Urban bohemia was the overarching theme of Y’s Black line, one that sat particularly well with the aesthetic proclivities of brand founder Yohji Yamamoto. Layered on top of the tailoring that is the strong suit of the label, the bohemian side was embodied by rope-centric crafts. It was piping made of hessian, embroideries that looked like hasty repairs done in contrasting thread. At its most exuberant, macramé was used to create slipdresses designed to be worn over white shirts — impeccably tweaked variants that bear the Yohji DNA.
Elsewhere, white lining came to add contrast and the impression of wearing a shirt. It was particularly visible on a morning suit with a removable collar that nodded to 19th-century shapes. Zips added the playful possibility to transform garments on the go, creating vents, removing sleeves or simply letting entire panels slide down the body in asymmetric cuts. Further on, a marble theme took its graphic cues from suminagashi, the “floating ink” technique that inspired paper marbling.
Among other highlights of Black were an overall-like dress that could transform into a skirt; silk pajama-style separates with multicolored pinstripes, and a trenchcoat and parka that, when worn reversed, exposed their construction.
In the more image-driven Pink line, an Eastern European vibe floated in voluminous blouses and generous skirts while traditional smocking came to cinch the back of a jacket. One striking example was a roomy canvas coat with ribbons threaded into the needlework. The lineup then segued into long-sleeve tops, military trousers with zips running up the legs and details that evoked punk culture like chains hanging off pants and raw edges. A capsule of T-shirts emblazoned with designs inspired by Seditionaries, the Seventies London boutique of Vivienne Westwood and Malcolm McLaren fame completed this punk Pink outing.