Western conventions of not only construction and techniques, but also normative concepts of fashion were challenged by these Japanese designers. By breaking Western fashion conventions, they offered the whole world a new style and a new definition of aesthetics. Since their beginnings, the vision of fashion was the opposite of conventional Western fashion. Some Westerners may see it as “an offense not only to their aesthetics, but also to their existing organization of hierarchical statuses, to a fashionable system of stratification or to the hegemony of the Western system” (Yuniya Kawamura, 2004, p. 136 ). For example, these designs by Kawakubo, Miyake and Yamamoto were known to be gender neutral or unisex. At that time, clothing was “a major gender symbol that allows others to immediately discover the individual's biological sex” (Yuniya Kawamura, 2004, p132). These three Japanese designers challenged the normative gender specificity characteristic of Western clothing. As Yamamoto talks about his idea, “men's clothing has a purer design. It is simpler and has no decoration. Women want that. When I started designing, I wanted to create clothing for men and women. But there were no buyers for it. Now there are” (Duka, 1983, p63). The notion of “conceptual” aesthetics has also led to many other changes in the established Western fashion system. Japanese designers have broken away from the historical paradigm of using conventional designs by replacing glamor with uniqueness and individuality. In Miyake's Beautiful Ladies collection (1995), he used six models aged between seventy-two and ninety-two years old. Miyake also set a precedent by presenting fashion exhibitions in the large formats......Yamoto and Kawakubo” (Bonnie English, 2011, p130). They expanded the boundaries of fashion, reshaped the symmetry of clothing, introduced monochrome clothing, and let wrapped clothing respond to the shape and movement of the body. They destroyed every previous definition of clothing and fashion. Their concepts were “undoubtedly different, totally original and definitely new compared to the rules of fashion established by legitimate and serious Western designers such as Chanel, Dior and SaintLaurent” (Yuniya Kawamura, 2004, p148). Fashion historian McDowell has argued that Japanese designers "made few concessions to traditional Western ideals of dress, chicness, or beauty" and that their clothes were "as much a statement of philosophy as of design" ( Mcdowell, 1987, p. 41). And according to Koda (Martin and Koda, 1994), “a new form of anti-fashion had appeared”.