A giant net hat and a royal purple jersey gown with a lengthy train opened this graceful show, and signaled that Yohji Yamamoto was back on romantic terrain.

 

There were a few winks to his 1999 tearjerker — the legendary “wedding show” — not the least of them a bride and groom that strolled out at the end. But this pairing seemed to punctuate the fact that Yamamoto’s devotees are just as likely to say “I do” to a mannish trouser suit as a vaguely fin-de-siècle skirt and blouse.

 

These were the two stories to the collection. As soon as that first purple number exited the raised platform, out strolled a series of tailcoats, shown with fitted tuxedo shirts with pleated bibs over loose trousers rolled up over flat boots.

 

The tailcoats were tiny and terrific, reduced to sleeves, lapels and a trailing strip of fabric. There were looser, more generous jackets, too, some with ballooning or peekaboo sleeves: a perfect foil to a frothy blouse with a giant heart-shaped jabot spilling out.

 

The designer showed an equal variety of skirt silhouettes — from a long, minimalist wrap of tissue-thin jersey to bulbous, multilayer milk-maiden dirndls, some with quilted underskirts and ruffled aprons piled on top.

 

While this procession down a raised aisle didn’t elicit the emotional charge of past outings, it was a handsome sweep through the Yamamoto design canon — and had a strong sense of ceremony.

A giant net hat and a royal purple jersey gown with a lengthy train opened this graceful show, and signaled that Yohji Yamamoto was back on romantic terrain.

 

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