“I’ll wear ****!” We sighed as we sighed as we caught up with the Junya Watanabe Show’s door. I suspect he said to almost everyone in the room: It is a great collection of men’s clothing, with a wide essay on taste, history, and enlightenment embedded. Who doesn’t want to wear it?
The subject of the course is the back and forth between classicism and radicalism as a driving force for cultural evolution. In his opening, Watanabe leans towards the former and wears faux vintage brocade and jacquards with classical piano soundtracks and a series of tailored jackets that span Rococo, Baroque and Romanesque. A suit looks cut in the jacquard breeding of Latin lighting manuscripts. The jacket (thinks me of Kean Etro) is worn on kick denim, then the olive monotony, then the orange drill bit. Under the Fleur de Lys jacket, there is a straightforward pair of tailored jeans with collages of jacket fabrics we just saw (which reminds me of Dolce) without socks at Oxford.
Around the time of the earthquake, the jingle-dang piano began to spin like glassware, jingle-dang drops and debris. On top, one of Ludovic Navarre’s epic and original intersections, a mixture of St. Germain (Rose Rouge) is mixed together. From here, the proportions established in the previous harmonics and appearances also begin to shatter and mash into new forms. There is mod check tailoring, and a clumsy new wave of formal tailoring in black in a mess (which reminds me of Hedi Slimane). Before the Gabardine deck jackets merged with coated leather bombers, there was some classic look on the pleated dress pants that wore clip-on dress pants.
The twisted look of the twisted ferry and dangling pants (which reminds me of Westwood), then another obvious tie. Shorts on wide black denim are connected to wide belted silk scarf and headscarf. We see some art: Munch on a long t-shirt wrapped in denim, saree-covered silk Paisley in a saree-covered apron, portrait of Munch’s portrait Hans Jaeger. Record-style Elizabeth Peyton is printed on the button above a semi-positioned Jean. The childish architectural prototype has knitted patterns.
We then transform into a more informal jacket shape with a jac-centric jac figure. Florence rooftop work clothes, Bruges Monastery coat, Venice Grand Canal coat, Ponte Vecio denim work jacket. With Saint-Germain built and built, Watanabe showed a series of non-secret classics with the same fabrics he had previously introduced to the tailor. My personal favorite is the long maroon baroque floral workwear coat marked Lee. “Our original approach. A new feeling of basics,” the notes read. More about meditation rather than innovation, the series is entirely original, as it considers the origins of its origins and opposition.
