The thin dark line of Yohji Yamamoto
 

Article publié le 5 mars 2016

Texte : Lily Templeton
Crédit : Yohji Yamamato – Monica Feudi

Artist Yuuka Asakura, who has been live-painting at the Yohji Yamamoto store on rue Cambon store over the past few days and whose contribution will be celebrated by a party on Saturday, was backstage after the Japanese designer’s show on Friday. “We were introduced by my professor in art university over five years ago. We had discussions around art, as he’d wanted to be an artist himself.”

It stands to reason that the line, that opening act on a white sheet, should be the start of his fall season. Certainly the long and lean proportions seemed to imply this, as did the sharp cut that bisected his invitation and the contrasting stitches that recalled his tailor tacking and which dressed simple sweater dresses. 

 

What followed was a procession of mostly monochrome looks which mined many of the designer’s tropes. While the designs appeared to be less theatrically voluminous, they were nonetheless intensely Yohji, bringing back echoes of his work, but delivered in a minimal way that felt more congruent with current contemporary tastes. It was perhaps not the masculine tailoring that he finds appealing on his women but that is “out of fashion,” he said after his show. 

 

From the silhouettes to the soundtrack – Yamamoto strumming his guitar – everything expressed quintessential Yohji, cut down to adhere to a necessary return to essentials. “Substraction,” as he offered when quizzed backstage. What remained were snapshots of moments: a flash of skin through garments not quite closed or cunningly cut, a fetishistic sexiness linked to sailors and high school kids, a “don’t care” attitude. 

 

The finale of black coats emblazoned with messages that felt like stream of consciousness, “16”, “Stop me before I f*ck again”, “Lord, I’m not happy here”, “I’ll be back soon”, “His word became no flesh” but hinted at typical teenaged angst, underscored by the melancholy strumming of the designer on the soundtrack. Certainly, it wasn’t the over sexiness or the crypto-sensuality that he’d mined before. The subtraction to reach this? The self-awareness that comes with unsubtly. And the collection was all the more seductive for it.

[ess_grid alias= »antidote »]

Les plus lus

Que faut-il retenir de la Fashion Week de Paris été 2020 ?

Des cols oversized aux hommes en talon en passant par le premier défilé du label sud-coréen Kimhékim au sein du calendrier officiel, voici ce qu’il ne fallait pas manquer lors de la dernière Fashion Week de Paris printemps-été 2020.

Lire la suite

Que faut-il retenir de la Fashion Week de Milan été 2020 ?

De la première collection femme de Silvia Venturini Fendi, en solo depuis la disparition de Karl Lagerfeld, au final historique du défilé Versace avec Jennifer Lopez, en passant par l’avalanche de motifs naïfs et le retour à une certaine sobriété, voici ce qu’il ne fallait pas manquer lors de la dernière Fashion Week de Milan printemps-été 2020.

Lire la suite

Que faut-il retenir de la Fashion Week de Londres été 2020 ?

Ouverture au grand public, trenchs retravaillés, poitrines soulignées ou silhouettes asymétriques, voici ce qu’il ne fallait pas manquer lors de la dernière Fashion Week de Londres printemps-été 2020.

Lire la suite

Que faut-il retenir de la Fashion Week de Paris été 2019 ?

La diversité des inspirations continue de faire la force de Paris. La femme est élégante, mystique, goth, rock, et surtout, elle regarde vers le futur et refuse la binarité des genres.

Lire la suite

Que faut-il retenir de la Fashion Week de Milan été 2019 ?

Malgré le départ exceptionnel de Gucci et l’absence de Bottega Veneta, Milan a maintenu sa place grâce à ses poids lourds qui, entre l’athleisure et les années 90, ont aussi prôné le retour d’une silhouette ultra-sexy.

Lire la suite

Newsletter

Soyez le premier informé de toute l'actualité du magazine Antidote.