The first few exits at Yohji Yamamoto — languid riffs on volume with unfinished seams and trains poetically dragging along the black-and-white runway — demonstrated a tattered elegance, proposing a lovely serenity.

But those looks were merely a sampling of the many creative impulses Yamamoto poured into this strong lineup, in which he switched back and forth between ideas, his music signaling the changes with dizzying results.

Shortly after the gorgeous early numbers, four storm troopers with Amelia Earhart headgear stepped out, posing demonstratively to the audience on both sides of the runway. The extreme juxtapositions continued: fiery red dresses, some quite sexy, followed by two veiled black widows. Then, a procession of girls in cropped jackets and transparent skirts in muted yellow and pink, midriffs on full view. While it resulted in mixed messages, there were plenty of beautiful clothes with ample romance.

Most of the jackets were rendered with uneven hems, some cut so that they playfully cascaded around the torso. They could have read awkward, but in Yamamoto’s hand they enhanced the collection’s poetic spirit.
Throughout, the designer demonstrated a lovely simplicity and sparseness, and even the trickier designs — twisted, draped and sometimes barely hanging off the model’s back — were executed with a lightness that never overpowered.

Yamamoto carried that notion right through the end with several languid black dresses. They, like most of the collection, demonstrated a welcome ease.

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