The cult of COMME DES GARÇONS is instinctual. Look at it two ways—getting to know the creative practice of CDG takes time, honing one's eye, study, and experience with the clothes—there's an element of connoisseurship to it, which is no doubt part of its appeal. Or, and I gather this is the way REI KAWAKUBO prefers, there's no path to understanding. The experience of CDG clothes should be utterly visceral—all seeing, feeling, wearing and less thinking—letting go of all preconceived notions of what clothing or the body should be. No wonder Kawakubo has been fascinated with the sartorial codes of punk. There's a near-morbid fascination with the protrusions, raw seams, chopped-up hems, and dismissal of symmetry that CDG has shown over the years. And in that sense, the creations can be left to a more primal instinct. I can think of few but JOHN WATERS who are able to articulate the solace of finding one's tribe through clothing that bears the label CDG. Those who collect it are its best ambassadors. No starter packs or explainers necessary. But if you persist, and need a fair summary, check out this "faker's guide" (ha) by TROY PATTERSON... Antipode to the bluster of the MET show can be found at MAD in NYC: “fashion after Fashion” features commissioned work from six teams of designers, invited to create installations according to their personal definitions of fashion. Nice to see experimental fashion exhibitions cropping up in NYC, since they've been almost exclusively reserved for EUROPE in recent years… Here's an anthropological take on why people don't return their shopping carts. For clarity, these are non-digital carts we're talking about... Key point for AMAZON's apparel strategy (should be in the starter pack for understanding the company): it plays the long game... Oh yeah, the COSTUME INSTITUTE fête. REI showed up. Who won the night? Well the CI, obviously, for raking it in. WINTOUR, whose name is literally synonymous with the place. And TRACEE ELLIS ROSS.