Perhaps I’ve been reading too much Japanese literature lately, swooning long at the thought of Japanese streets underfoot, neon lights above, and the call of whisky and of soba, ramen and yakitori, with the words of Murakami keeping me company long after dark.
So when Andrew GN’s SS18 collection first walked down that Parisian runway, a sense of familiarity filled me. His signature touch continued on from his FW collection: the symbiotic balance of unexpected union and perfect addition, his unhindered yet considered artistic expression, his mastery of technical correctness merged with rebellious creative licence, and a beautiful sense of incredible design imbuing the influence of his two favourite cities, Tokyo and Kyoto, emblazoned for all to see: To-kyo-to.
So when Andrew GN’s SS18 collection first walked down that Parisian runway, a sense of familiarity filled me. His signature touch continued on from his FW collection: the symbiotic balance of unexpected union and perfect addition, his unhindered yet considered artistic expression, his mastery of technical correctness merged with rebellious creative licence, and a beautiful sense of incredible design imbuing the influence of his two favourite cities, Tokyo and Kyoto, emblazoned for all to see: To-kyo-to.
But there is more. Harajuku, the famous neighbourhood of fashion boutiques, street art, vintage clothing and cosplay stores, sprawls across outfits. So too do classic motifs: the hand fans, mountainous landscapes and Kabuki prints, and at once the clear understanding of Japanese couture and art.
Think a black fitted dress made much more by long, delicate mesh bishop sleeves, almost entirely translucent, flowing alongside the concertinaed ruffles of a slightly gored, slightly flared banded skirt beneath a simple black shell emboldened by a flash of floral colour.
Think a black fitted dress made much more by long, delicate mesh bishop sleeves, almost entirely translucent, flowing alongside the concertinaed ruffles of a slightly gored, slightly flared banded skirt beneath a simple black shell emboldened by a flash of floral colour.
Think a one-sleeved minidress made his by a samurai Kabuki print, grosgrain trim and his thematic hints of bondage restrains and zips, or the avantgarde union of a classic kimono with a black patent belt.
And think flowing full-length sakura, head to toe, or hand-embroidered smatterings of maple leaf on the white hue of a shift dress; or brushstroked beadwork perfectly framed by a bold blue coachman coat sealed with a solid black trim.
And think flowing full-length sakura, head to toe, or hand-embroidered smatterings of maple leaf on the white hue of a shift dress; or brushstroked beadwork perfectly framed by a bold blue coachman coat sealed with a solid black trim.
Perhaps it is this, GN’s signature blend of monochrome with floral embroidery and sartorial correctness in one look, followed immediately by an original creation influenced by history and culture, celebrated by the depth of detail, the connection in each pattern, the bold design with regard to tradition, the handmade adornments, the limited production, and the uniqueness of each piece, that seems so familiar.
Tokyoto is more than a collection, and more than the clothing that falls and sits and adorns. For GN, it’s “an art thing”. It’s a tribute to Japan and her culture, to Kabuki prints, to antiquity, to culture and artistic expression and history and the very life of the streets wherever it is that Andrew GN will be worn, and those that walk them, past, present and future.
You can see the full collection here.
Tokyoto is more than a collection, and more than the clothing that falls and sits and adorns. For GN, it’s “an art thing”. It’s a tribute to Japan and her culture, to Kabuki prints, to antiquity, to culture and artistic expression and history and the very life of the streets wherever it is that Andrew GN will be worn, and those that walk them, past, present and future.
You can see the full collection here.
