Yusuke Takahashi continued to explore the “contemporary living apparel” line behind the brand's moniker with a fall collection that sought to cover one's sartorial bases, from Monday to Sunday and morning to night.
“There are repeated cycles of tension and relaxation in our lives,” he said backstage before a show titled “Cadence.”
This was realized with striped effects, lenticular patterns, the contrast between textured and smooth surfaces, as well as the addition of hand-sewn sequins to clothing made “hands-free” using 3D knitting machines.
His recent work on costumes for a production of Mozart's opera “The Magic Flute” in Tokyo, but also a visit to the “Mode et Sport” exhibition at the Musée des Arts Décoratifs in Paris, led him to give a twist to the idea of sportswear, with sports such as horse riding and fencing making your simple appearance more formal than casual.
This time, the pants, whose fabric was held together by stitches that echoed ironed pleats and darts, were particularly attractive. Other standouts included the cream suit that opened the show, a mutton sleeve blouse and dresses, always great at CFCL.
As always, the evolution in his work is more in the materials used in the fabrics than in the silhouettes, with Takahashi highlighting a thick velvet-like fabric and the introduction of cashmere and silk threads.
Despite the discordant moan-and-snort soundtrack of an experimental string quartet, a composition by Serbian composer Hristina Šušak, which baffled audiences at best, CFCL's fall lineup struck the right note between being casual wear and the dressier direction many have been leaning towards.
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