Yohji Yamamoto: What to make of the single eyelash on the Yohji Yamamoto invitation? Was he feeling particularly whimsical for fall? Would there be surrealist notes? Or was he simply paging Tammy Faye? If anything, the designer was in a playful mood, judging by the models’ cotton candy-colored hair done in tall, whip creamlike swirls. But Yamamoto doesn’t do sweet — at least not without a dollop of subversive. In fact, the first girls out signaled a continuation of spring’s punky tunes. They wore East Village-worthy mesh dresses, so close-fitting and snug they were practically fishnet stockings for the body, sometimes layered under terrific spare coats, cut in almost clownish proportions with wide-sweeping lapels. Garments came slashed, with asymmetrical hems, and deconstructed — the usual rocker MO in a completely black palette, save for the occasional pop of shocking lipstick red. But the approach here was different — this was punk filtered through a rather feminine lens, decidedly gentler, elegant even. It made for an impressively alluring show.
Yamamoto mixed in a lovely floral motif seen in dandelion-looking prints (echoed in the abstract puckering on outerwear) and the striking chrysanthemum appliqués. The numerous boudoir riffs softened things too — draped silk dresses came spliced with lace, whether slip style or with pleats down one side. Further upping the romantic ante: tiered, ruffled bustles and gigantic hoop skirts, including a few left stripped down and bare. The latter added to the dishabille undercurrent throughout, including the webby, ultrarevealing knits, which struck a strangely seductive and provocative vibe. Maybe that’s where the lash comes in — it’s one big flirtatious wink.