WOMEN'S WEAR BY YOHJI YAMAMOTO

‘There is nothing so boring as a neat and tidy look’

This is what could be read on the labels of women’s wear pieces created by Yamamoto in the 1980s.

There is no shortage of adjectives which could be used to describe the creations of the eponymously named Japanese label Yohji Yamamoto. The elaborately curated designs of the brand are characterised by a dark and distressed, visible wear and tear which is complimented by loose-fitting and formless or irregular outlines showcasing the want for women to appear shrouded, mysterious but most importantly, safe and concealed.

What may also be recognised in Yamamoto’s work is an inescapable cultural influence, having been born and raised within his home country of Japan until he left for his first Parisian show in 1981, his heritage is unmistakably present in the overarching feel of his designs. There is a comparison to be made with the clothing Yamamoto makes and the traditional Japanese dress- the kimono, which extends even to the fabric he uses which is exclusively sourced from the family-run Chiso factory established in 1555, known for crafting monk’s robes. The sleek, draped style can be seen as the ancestor to what could be considered the country’s updated, post-modern take on these traditional garments as Yamamoto, arguably one of Japan’s three biggest names in fashion, has truly earned his place as an icon, world-over.

Yamamoto has most definitely made his mark as a strong force in the industry from the early ’80s onwards, while his personal flair was not initially greeted with the acclaim which it deserved, even being clouted as ‘holocaust chic,’ it has slowly and surely grown in popularity. What might be considered an update on the national dress comprises of an experimental and deliberate ignoring of trends of which Yamamoto and his partner Kawakubo of Comme des Garçons, have come to be appreciated for.

His distaste for waste is accented in his contradictory pieces which, though well-made, make a statement out of worn edges, frayed material and dirty, punkish looks. In some cases, the outstanding feature of his designs are the sharp, angular silhouettes which contribute to the contemporary, new woman archetype. There emerges a kind of female equivalent of the new man (or ‘mod’) of the 1960s which is an alternative to ‘80’s careerism that nevertheless empowers the woman who wants to be strong and edgy yet hidden, asexual and somewhat reserved. Does conservatism creep into the equation here? It is hard to say what Yamamoto’s motivations are in this respect but what he does express, not dissimilar to some other male designers within the field of fashion, is a want for women to feel protected, whether it be from the weather or the male gaze, yet also emboldened, fierce and powerful rather than humble, feminine and floral.

These feelings are no doubt, in some part, a reaction to the aftermath of the war-devastated world in which he grew up. With hints of the sombre and morose in his shaded wardrobe, there offers a certain sense of the dark and alluring mystique, those qualities of the other that your typical Disney villain so embodies. Put it this way, if Maleficent was to pick a preference for any trending brand, Yamamoto would certainly be a strong contender for she, in all her cloaked and hooded glory.

The almost exclusive use of the colour black is a marked component in all of Yamamoto’s collections, famously describing this as ‘…modest and arrogant at the same time…lazy and easy - but mysterious’ and ‘above all black says this: I don’t bother you - don’t bother me.’ It is clear that the colour black conjures connotations of restraint, refinement, simplicity and austerity. Moody but never showy, Yamamoto encapsulates the culture into which he was born so well with his subtleness and minimalism, as even these qualities remain highly valued in Japanese society to this day. The significance of the colour black has its origins in the samurai era and as with the black belt status in many martial art practices, the shade symbolises self-discipline in addition to simply being sophisticated and flattering.

In summary, Yamamoto is skilful in his ability to craft a mannish, hard-boiled version of the film noir aesthetic for the female market in his carefully sculpted designs. Despite the distinctively unfeminine appearance of his creations, there is a dark, villainous quality which gives an impression of a tough yet lachrymose woman which is unique, rivalled by few designers outside of his Japanese contemporaries.                  

Sources-

Blanchard, Tamsin,‘Yohji Yamamoto: 30 years at the cutting edge’, The Telegraph, 2011 <http://fashion.telegraph.co.uk/news-features/TMG8298329/Yohji-Yamamoto-30-years-at-the-cutting-edge.html>

Derval, Diana, Designing Luxury Brands: The Science of Pleasing Customers’ Senses (Springer, 2018)

English, Bonnie, Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamoto and Rei Kawakubo, (London: Berg, 2011)

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