Yohji Yamamoto was in a pensive mood, his quintessential blackness pervading most of the looks on the runway. The invitation itself was a crumpled piece of paper, as if had been discarded in a mailbox instead of a trash can. The clothes, too, had a feeling of rip-it-up-and-start-again, as if he’d made a collection, hacked it all apart, then pieced it together in new combinations.
Seemingly operated on as well, the models sported cuts, bruises, and Frankenstein stitches — perfect for his sartorial deconstruction. There’s something truly Yamamoto in this ability to create poetry and beauty out of chaos. The layering in the suits was masterful, with raw reversed seams, hanging threads, and asymmetrical edges decorated with tone-on-tone black badges. And, the knitwear deserves a special mention, too, cable knits color-blocked in blacks and grays with loose chunky knit at the hems and collars.
Recently we’ve become accustomed to a section of print on the runway, and this time was no exception. Four suits exited in all-over print that reminded us of those infamous 70’s liquid-light shows — another image of total chaos that produces mesmerizingly beautiful results.