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That shock of color in the beginning soon segued into the funereal black-on-black effects that showcase the operatic impact of Yohji's bold silhouettes, with their elaborate portrait necklines, spaniel's-ear collars, or overscale asymmetric button fastenings. But then the rockabilly soundtrack paused for dramatic effect, and he sent out asymmetric pieces in layered solid-color chiffons that sandwiched an unexpectedly psychedelic swirling Lava lamp print. Eugene Souleiman's elaborate hair constructions somehow melded Teddy boy quiffs with the messy cottage loaf of the put-upon Edwardian cook, as well as offering a clue to the designer's eclectic vision: a biker toughness out of The Wild One mixed with a belle époque softness that owed more to the heroines in Death in Venice.
Evening looks had all the drama of a midcentury René Gruau fashion sketchand seemed drawn with the same bold sweep of that artist's Japanese ink brush. True to Yohji's theme, sweeping skirts or romantic coat-dresses with billowing 1830's sleeves were ignited with Elvis-in-Vegas embroidery of chandelier crystal dropsand the gleaming metal rivets from a biker's prized leather jacket.