With their partially bleached, semi-mohawked hairstyles and slender frames draped in wispy black garments that were a variety of frayed, flayed and trailing in floaty tails; the models at Yohji Yamamoto could have been mistaken for a new age coven of witches. The woven bound rope that hung from their necks, some toting thick slabs of bark, certainly called to mind the pagan respect and appreciation for the earthly elements, while others had their faces shrouded with veils. Shirt dresses that were loose and slouchy were teamed with equally slouchy laced-up boots generating a hippy, free-love vibe amid gothic asymmetric black dresses, metallic silver jackets that came long, short and half of each. In keeping with the unusual aesthetic, raffia ball necklaces and versions in sapphire woven squares offered an arts and crafts alternative to the bark variations, which preceded them. A white cobweb motif adorned some skirts in true homage to the fantastical side of wicca, while fluid dresses and ensembles in tomato red had their own part to play, and then came a nod to aviator chic as models donned hats that referenced Amelia Earhart’s flying headgear and bulky overall jumpsuits and separates in muddy khaki tones. Miniature houndstooth formations and prints offered Yamamoto’s nod to the trend for checks, while Breton stripes featured elsewhere and utility style dresses in inflated cape shapes billowed out in sandy safarai shades, draped over the body. The designer appealed to his loyal following with a collection that spanned the length of his signature repertoire while simultaenously playing to the new season trends emerging on the catwalks for spring summer 2013.
Catwalk images: copyright vogue.co.uk