A Yohji Yamamoto show brings with it certain expectations, as well as some unknown elements. We are aware that he is the unrivaled master of everything black and that his clothes are poetry in motion. However, one aspect he often doesn’t get enough credit for is his keen eye and skill in prints. His dedicated fans try to emulate the Yamamoto aesthetic as much as they can, and as he continues to produce more print-centric work, they wear it proudly. Whether it’s full-length photo print coats or seemingly hand-painted one-of-a-kinds, it doesn’t really matter to them. What matters is that he is resonating with them, and they love it.
This season was no exception. The invitation featured a halftone print of clasped hands, which later appeared on a coat in an unexpected side placement. This is another area where Yamamoto has been pioneering but largely uncredited for—the unexpected placement of prints. It might seem minor, but for a designer who is meticulous about every single stitch in a garment, we should also pay close attention to his choice to place a print in an unexpected spot. A side print, partially hidden by an arm, influences the wearer’s body form, exemplified by white circular patches in later designs.
An intriguing development occurred in the final looks, which showcased heraldic shields and symbols resembling discharge prints on velvet. These linked back to the square-cut fringing on earlier zipped jacket tails, evoking medieval tabards. It’s a fitting analogy for the sartorial knights of Yamamoto, who wear their attire with pride.