Can’t teach an old dog new tricks? No, I suppose you can’t. But can he get better? Can he forget, then pick them up again? If the Yohji Yamamoto show last night was any indication, then the answer is yes.
Held in the 17th district of Paris in the Lycée Carnot, Yohji dropped a long black lighting rig low and long, to consolidate a cavernous space into a bright capsule in the cold. Black blankets sat on the seats to warm the guests, who journeyed somewhat far afield for the final show of the evening, after a day of long delays in the cold. The blankets, however, did little to warm the heart – a task amply achieved by Yohji himself, with a production that verged on the ceremonial, a soundtrack that tugged on the heartstrings, and a collection that proved he has what it takes to push through a difficult period in his brand’s history.
Always showing his strengths for tailoring and outerwear for fall, this season Yohji exercised a study in pleating, foregoing the aggressively distressed styling that overwhelmed at his last show. His signature felted and suiting wools were cut into wide box pleats that trimmed drop-waisted coats, snaked down asymmetrical bustier dresses, and fanned out in dramatic flared trousers.
Oversized menswear shirting came layered under overalls, worn as minidresses cut in an extended bib at the back. Black mesh punctuated several of the final looks, as a transparent lightness to counter thick kilts and military inspired shirt-dresses. Some coats featured raised seams, curving around the shoulders creating the subtle profile of a human face, as an unusual structural addition that was the true ‘Yohji’ twist to the more classic shapes. On foot, the girls wore slimline rubber boots with moulded shoelace details, and low elasticised brogues – continuing his minimal focus on footwear as a statement, and one of the few designers to show a flat shoe at all on the catwalk.
As for the colour palette of black, cream and navy, Yohji was certainly breaking no new ground. However this provided a sombre canvas for him to play with other elements of the show, such as the pointy plastic PROTOTYPE sunglasses in translucent cobalt blue, and the fine mist of powder pink or blue paint that added a mysterious pastel halo to the loosely braided and looped styles by Eugene Souleiman. Make-up artist Pat McGrath created a chalky white face with a harsh kohl eye, and her team painted the models’ arms and legs white also, to eerie effect.
The finale was an unconventional end to the show, as rather than a walk past of all the girls, Brazilian model Daiane Conterato re-entered the room alone – veiled in a mesh shroud and crowned with a miniature beaded coronet. Her coat cut in the front at the knee and continued in a long train. A black bride to close the show.
And as the deep baritone sang over the speakers “Old man river, just keeps rolling along”, Yohji did just that, in this beautiful continuation of his timeless story.
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