![]() Looks 23 to 35 were structurally more akin to a techno breakdown than a pogo-perfect punk period. Next came a screeching U-turn into elegant formality via all-white looks that topped shrunken menswear tailoring above flowing high-waist pants.įollowing a four-look recap interlude that stuck to that silhouette, he switched again into three cocoon-shoulder minidresses, the final shaggy black one in a heart-shaped silhouette intersected by a foot-long safety pin. ![]() These were teamed with the fearsome sea-urchin necklaces and bracelets that reappeared later, which, Takahashi said, “are made of brass and quite sharp, so you need to take care when wearing them.” A four-look blast of semi-archival glamour punk followed, complete with (unripped) fishnets, fitted minidresses in colored leather (at least to the eye), safety-razor belts, and two perfect, possibly intarsia, shearling shrug coats patterned with scarlet blooms and more razors. The intro group was the longest, an establishing tempo of dark wool dresses whose shapes were defined and delineated by golden zippers in arcing, body-tracing contours. Quiet, elegant, and formal pieces are interspersed with a punk rebel spirit and thoughts of peace.” Takahashi, who once played in the tribute band the Tokyo Sex Pistols, arranged his collection into groups of looks that were released in concentrated bursts. “The collection expresses the cold, rebellious fire smoldering deep within us. When the mail came in, Takahashi explained why the collection is entitled Cold Flame. Comparing the shows side by side, the fire ignited 20 years ago (next season) appears undimmed. While waiting for the overnight replies to a few postshow questions after this Tokyo-shown collection, some Jun scrolling unearthed footage of his first Paris show, spring 2003’s Scab. Pomp and punk, beauty and bile, fashion and fury-nobody in the global diaspora of runway performance teases out the adjacencies, subtexts, and overlaps that lurk within these aesthetic dialectics like Jun Takahashi.
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