Shows

Ihnn RTW Spring 2019

Name: Ihnn
Main message: South Korean-born, Tokyo-based designer Chisung Ihn made his runway debut outdoors at his alma mater, Bunka Fashion Graduate University. The rain that came down as a drum corps signaled the start and end of the show and only added to the atmosphere.
While intended for women, the collection was partially modeled by males in bright red lipstick, a shade that was mirrored on trenchcoats, bustier tops and open knits. Other colors were equally bold, and textures ranged from sheer organza to thick pleather. Sporty pieces included a striped knit dress, tech leggings, sports bras and a skirt with multiple drawstrings.
The result: While the silhouettes were not new, the designer put his own spin on them through color and texture. But the styling was uninventive and the collection grew repetitive with too many looks.

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Via:: https://wwd.com/runway/spring-2019/tokyo/ihnn/review/

      

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Mitsuru Okazaki RTW Spring 2019

Name: Mitsuru Okazaki
Main message: Yohji Yamamoto alum Mitsuru Okazaki’s brand is only in its second season, but it is already establishing itself as one to watch during Tokyo Fashion Week. The designer is adept at creating unexpected shapes out of simple textiles, such as the denim skirts topped with petal-like layers or the white pants covered in pyramid-shaped puckers that he sent down his spring runway. He also did interesting things with concealed zippers, placing them on balloon sleeves and pant legs so that when zipped open they looked like multiple slits, sometimes in contrasting colors. Diagonal stripes and colorblocking gave movement to otherwise simple tapered trousers and button-down shirts.
The result: The collection was both cohesive and inventive, as well as casual and real-world friendly, making it a strong second effort. And unlike many designers who show in Tokyo, Okazaki demonstrated his ability to self-edit.

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Via:: https://wwd.com/runway/spring-2019/tokyo/mitsuru-okazaki/review/

      

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Neglect Adult Patients RTW Spring 2019

Name: Neglect Adult Patients
Main message: Designer Junnosuke Watanabe has a diverse background, having studied political science and economics at Waseda University and performed as a member of a Japanese music group. For his first runway show, he played on his unusual brand name and turned out a hospital-themed collection, even sending out models in mint green gowns and scrub suits. There were also T-shirts and sweatshirts with slogans such as “Touch me, I’m heavy sick” and “Medical play.” He filled out the offering with a series of shorts and jackets in red plaid, leopard print and ath-leisure fabrics.
The result: Despite some odd English phrases, the clothes were pedestrian and showed Watanabe’s inexperience, although he’ll likely find customers among his fans. But it’s not clear that he needed a runway show to do it.

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Via:: https://wwd.com/runway/spring-2019/tokyo/neglect-adult-patients/review/

      

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Stair RTW Spring 2019

Name: Stair
Main message: Ryoko Mukasa chose a bright, sun-filled venue for her brand’s inaugural runway show, the softly filtered green of the trees through a wall of glass setting the tone for her collection. She showed loose lavender skirts and pantsuits, bright pink and coral-colored gathered satin jumpsuits, and a layered aquamarine chiffon dress. But her strongest looks had a subtle edginess to them, such as an off-the-shoulder blouse in crisp white shirting, with a thin lace underlay at the neckline, or a checked bias-cut skirt paired with a black-and-white open-knit sweater.
The result: There were some strong pieces, but as a whole the collection felt disjointed, as if the designer tried too hard to incorporate too many contrasting elements.

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Via:: https://wwd.com/runway/spring-2019/tokyo/stair/review/

      

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Dressedundressed RTW Spring 2019

Name: Dressedundressed
Main message: As his brand enters its 10th anniversary year, designer Takeshi Kitazawa said he wanted to show a new side of it. He was initially inspired by restaurants and the situations and experiences that may occur within them, so for his 14th Tokyo show he set up a long table on the runway, where his models quietly seated themselves after completing their walk.
Kitazawa sent out a tight collection of a dozen looks, featuring cool androgynous pieces such as slim vinyl pants, backless blazers, tailored coats and one-leg trousers. Neutral tones of black, white and beige were contrasted by a single bright red slipdress with a triangular cutout at the chest.
The result: The offering was cohesive and clearly conveyed a point of view, proving that Kitazawa has earned his reputation as one of Tokyo’s strongest veteran designers.

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Via:: https://wwd.com/runway/spring-2019/tokyo/dressedundressed/review/

      

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Aoi Wanaka RTW Spring 2019

Name: Aoi Wanaka
Main message: A newcomer to Tokyo Fashion Week that just launched this past summer, this brand showed a series of flowy dresses, lace pants, and long, gathered skirts. The delicately feminine collection was turned out in pastel and floral-printed chiffon, satin and cotton, as well as a few mid-weight knits. While the overall feeling was conservative, the designer added in hints of sex appeal with low, strappy backs, high slits, bare midriffs and plenty of sheer fabrics. There were also subtle athletic influences in the form of draw cords and metallic snaps on dresses, and diagonal stripes on pant legs.
The result: While the offering had a clear point of view, it lacked originality and would have benefited from a strong edit.

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Via:: https://wwd.com/runway/spring-2019/tokyo/aoi-wanaka/review/

      

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Inès de la Fressange RTW Spring 2019

The collection, presented in a salon at the Ritz Paris, was strangely wrinkled. Not to worry — it was all part of Inès de la Fressange’s vision of Parisian chic. “People are scared of linen and see it as a difficult fabric,” said the designer. “But I wanted to show that things needn’t be perfectly ironed. It gives the feeling that you’re still on holiday.”
Nevertheless the effect was scruffy, and diverted the attention from the stronger points of the collection. There was a pair of “new denim” straight leg trousers in dark blue linen, created in reaction to the Parisian heat wave; a cowboy style red shirt — “because you can look Parisian wearing a shirt from Texas” — and an elegant two-piece beige checked suit, that de la Fressange herself was wearing.
Masculine-inspired tailoring was as efficient as always, but the designer seemed tired of churning out the same old “Parisienne” ideal. “People always think that chic has to be conventional, when there isn’t necessarily a link between the two things,” she said. “I’m bored with conventionalism.”
In reaction to that, the collection went full Seventies, with colorful printed silk shirts and flared trousers. The whole offering seemed to miss the

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Via:: https://wwd.com/runway/spring-2019/paris/ines-de-la-fressange/review/

      

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Kolor RTW Spring 2019

A campaign video filmed in Hollywood and a tacky karaoke bar on the outskirts of Tokyo served as the perfect backdrop for this fun, crafty collection, with the models sped up and slowed down.
The signature inventiveness of Junichi Abe, an experienced patternmaker, was in fine form with offbeat touches like an accumulation of fabric textures on a skirt, the haphazard embroidery on lace collars of sweaters, and lines of tape used to join layers to garments — including a red tulle layer on a black T-shirt — or rework volumes, giving a DIY spin.
A series of triple-layered hi-tech anoraks mixing colors and materials to create depth were terrific. More cute in mood were the colored marled knits with contrast lace accents.
The designer also revisited traditional checks in polyester on neo-geek shirts, with oversized shapes used throughout the collection.

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Via:: https://wwd.com/runway/spring-2019/paris/kolor/review/

      

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Pihakapi RTW Spring 2019

Canadian designer Vejas Kruszewski, who won the LVMH Prix Spécial prize in 2016, chose to put his namesake brand on hold to focus on a new project. Now in its second season, Pihakapi, a brand developed in partnership with Italian leather manufacturer Pellemoda, blends high-quality leather with the 21-year-old-designer’s radical vision.
“Because the brand is leather-focused, I like to build the collection around the outerwear,” said Kruszewski at the presentation of his spring collection (the first offering was shown during men’s fashion week, Pihakapi being a unisex brand.)
A black leather trenchcoat featured details from this season’s key inspirations: mini leather horns recalling the anatomy of the stag beetle on the sleeves and a flame shaped cowboy collar. The same details were reworked on denim and jersey, as well as on a side-slit black slipdress, a welcome update to the wardrobe staple.
“I was really interested in reworking Western wear,” said the designer, gesturing to a white linen skirt with a black leather holster detail. He also created a pair of “refined chaps,” playing on the dichotomy between leather and fabric. The chocolate-colored leather added texture and serious flair to a pair of well-cut black trousers. Throwing in a couple of Grecian draped

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Via:: https://wwd.com/runway/spring-2019/paris/pihakapi/review/

      

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Anton Belinskiy RTW Spring 2019

Ukrainian designer Anton Belinskiy’s first fashion show had religious airs. Incense burned on the steps inside the Palais de Tokyo, while some models sported wimples.
Belinskiy explored the concept of belief, whether religious or just as a way of giving meaning to life. He relied on the imagery of the Orthodox Church, in reference to his mother’s faith and his own trips to the local church in Kiev. Religious nods were given a pop-culture spin: tiny icons were printed on simple cotton T-shirts, while a rainbow-hued circular icon was depicted on a pink beaded crop top.
Models, both male and female, carried big sports bags. “When people retreat into religion, they pack up all their belongings and disappear,” explained the designer, who founded his brand in 2009. Film stills from “Adam and Eve” were printed on leggings, skirts and trousers. Some models wore seashell necklaces, other carried ceramic donation baskets.
The show was fast-paced and youthful, but the looks were a bit all over the place. An orange shiny jumpsuit was followed by a denim leotard worn with colorful leggings, then a Hawaiian shirt, finally a black deconstructed bustier dress. Despite this, the whole offering was energetic and exciting. The finalist for the

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Via:: https://wwd.com/runway/spring-2019/paris/anton-belinskiy/review/

      

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Louis Vuitton RTW Spring 2019

Should fashion be political?
It’s a question that has consumed editors in a week dominated by the U.S. Senate Judiciary Committee’s hearing into sexual assault allegations against Supreme Court nominee Brett Kavanaugh. For better or for worse, in the era of #MeToo, a hemline is no longer just a hemline.
While some designers have shrugged off feminist readings of their collections, and others appeared to deliberately court controversy, Nicolas Ghesquière embraced the moment with his lineup of retro-futuristic clothes, shown in a maze of neon-lit tunnels set up in the courtyard of the Louvre Museum after dark.
“This is not a narrative collection. This is about my obsession to empower women,” he said after the show. “There were so many discussions the last months about the place of women, and I thought that this is really an intuition to want to give power when you are a designer.”
He did that by tapping into a few of his other obsessions: sci-fi imagery and exaggerated volumes. Dominican model Ambar Cristal Zarzuela, making her Paris debut, opened the show in an oversized blouson with millefeuille sleeves featuring photo prints of candy-colored artificial landscapes.
The sleeves were the connective tissue between his eclectic band of intergalactic explorers. They

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Via:: https://wwd.com/runway/spring-2019/paris/louis-vuitton/review/

      

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Anaïs Jourden RTW Spring 2019

Anaïs Mak captured the coming-of-age vibe she was after. Tucked into plush sofas ringing the runway, guests waited under the dimmed red lights of the club’s low ceilings, the carpet’s skull-and-flower pattern barely discernible.
But when the lights snapped on and the sentimental saxophone riff streamed out — George Michael’s “Careless Whisper,” what else? — the audience was thrust into her bedroom, or wherever she had a full-length mirror, some privacy and a closet stuffed with possibilities.
“I think the girl is exploring maturing,” said Mak, the Hong Kong-born and -based designer whose label is called Anaïs Jourden. “You see a slight ‘Lolita’ influence in the collection,” she added.
The models wore mostly dresses, occasionally with a trail of ruffles, often in a bias cut and strapless at times — one had lacing between the breasts. Wearing stiletto Barbie heels — patent leather with a puff of fake fur, no straps to secure an ankle — some teetered, while others strutted confidently, hair tied up in a tussled ponytail.
“We used to rely heavily on textures and volume,” said Mak, noting the aim was ease and fluidity this time. Speaking before the show, she pointed to a pencil-shaped dress made from cotton treated for

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Via:: https://wwd.com/runway/spring-2019/paris/jourden/review/

      

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Ioannes Spring 2019 RTW

Johannes Boehl Cronau showed his spring collection on the ground floor of Lafayette Anticipations, where models mingled on a floor strewn with pink slips of paper, wearing opened-toed mules. He continued to expose midriffs, using thinly knit bra tops this time, which he paired with cycling shorts in the same material.
The designer has a sharp focus, training his efforts on a select assortment of silhouettes that emphasize his eye for detail; he said he hoped the collection would mark a “really good start for what we’re trying to do.”
Drawing influences from carpentry from his childhood in Germany, he made a luxurious version of a tool belt, one in shiny black leather, another one in gray, which he used to complete an all-gray look. The trousers were both refined and easy, with two short zippers running vertically on the front, matched with a knit bra top.
Black nylon trousers with zips and a few flaps turned out to be an opened-up boiler suit, which was worn with a lightly knit tank top. He used the same knit for an elongated dress that had loops hanging off of the bottom, like mini arm straps.
He slightly enlarged fisherman’s hats, which came in somber hues

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Via:: https://wwd.com/runway/spring-2019/paris/ioannes/review/

      

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A.P.C. RTW Spring 2019

Jean and Judith Touitou took another step this season and moved outside the label’s intimate Rue Madame headquarters to show their coed lineup. They headed to a cavernous garage, emptied of cars and outfitted with roving spotlights that announced the start of the show.
The first look set the upbeat, rockabilly tone. Down the concrete car ramp came a sleek, jeans pants-and-shirt ensemble in dark blue with white stitching, a charming Elvis coiffe and pointy white boots, keys jangling from the belt. The bright blue bandana tightly wrapped around the model’s neck allowed a peek of the bright yellow T-shirt underneath.
It’s increasingly a question of survival-of-the-fittest in apparel these days and, not one to be left behind, the label is hankering after growth.
With their spring collection, the couple nudged their specific breed of easy and wearable elegance into younger territory, with their offer of jeans, colorful sweaters, smart outerwear and belt bags stamped with an A, a P or a C.
Dresses were cut sensibly, continuing in the same register as last season — non fussy, elegant and #metoo age-appropriate. These included a checked trenchcoat dress and several prairie dresses. The label’s emphasis on outerwear was expanded to include brighter colors, and

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Via:: https://wwd.com/runway/spring-2019/paris/apc/review/

      

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Dušan RTW Spring 2019

Understated luxury is the code word for Dusan Paunovic’s collection, constructed from high-end fabrics that are the building blocks for his cathedral of minimalism. For spring, the Serbian-born designer worked in a muted color palette of neutrals, working a raw-edged beige and cream herringbone linen, for example, into an elegant yet relaxed spaghetti-strap dress.
Superlight cashmere and silk knits, wide-legged linen culottes and Japanese hand-pressed lamé skirts, all staples in the Dušan vocabulary, were the backbone of the lineup. The outerwear was also strong, as demonstrated with a camel Loro Piana water-repellent cashmere coat with lining and contrasting Mao collar in white neoprene.
His patchworks of supersoft silk scarf prints in a palette of navy, forest green and dusty pink, used on flowing pants and sleeveless tops with a simple tie at the back of the neck, worked a treat.

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Via:: https://wwd.com/runway/spring-2019/paris/dusan/review/

      

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Miu Miu RTW Spring 2019

Before the start of Miu Miu’s spring show, the room was dark to enhance viewing of close-up video of models’ faces, their hair pulled back in headbands, one with a bold swipe of red across her eyelids, another with crimson lips, that was projected on white bubble letters spelling out the brand’s logo. It made you wonder if a beauty launch was afoot. In fact, the collection was about “deconstructing beauty,” explained Miuccia Prada after the show. “It’s talking about what’s interesting now — tailoring, glamour, elegance — reworking it and that’s what I did.”
You could take her at her word. The building blocks of a woman’s wardrobe, with the exception of any trace of hyper casual athleticwear, were on Prada’s table, up for reassessment. The question posed seemed to be: How to make it modern? The answer was to be to embrace the look of DIY, recycling, upcycling even if everything is brand new. It was all far from homespun, yet it took Prada’s signature ugly/pretty (but pretty perfect) trope in a different direction with a rare exploration of the rough side of imperfection. Consider the casting: aside from a few big name models, the runway was full of

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Via:: https://wwd.com/runway/spring-2019/paris/miu-miu/review/

      

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Beautiful People RTW Spring 2019

After Chanel’s beach extravaganza, guests remarked that the venue for the Beautiful People show looked a bit stark in comparison. All the best to keep the audience’s attention on the complicated construction of the garments themselves. In the last part of the show, members of the studio had to actually come on to the runway to assemble four silhouettes, confirming the theme of the collection, “Puzzles.” The team demonstrated how bunched-up waists and dangling threads could be pieced together to form a less deconstructed look.
Designer Hidenori Kumakiri managed to break linen into eveningwear. Proof that natural fabrics don’t have to be limited to leisurewear, linens were delivered in an elegant spread of pleated cream and rich burgundy. The designer revealed backstage that the hues were created by dipping fabrics in red and white wine, which also added texture. The process is part of the brand’s experimentation with natural dyeing; deep blacks were achieved thanks to bamboo coal.
Pops of lime and gray-blue prevented the collection from feeling too earthy. Jackets appeared shrunken, because they actually were: Their original XXL size became fitted once immersed in salt water.
Prints were discreet — small checks and stripes in blue and mauve — and skirts

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Via:: https://wwd.com/runway/spring-2019/paris/beautiful-people/review/

      

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Chanel RTW Spring 2019

Excuse the clichéd lede, but at Chanel, life’s a beach. Not a shark-attack beach or a misogynist beach, but a serene, inviting blue-sky beach, with real water undulating into and away from the pristine sand.
Inspired by the shores of Sylt, the German island Karl Lagerfeld frequented as a child, the Chanel waterfront was gloriously peaceful. (Not to mention well-tended, another astonishing display of Chanel execution and Wertheimer largess created inside the Grand Palais.) You could close you eyes and let the sounds of the gently rushing water transport you anywhere your mind felt like wandering. That is, if you got there early. But then the revelers showed up — Pharrell Williams, Vanessa Paradis and Pamela Anderson (Sylt, Schmylt. Bring on the “Baywatch” nostalgia.)
They shook off the sand and settled into their boardwalk-bench seats in time for a rollicking beach romp. Lagerfeld is brilliant at presenting the Chanel oeuvre in a different light season after season, with mood changes from refined to cool to bourgeois, while altering the intensity of the house iconography (at least all markers save for those essential jackets), sometimes lightening up on buttons, camellias, double-Cs, even handbags. Not here. This was a flamboyant merch fest — unabashed, shameless, and wonderfully so.

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Via:: https://wwd.com/runway/spring-2019/paris/chanel/review/

      

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Esteban Cortazar RTW Spring 2019

Esteban Cortazar gets to work on his spring collection when his mind is fresh from a month-long holiday in the summer. He relaxes, reflects, appreciates nature. “I go to a place like Ibiza where people watch the sunset and they literally clap afterward, it’s a thing,” Cortazar said backstage. “I love that so much, and I know it’s a cliché to reference a sunset, but it’s one of the most beautiful things we live in a daily basis.”
What wasn’t cliché was his collection. Cortazar worked within the parameters of sexy, summer dressing but populated the lineup with unusual details and decorative effects. Not all of them worked — for example, a sheer black slip dress with a little harness of pink fringe underlining the breasts, and a black off-shoulder top layered with a leather corset with cups that looked like half beach balls — but those that did were warm, inviting and very pretty. Pairing silk jacquard jogging shorts with a dusty pink crinkled silk robe worn open over a matching shirt gave a romantic, elegant summer look a casual, playful element that wasn’t cheesy. Robes and capes in ombre sunset colors were highlights, as were tops, dresses and tailoring

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Via:: https://wwd.com/runway/spring-2019/paris/esteban-cortazar/review/

      

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Sandro RTW Spring 2019

Sandro’s French girl style became a bit more adventurous this season, as American influence seeped across the Atlantic, adding color and more diversity to her wardrobe. Evelyn Chetrite had the Hamptons of the Nineties in mind, and drew on the preppy, yachting vibes she found there. Silky blouses and dresses carried nautical motifs, flowers and butterflies, like printed scarves of the period, and there was a pleated skirt printed with flags. Also in the old-school vein were gold buttoned cardigans and striped, double-breasted suit jackets.
This, Chetrite brought into a contemporary environment, adding masculine trench coats, stonewashed jeans and sneaker models Flame and Astro to the mix.
For the music festival-goers, tie-dye t-shirts had Smiley faces and there was a white cardigan marked “techno love.” An elegant knit top came in neon green, and a rainbow striped t-shirt read “Don’t be late for love.”
The collection reflected more varied and relaxed styles seen on the Parisian streets — the French girl is growing increasingly laid back.

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Via:: https://wwd.com/runway/spring-2019/paris/sandro/review/

      

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