’re at in life. I want to continue to be grounded.”
Adam Vasquez, left, and Trino Garcia dance while filming a TikTok and singing along to the Usher song “Burn.”
Their plan is not to be influencers, forever known as “the guys on the bridge,” he adds, but to use their social media presence to “speak about something powerful.” They’re also planning on writing a book about their love story and where they came from.
In October, the couple released their first original rap song, “Vibe Out”; Natalie dances in the music video. “Adam is rapping a lot in this piece,” Garcia says, looking at Vasquez proudly. “I think he’s a natural, and I’m a No. 1 fan.”
‘People have been embracing us’
For the most part, they’ve found public reaction heartwarming and encouraging. But getting full acceptance from their families may be a lifelong journey. For Garcia in particular, it’s bittersweet: “The people that I wanted to see me is my mother, my father and my sisters, and they still don’t see me.”
His sister Brenda Garcia, however, continues to be a supportive force in his life. When her youngest daughter asked her about Garcia and Vasquez’s relationship, “I just told her, ‘Gay does not affect who you are. It’s just love. Is that going to make you change the way you see your uncle?’ And she said no.”
Although she initially rejected him, Vasquez’s mother, Lupe, is proud of the men Vasquez and Garcia have become and the life they’ve built together. “No matter what, he’s my son, and I love him dearly,” she says.
For their Nov. 30 nuptials, Garcia and Vasquez have invited about 20 family members and friends from their personal circle. “People have been embracing us,” Garcia says. “And we want to celebrate with the people that have been healing us.”
Following a short ceremony onstage, several DJs will play at the “club-vibe party with music,” the couple says. Tickets are available to the public via Ticketmaster, and the event will be livestreamed on TikTok.
Along with the wedding, there’s another milestone in the works: After Nov. 30, Vasquez will be Adam Issac Vasquez Garcia, “so that the three of us can be Garcia,” he says.
“We’re like a beautiful plant that grows slowly and blooms more beautifully,” Garcia says of their relationship. “We were like two broken pieces,” Vasquez adds, “and coming together we became a full, complete person.”
Lifestyle
It Started with a Midnight Swim and a Kiss Under the Stars
When Marian Sherry Lurio and Jonathan Buffington Nguyen met at a mutual friend’s wedding at Higgins Lake, Mich., in July 2022, both felt an immediate chemistry. As the evening progressed, they sat on the shore of the lake in Adirondack chairs under the stars, where they had their first kiss before joining others for a midnight plunge.
The two learned that the following weekend Ms. Lurio planned to attend a wedding in Philadelphia, where Mr. Nguyen lives, and before they had even exchanged numbers, they already had a first date on the books.
“I have a vivid memory of after we first met,” Mr. Nguyen said, “just feeling like I really better not screw this up.”
Before long, they were commuting between Philadelphia and New York City, where Ms. Lurio lives, spending weekends and the odd remote work days in one another’s apartments in Philadelphia and Manhattan. Within the first six months of dating, Mr. Nguyen joined Ms. Lurio’s family for Thanksgiving in Villanova, Pa., and, the following month, she met his family in Beavercreek, Ohio, at a surprise birthday party for Mr. Nguyen’s mother.
Ms. Lurio, 32, who grew up in Merion Station outside Philadelphia, works in investor relations administration at Flexpoint Ford, a private equity firm. She graduated from Dartmouth College with a bachelor’s degree in history and psychology.
Mr. Nguyen, also 32, was born in Knoxville, Tenn., and raised in Beavercreek, Ohio, from the age of 7. He graduated from Haverford College with a bachelor’s degree in political science and is now a director at Doyle Real Estate Advisors in Philadelphia.
Their long-distance relationship continued for the next few years. There were dates in Manhattan, vacations and beach trips to the Jersey Shore. They attended sporting events and discovered their shared appreciation of the 2003 film, “Love Actually.”
One evening, Mr. Nguyen recalled looking around Ms. Lurio’s small New York studio — strewed with clothes and the takeout meal they had ordered — and feeling “so comfortable and safe.” “I knew that this was something different than just sort of a fling,” he said.
It was an open question when they would move in together. In 2024, Ms. Lurio began the process of moving into Mr. Nguyen’s home in Philadelphia — even bringing her cat, Scott — but her plans changed midway when an opportunity arose to expand her role with her current employer.
Mr. Nguyen was on board with her decision. “It almost feels like stolen valor to call it ‘long distance,’ because it’s so easy from Philadelphia to New York,” Mr. Nguyen said. “The joke is, it’s easier to get to Philly from New York than to get to some parts of Brooklyn from Manhattan, right?”
In January 2025, Mr. Nguyen visited Ms. Lurio in New York with more up his sleeve than spending the weekend. Together they had discussed marriage and bespoke rings, but when Mr. Nguyen left Ms. Lurio and an unfinished cheese plate at the bar of the Chelsea Hotel that Friday evening, she had no idea what was coming next.
“I remember texting Jonathan,” Ms. Lurio said, bewildered: “‘You didn’t go toward the bathroom!’” When a Lobby Bar server came and asked her to come outside, Ms. Lurio still didn’t realize what was happening until she was standing in the hallway, where Mr. Nguyen stood recreating a key moment from the film “Love Actually,” in which one character silently professes his love for another in writing by flashing a series of cue cards. There, in the storied Chelsea Hotel hallway still festooned with Christmas decorations, Mr. Nguyen shared his last card that said, “Will you marry me?”
They wed on April 11 in front of 200 guests at the Pump House, a covered space on the banks of Philadelphia’s Schuylkill River. Mr. Nguyen’s sister, the Rev. Elizabeth Nguyen, who is ordained through the Unitarian Universalist Association, officiated.
Although formal attire was suggested, Ms. Lurio said that the ceremony was “pretty casual.” She and Jonathan got ready together, and their families served as their wedding parties.
“I said I wanted a five-minute wedding,” Ms. Lurio recalled, though the ceremony ended up lasting a little longer than that. During the ceremony, Ms. Nguyen read a homily and jokingly added that guests should not ask the bride and groom about their living arrangements, which will remain separate for the foreseeable future.
While watching Ms. Lurio walk down the aisle, flanked by her parents, Mr. Nguyen said he remembered feeling at once grounded in the moment and also a sense of dazed joy: “Like, is this real? I felt very lucky in that moment — and also just excited for the party to start!”
Lifestyle
L.A. Affairs: I loved someone who felt he couldn’t be fully seen with me
He always texted when he was outside. No call, no knock. It was just a message and then the soft sound of my door opening. He moved like someone practiced in disappearing.
His name meant “complete” in Arabic, which is what I felt when we were together.
I met him the way you meet most things that matter in Los Angeles — without intending to. In our senior year at a college in eastern L.A. County, we were introduced through mutual friends, then thrown together by the particular gravity of people who recognized something in each other. He was a Muslim medical student, conservative and careful and funny in the dry, precise way of someone who has always had to choose his words. I was loud where he was quiet, messy where he was disciplined. I was out. He was not.
I understood, or thought I did. I thought that I couldn’t get hurt if I was completely conscious throughout the endeavor. Los Angeles has a way of making you feel like the whole world shares your freedoms — until you realize the city is enormous, and not all of it belongs to you in the same way.
For months, our world was confined to my apartment. He would slip in after dark, and we’d stay up late talking about his family in Iran, classical music and the particular pressure of being the son someone sacrificed everything to bring here. He told me things he said he’d never told anyone, and I believed him.
The orange glow from my Nesso lamp lit his face while the indigo sky pressed against the window behind him. In our small little world, we were safe. Outside was another matter.
On our first real date, I took him to the L.A. Phil’s “An Evening of Film & Music: From Mexico to Hollywood” program. I told him they were cheap seats even though they were the first row on the terrace. He was thrilled in the way only someone who doesn’t expect to be delighted actually gets delighted — fully, without guarding it. I put my arm around his shoulders. At some point, I shifted and moved it, and he nudged it back. He was OK with PDA here.
I remember thinking that wealth is a great barrier to harm and then feeling silly for extrapolating my own experience once again. Inside Walt Disney Concert Hall, we were just two people in love with the same music.
Outside was still another matter.
In February, on Valentine’s Day, he took me to a Yemeni restaurant in Anaheim. We hovered over saffron tea surrounded by other young Southern Californians, and we looked like friends. Before we went in, we sat in the parking lot of the strip mall — signs in Arabic advertising bread, coffee, halal meats, the Little Arabia District — hand in hand. I leaned over to kiss him.
“Not here,” he said. His eyes shifted furtively. “Someone might see.”
I understood, or told myself I did, but I was saddened. Later, after the kind of reflection that only arrives in the wreckage, I would understand something harder: I had been unconsciously asking him to choose, over and over, between the people he loved and the person he loved. I had a long pattern of choosing unavailable men, telling myself it was because I could handle the complexity. The truth was more embarrassing. I thought that if someone like him chose me anyway — chose me over the weight of societal expectations — it would mean I was worth choosing. It took me a long time to see how unfair that was to him and to me.
We went to the Norton Simon Museum together in November, on the kind of gray Pasadena day when the 210 Freeway roars in the background like white noise. He studied for the MCAT while I wrote a paper on Persian rugs. In between practice problems, he translated ancient Arabic scripts for me. I thought, “We make a good team.” Afterward, we walked through the galleries and he didn’t let go of my arm.
That was the version of us I kept returning to — when the ending came during Ramadan. It arrived as a spiritual reflection of my own. I texted: “Does this end at graduation — whatever we are doing?”
He thought I meant Ramadan. I did not mean Ramadan.
“I care about you,” he wrote, “but I don’t want you to think this could work out to anything more than just dating. I mean, of course, I’ve fantasized about marrying you. If I could live my life the way I wanted, of course I would continue. I’m just sad it’s not in this lifetime.”
I was in Mexico City when these texts were exchanged. That night I flew to Oaxaca to clear my head and then, after less than 24 hours, flew back to L.A. No amount of vacation would allow me to process what had just happened, so I threw myself back into work.
My therapist told me to use the conjunction “and” instead of “but.” It happened, and I am changed. The harm I caused and the love I felt. The beauty of what we made and the impossibility of where it could go. She gave me a knowing smile when I asked if it would stay with me forever. She didn’t answer, which was the answer.
I think about the freeways now, the way Joan Didion called them our only secular communion. When you’re on the ground in Los Angeles, the world narrows to the few blocks around you. Get on the freeway and you understand the whole body of the city at once: the arteries, the pulse, the scale of the thing.
You understand that you are a single cell in something enormous and moving. It is all out of your control. I am in a lane. The lane shaped how I drive. He was simply in a different lane, and his lane shaped him, and those two facts can coexist without either of us being the villain of the sad story.
He came like a secret in the night, and he left the same way. What we made in between was real and complicated and mine to hold forever, hoping we find each other in the next life.
The author lives in Los Angeles.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
The Nerve Center of This Art Fair Isn’t Painting. It’s Couture.
The art industry is increasingly shaped by artists’ and art businesses’ shared realization that they are locked in a fierce struggle for sustained attention — against each other, and against the rest of the overstimulated, always-online world. A major New York art fair aims to win this competition next month by knocking down the increasingly shaky walls between contemporary art and fashion.
When visitors enter the Independent art fair on May 14, they will almost immediately encounter its open-plan centerpiece: an installation of recent couture looks from Comme des Garçons. It will be the first New York solo presentation of works by Rei Kawakubo, the brand’s founder and mastermind, since a lauded 2017 survey exhibition at the Metropolitan Museum of Art’s Costume Institute.
Art fairs have often been front and center in the industry’s 21st-century quest to capture mindshare. But too many displays have pierced the zeitgeist with six-figure spectacles, like Maurizio Cattelan’s duct-taped banana and Beeple’s robot dogs. Curating Independent around Comme des Garçons comes from the conviction that a different kind of iconoclasm can rise to the top of New York’s spring art scrum.
Elizabeth Dee, the founder and creative director of Independent, said that making Kawakubo’s work the “nerve center” of this year’s edition was a “statement of purpose” for the fair’s evolution. After several years at the compact Spring Studios in TriBeCa, Independent will more than double its square footage by moving to Pier 36 at South Street, on the East River. Dee has narrowed the fair’s exhibitor list, to 76, from 83 dealers in 2025, and reduced booth fees to encourage a focus on single artists making bold propositions.
“Rei’s work has been pivotal to thinking about how my work as a curator, gallerist and art fair can push boundaries, especially during this extraordinary move toward corporatization and monoculture in the art world in the last 20 years,” Dee said.
Kawakubo’s designs have been challenging norms since her brand’s first Paris runway show in 1981, but her work over the last 13 years on what she calls “objects for the body” has blurred borders between high fashion and wearable sculpture.
The Comme des Garçons presentation at Independent will feature 20 looks from autumn-winter 2020 to spring-summer 2025. Forgoing the runway, Kawakubo is installing her non-clothing inside structures made from rebar and colored plastic joinery.
Adrian Joffe, the president of both Comme des Garçons International and the curated retailer Dover Street Market International (and who is also Kawakubo’s husband), said in an interview that Kawakubo’s intention was to create a sculptural installation divorced from chronology and fashion — “a thing made new again.”
Every look at Independent was made in an edition of three or fewer, but only one of each will be for sale on-site. Prices will be about $9,000 to $30,000. Comme des Garçons will retain 100 percent of the sales.
Asked why she was interested in exhibiting at Independent, the famously elusive Kawakubo said via email, “The body of work has never been shown together, and this is the first presentation in New York in almost 10 years.” Joffe added a broader philosophical motivation. “We’ve never done it before; it was new,” he said. Also essential was the fair’s willingness to embrace Kawakubo’s vision for the installation rather than a standard fair booth.
Kawakubo began consistently engaging with fine art decades before such crossovers became commonplace. Since 1989, she has invited a steady stream of contemporary artists to create installations in Comme des Garçons’s Tokyo flagship store. The ’90s brought collaborations with the artist Cindy Sherman and performance pioneer Merce Cunningham, among others.
More cross-disciplinary projects followed, including limited-release direct mailers for Comme des Garçons. Kawakubo designs each from documentation of works provided by an artist or art collective.
The display at Independent reopens the debate about Kawakubo’s proper place on the continuum between artist and designer. But the issue is already settled for celebrated artists who have collaborated with her.
“I totally think of Rei as an artist in the truest sense,” Sherman said by email. “Her work questions what everyone else takes for granted as being flattering to a body, questions what female bodies are expected to look like and who they’re catering to.”
Ai Weiwei, the subject of a 2010 Comme des Garçons direct mailer, agreed that Kawakubo “is, in essence, an artist.” Unlike designers who “pursue a sense of form,” he added, “her design and creation are oriented toward attitude” — specifically, an attitude of “rebellion.”
Also taking this position is “Costume Art,” the spring exhibition at the Costume Institute. Opening May 10, the show pairs individual works from multiple designers — including Comme des Garçons — with artworks from the Met’s holdings to advance the argument made by the dress code for this year’s Met gala: “Fashion is art.”
True to form, Kawakubo sometimes opts for a third way.
“Rei has often said she’s not a designer, she’s not an artist,” Joffe said. “She is a storyteller.”
Now to find out whether an art fair sparks the drama, dialogue and attention its authors want.
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