Yang Li presented the final chapter of a trilogy on cinematic villain archetypes, starring the gambler. Found in the back alleys of Macau or Hong Kong rather than glittering waterfront properties, his shady high-rollers had a brittle elegance, donning satin shirts and fraying formalwear.

Mustard yellow — odds were commercially long, but paid off — faded florals, green — the palette was dissonant and rich, in an effort to replicate the full-on effect of these establishments. Cunning cuts — most visible on a black-and-white jacket — and bold details of raw edges, embroidered card suits, or scarf loops reinforced the visual cues and delivered Li’s characterization just so.

Ballistic bomber-blazer hybrids displayed their tartan patterns through the holes of the technical material; hands rolling a dice were repeated on a silk shirt and scarves, but were a frame by frame capture, and a faux nylon-fleece shearling was cut in such generous shapes that you could hide another person, never mind a simple pack of cards.

What had been cashed in was his “men’s wear for women” sub-category. Moving forward, pre-fall will be a separate entity and thematically unrelated to men’s. Expect slipdresses with lace, a delicate dévoré fabric mimicking a microprint and a return to the shirt with sleeve buckles, which has appeared before in Li’s vocabulary, and will feature heavily come March.

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