March 04, 2010 Paris
The same idea was explored in outfits that were draped in ropes of knit tubing, or jackets piped to mirror the mathematician's graphic formulae. The twists and turns of quilted, ruched, ribbed, and shirred pieces were also Thurston-inspired. Maybe it was the rigor of mathematical thought that loaned the collection more structure and elegance than it's had previously. It was especially obvious in spectacular coats and jackets, like the funnel-collared coat in orange tweed; or a cocoon of tweed woven with silver lamé; or a biker jacket, also in tweed. The cocoon shape appeared again in layered knits that were as fine as mousseline. And, speaking of fine, the very last piece sealed the deal on a splendid collection. It was a coat made from squares of translucent black organdy, stitched with stars that looked to be shining.
Two decades ago, in the same venue, Romeo Gigli transfixed Paris with a show so rich and romantic that it moved its audience to tears. Maybe that didn't happen today, but, at the very least, Fujiwara used his inspiration to blend art and science in a manner so rich and romantic, it stirred the emotions in a way that reminded us of Gigli.