Y-3

The field of fashion journalism is one littered with terms such as ‘sportswear’ and ‘diffusion’ – terms which are designed to pigeonhole collections before they are shown. Strictly speaking, Y-3 is a collaboration between the iconic Yohji Yamamoto and sport titan Adidas, and the clothes shown are designed with athletes in mind. This was a notion echoed in the graphic monochrome invitations that we received prior to the show, accompanied by a brief explanation that ‘Athletes are modern-day superheroes’. Expanding on this tagline, Yamamoto stated that he had been influenced by the couturiers of the ‘60s and had designed the collection taking into account the ‘active, fighting lifestyle of a superhero’. In summary, the collection was a high-end take on utilitarian clothing, designed to dispel the myth that practical clothing is, by default, unfashionable.

FASHION X ROMANCE

It pains me to write this as I was planning to complete the McQueen archive before posting anything unrelated, but thanks to the existence of articles like this , this and this, I feel inclined (perhaps obliged?) to weigh in on the age-old debate – how can we dress to attract men? We may all claim that we ‘dress for ourselves’ but the fact that articles like this are still being published and widely-read (in both men’s and women’s magazines) insinuate that a certain breed of woman still looks to these articles in order to establish a list ‘of do’s and don’ts’ when it comes to choosing her everyday wardrobe; a woman that apparently uses her sartorial choices as a method of seduction. Then there is another breed that reads these articles; the cynic. People who, like me, consider more than romance when choosing an outfit and who would ultimately rather eat their own vomit then date a man that would openly admit that he would dump you for wearing anything too revealing or ‘fashion-conscious’.

Grace Jones flawlessly expressing my opinion

YOHJI YAMAMOTO

One of the greatest things about Paris is that high fashion is omnipresent. From hidden bookshops brimming with archive style magazines and books through to high-end stores on every corner (don't worry, I can't afford to shop there either but the window displays are inspiration enough!), you are constantly exposed to style, fashion and fashion history. As you all know, Japanese designers have always fascinated me for their avant-garde conceptual designs as well as their rebellious garments imbued with social commentary, so I recently bought a book entitled "Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo", a book which has prompted this essay on the great Yamamoto himself. Kawakubo is more well-known and Miyake is distinct from the other two designers in that his work was advanced in a more technological sense as opposed to a social one (although his A-POC range was one exception), which is why it made sense to write about Yamamoto. I had seen his early work but heard little about the elusive designer, his background and the inspirations behind his collections, which is why this book was such a treasure to me. In this piece, I will explore the traditional Japanese concepts that have inspired Yamamoto's career, look at some of his greatest collections and also look at how he (alongside Kawakubo) managed to reverse Western ideals of beauty.

Scanned from 'Talking to Myself'

PART 1: YAMAMOTO

Despite first establishing his own label in Japan back in 1972, it was not until 1981 that Yohji Yamamoto made his international debut, showcasing the first collection of his eponymous label in Paris. The collection garnered massive amounts of column inches within the fashion press - in stark contrast to the body-conscious, high-glamour collections of the time, Yamamoto sent all of his models down the runway in black asymmetric clothing and dramatic white make-up. The use of loose fabrics, oversized silhouettes and a monochromatic colour palette would establish the aesthetic for which Yamamoto would become renowned; an aesthetic which the designer has experimented with and developed over his thirty-year career. The aesthetic was also the first consistent example of a 'minimal' collection, and was the first notable example of minimalism truly engulfing the mainstream and being seen as a more commercially viable option that traditional glamour.

Yohji Yamamoto A/W 1996

Whilst the collection itself was interesting, it was the reaction of the fashion media that was the real talking point. The show marked the beginning of the 'Japanese invasion' and, essentially, a new era in fashion. Accompanied by Rei Kawakubo and Issey Miyake, the powerful trio baffled the media by creating designs that were deliberately designed to avoid being 'flattering'. The lines of the clothing never seemed to match the female form,and almost seemed to enshroud the figure rather than accentuate it. The collection was a feminist statement in some way - it showed that clothes could look good on a woman without being figure-hugging. 

MODERN AVANT-GARDE

Fashion is widely regarded as an industry designed to make women (and men) look beautiful. Clothes are designed to be sold, and for this reason the principal role of a designer is to design clothes that flatter the figure, accentuating the silhouette and generally creating a garment which is both attractive and wearable. In this post I will attempt to look at how important it is for modern fashion to be wearable - although the recession is tightening its grip on industry in general, the fashion industry continues to thrive. The question I wish to explore is whether or not there is room for more avant-garde design in the commercial sphere - the main goal is to sell the collections, meaning that designers choosing to explore less practical visions are now taking a larger risk than ever. 

Hussein Chalayan - one of fashion's most avant-garde designers

In terms of mainstream fashion, the truly iconic houses such as YSL, Chanel and Versace all rose to fame by selling their own interpretation of beauty. Although each designer had their own niche aesthetic (whilst Versace specialised in sexy, bold looks, YSL favoured elegance whereas Chanel glamourised androgyny), each designer created garments which sold well because they maintained a level of wearability which meant that any woman could wear the clothes and look (as well as feel) great. 

Glamour in the 50s - Chanel

In modern society, the enormous presence of the media means that it is now more difficult than ever to maintain a sense of mystery in fashion. One of the greatest aspects of the work of designers such as Kawakubo and Margiela was that the designers rarely made public appearances or gave interviews, leaving the spectators to unravel the story of the collection. Sometimes the message was obvious - Kawakubo's 'White Drama' collection, for example, was a clear commentary on the restraints of marriage, a theme which she had previously explored in her 'Broken Brides' collection. However, other elements are open to interpretation; Kawakubo is renowned for her intellectual take on fashion, often choosing to create garments that aren't traditionally pretty in order to challenge perception. Kawakubo's F/W 2012 collection was comprised entirely of dresses which were designed to look 2D, shown in a variation of bold prints & colours. Lady Gaga later chose to wear one of the designs (now known as 'The Fat Dress') as a response to criticism of her weight - the exaggerated proportions of the dress render the dress almost unwearable, yet Kawakubo herself has given no explanation as to her decision to create a collection of dresses that are essentially impossible to wear.

Comme Des Garçons A/W 2012

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Yohji Yamamoto S/S 1999

Yet another iconic collection comes courtesy of Japanese designer, Yohji Yamamoto. Famous for his reluctance to incorporate colour into his collections, his penchant for all things minimalist entered the mainstream in an era in which Italian powerhouses such as Gucci and Versace were dominating the market with their bold, luxe designs. Yamamoto's dedication to his signature aesthetic and eye for tailoring soon gained him a cult following which has continued to develop over the years. 1999's avant-garde presentation has gone down in fashion history as one of the greatest, partly thanks to fashion darling Shalom Harlow (star of McQueen's celebrated 'No.13' show).

One of the main reasons that Yamamoto is so celebrated is that he manages to use texture to add interest to a monochrome colour palette. The overall feel of the collection was one of ethereality - soft black chiffon and white ribbon were amongst the materials used. There was also innovation to be found in the "Secret Dress" - a white bodice with a full white skirt was revealed to have zip-away panels which stored a heavy linen cape, headwear and even white gloves.



The Secret Dress



MENSWEAR HIGHLIGHT #4

Better than anyone, Japanese designer Yohji Yamamoto realises that fusing inspiration from different countries and being culturally aware is key to moving forward in the world of fashion. Thanks to the likes of Japanese pioneers Rei Kawabuko and the masters behind the new Kenzo collection, this season has seen eastern meet western in a new way and Yamamoto is one of the key players to spearhead the oriental movement.

                Sending down an array of models (both male and female) sporting oversized moustaches typical of the eccentric English gentleman, Yamamoto took a playful stance on the stereotype. As is to be expected, the collection featured British staples such as the peacoat and tartan and juxtaposed them with the loose silhouettes and flowing fabrics that can only be associated with Japanese fashion. In this collection, texture was also incredibly important – stiff suit jackets were paired with shaggy fur coats, whereas lightweight jersey was paired with heavy cable-knit in order to create a unique contrast.