Yohji Yamamoto absorbed the heat hanging over Paris, his idiosyncratic layers reconsidered, lighter. Long coats were punctured with oversized eyelets that functioned as ornament just as they did ventilation, while boots and high-top shoes opened into mesh panels that allowed air to circulate. The familiar density of a Yohji silhouette gave way to something noticeably more porous.
The collection revolved around the shoulder. Sleeves expanded, collapsed and shifted shape from one look to the next, borrowing from historical dress. Soft forms, deflated structures and sharp, armour-like peaks altered the body's proportions, drawing attention upward while allowing the rest of the silhouette to fall with ease. Yamamoto treated tailoring as something capable of movement before structure, allowing volume to migrate across the garment instead of remaining fixed.
A recurring combination of loose coats, shirts or vests, and elongated shorts established the rhythm of the show. The interruption of the trouser line felt significant. Where Yamamoto often builds verticality through uninterrupted length, the exposed leg introduces intervals within the silhouette.
Surface decoration arrived gradually. Grayscale prints dissolved into deep red devoré florals before giving way to delicate lace shirts, clusters of buttons and loose crimson threads that hung from garments like unfinished stitches. Towards the end, beige cotton with frayed edges and shimmering knits woven with silver and copper threads softened the collection further.
Words by Pedro Vasconcelos
