Minimal Graffiti

The crowd was gathered in the rain. I immediately knew I was at the right place for the Yohji Yamamoto défilé: everyone was wearing black.

An occasional touch of white, but mostly head-to-toe black. It was a foreshadowing of the journey we were about to embark on, with the ferry arriving just beyond the elegantly carved double doors.

Yohji Yamamoto Spring 2017

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As the models emerged one by one, the clothes were what we were there to see, but the hair kept us all on our toes. The cowlick is back at Yohji Yamamoto, and it was first rather off-putting: but as more looks emerged, one immediately realized that the hair mirrored the bare-bones, shapely collection put before us by the man himself. Even the stroke of white paint on their faces added to the effect.

The cowlick is back.

Chunks of fabric wrapped around — and later loosely hung from — the models’ arms, as if bonded to the body of the outfit. Revamped overalls made an appearance and they looked damn stunning. Is Yamamoto showing us the future direction of the trendy neckband?

Revamped overalls made an appearance.

A major takeaway, season after season, is how easy Yamamoto makes his talent seem. His brilliance is in making it appear as if he just grabs a large square of fabric, rips a head and an armhole into it, decisively drapes it over a model, and sends her out to show the world. A major motif was raw-edged fabrics, hanging just over a shoulder or off the back of a jacket — or lazily down from a top. They sometimes appeared as an uneven and incomplete layer, although really it was just an accessory.

A sub-collection was shown in the middle, of mainly white garments with strategic paint spatters and smears that was a bit alternative to the norm — it had a rocker chick vibe: and just then, the music changed.

Just then, the music changed.

One very exciting and unexpected bit was the large, exterior breast pocket, just as I saw in Aalto‘s presentation at the start of the week. Get ready to expose what you’re carrying.

The one piece I am coveting is a black silk top layer which had an elegant “Yamamoto” engraved across the back, with its yarns hanging freely, just as the Yamamoto girl lives. It made me want to be a Yamamoto girl, strolling the streets in a relaxed and calculated assortment of fabric straps.

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Learn More

yohjiyamamoto.co.jp/en

With love,

FWO

Too Cool for School

A large, artfully curated stack of chairs greeted guests in the center of a room. The elegantly dressed models shifted around these posts to show the looks in motion.

Occasionally a school bell would ring, and the models would change positions. I later learned I was in a middle school — to mirror designer Anais-Jourden Mak Chun Ting‘s strict habits of following rules in her past.

No Rules

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Apparently that’s no longer an issue for her.

For Spring 2017, she showcased a unique, highly original collection that demonstrates an uncanny mastery of juxtaposition in fabric, form, texture, and color. What I love is how vibrant and exciting her fabrics look together. For example, she pairs unconventional fabrics — such as a knit bodice — with a silk skirt to form an elegant gown.

She shows an uncanny mastery of juxtaposition.

After a brief chat with the designer, it became obvious that her mission to find new fabric combinations is a key foundation of the collections she puts forward. She told me that she believes color is a telling element of fabric, and that primal feminine aspirations is a recurring theme in her line.

She’s on a mission to find new fabric combinations.

Creating the forms themselves is done with very elaborate and unique techniques, and this attention to detail and craftsmanship is seen throughout the SS17 collection.

The overall collection is bright, very spring-centered, and feminine. It stands boldly and strongly away from genderless looks — just as we see a lot of the market shifting in the gender neutral direction. Jourden SS17 makes a statement for the person who likes to express their femininity. This is for a woman who is proud to be chic, although she still seeks comfort, and will not sacrifice style for it. She can live a fabulous, comfortable life in these garments.

One look, a favorite, has 1960s flare with the dark jacquard jacket and hot pant featuring rose gold metal flat studs. Another key look is the half-jacquard dress.

The consistently brilliant collection features quite a range of colors, with all of its prints and patterns, working together fluidly in spite of the varying textures and fabrics. They all work together in a way that doesn’t defy rules, so much as reinvent them.

Jourden doesn’t defy rules, so much as reinvent them.

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Learn More

www.jourden.com

With love,

FWO

Childhood’s End

J
ohn Galliano’s legacy looms large; but if anyone can capture the spirit of the brand, while putting forward a unique vision of his own, that man would be Bill Gaytten.

 
Disorder in the Dress
 
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A press release rarely says the right things about a collection: it can, however, serve has a launch point for taking it in, even as it may lead us into the “intentional fallacy” of seeing through the lens of the creator’s intent (rather than one’s own reaction to the work).

Although the idea was to “rediscover the delight of dressing as soon through a young girl’s eyes,” one of the most striking things about the Spring 2017 collection was how accessible it was, particularly compared to last season’s parade of military uniforms and evening gowns.

This was a collection for a decidedly younger, quirkier set. In that sense, it shared kinship with this season’s collection by Alessandro Michele. Although far less elaborate, the same spirit of fancy and childhood innocence was there.

This was a collection for a decidedly younger, quirkier set.

The concept — of raiding attic trunks — allowed Gaytten a certain amount of freedom: to mix high and low, “aristocratic and naïve,” the fitted and the fit-less. The overall effect was what might be called “vintage elegant” — and in more practical terms, it’s geared for the current and the youthful at heart.

To further the idea of dress-up-as-playtime, some models donned papier-mâché masks by the Stephen Jones millinery studio: a match made in heaven for the brand’s signature theatrical sensibility.

We enjoyed the mix of distressed, stained looks, and baggy pieces mixed with crisp silhouettes: as such, the collection is a natural expression of the “mixing high and low” dictum of the well-rounded dresser-upper.

The collection is a natural expression of the “mixing high and low” dictum.

Although Gaytten brought us back to a simpler time in the psychology of dress, we couldn’t help but remember that playing dress-up also functions as a first foray into the world of adulthood and rebellion. Maybe it was the mashup of Oasis‘ “Cigarettes and Alcohol” — with Liam Gallagher doing his best Johnny Rotten impression over a stolen T. Rex riff — with Nirvana, but it’s hard not to read more mature meanings into some items: the bits of corset, straps on the non-utilitarian waist belts, or even the chains of John Galliano’s new bag, The Chain, exclusively available in John Galliano boutiques.

After all, the collection is about capturing the spirit and fun of childhood: but it’s meant for women, who want to take that spirit into their modern lives.

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Learn More

www.facebook.com/JohnGallianoOfficial

With love,

FWO

Jacquemus Spring ’17

To call it “dramatic staging” would have been an understatement. Before the show had even begun, thick fog filled the air, and the ominous lighting was dark and serious.

As the looks began to emerge, there was such a tangible feel of enchantment in the air — they were so soft and alluring, yet dense with thought and creativity.

Pure and Simple

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Designer Simone Porte Jacquemus chose to draw his inspiration from a place close to home — les Stantons de Provence. Looks hearkened back to a more traditional time in the South of France, where community members engaged in agricultural work-dress for their days, with obvious and organic French flare.

Looks hearkened back to a more traditional time in the South of France.

One word to describe the collection was “constructed,” but not overly so. The designer was careful to bring the woman to a semi-genderless space, with square and rectangular silhouettes, and yet he is so very vigilant to accent a woman’s natural curves to avoid losing a dash of femininity.

A strong square shoulder was a key point, sometimes with exponentially voluminous sleeves to draw attention, but the body itself stayed true to accessible prêt-à-porter. The configuration complemented the rectangle pants to show an H-figure in a fashionably conscious way.

A component of men’s suiting was present and strong — a big topic of conversation for designers in the last year or so, since the dream to revive YSL’s Le Smoking was anticipated. The two-piece suits were square, as for a man, but fluid with excess fabric and measured mobility, and leaving the deep V to accentuate volume. I can so easily picture a Parisienne traversing a wide boulevard, donning this look on an average spring Saturday afternoon.

the dream to revive YSL’s Le Smoking

The footwear was precisely exciting and minimal, in this very tricky Jacquemus way — the heels themselves were cylindrical, lifting a rectangular instep.

Jacquemus’ SS17 collection is easily one of the most beautiful collections I have ever seen. The way in which the designer executed a vision of clearly defined lines with the blend of femininity and masculinity left me basically floored.

This was easily one of the most beautiful collections I have ever seen.

The models donned these masculine-infused looks with such elegance, simplicity, and then so much confidence. It spoke to me so much, that these elements could combine into one serene runway show, all in less than 10 minutes. He addressed so many things that face womenswear and fashion at large — such as gender fluidity — while maintaining enough curvature to ensure a woman’s body is still the central focus.

Gender fluidity, while maintaining enough curvature

The added drama of the straw hats tied it all together for a full spring look: one we are sure to see across le cote d’azure next summer. These hats are a variation of what we have been seeing at other Paris Fashion Week shows, as well as in New York Fashion Week: Men’s this past July.

Make no mistake — this is one for the books.

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Learn More

jacquemus.com

With love,

FWO