Sometimes a fashion show has the power to move the soul. With her spring outing, Yuima Nakazato did just that, transcending analysis and contrasting her creations with a live dance and music performance created in conjunction with choreographer Sidi Larbi Cherkaoui, with whom she has been working on “Idomeneo,” which will premiere at the Grand Théâtre de Genève next month.
His powerful poetic collection was intended to be a replica of non-verbal communication through art, open to a plurality of interpretations. “Fashion is non-verbal communication and acting is also non-verbal,” Nakazato said. “There are so many meanings in this collection for today. There is not a single answer”.
The plot of Mozart's opera, which tells of human suffering during the ancient Greek wars, and a research trip to Crete, led to the discovery of the complexity of ancient armor, becoming the starting point for an exploration of clothing military through the ages. Nakazato likened his designs to “ephemeral armor,” contrasting utilitarian elements with the delicate handwork of haute couture. “The armor has to be very strong, but I tried to make it very fragile armor, which is the opposite of fighting or war,” the designer explained.
Draped and layered silks in ombre black and white formed voluminous capes or sculptural ruffles that circled the body, accented with bold yet delicate ceramic, glass and platinum jewelry and hardware in organic shapes, overlapping silver trains that evoked antique breastplates and nodding leotards. to camouflage teams. The recovered uniforms and work clothes were shredded and woven into new khaki textiles, used to form silhouettes that reference contemporary utilitarian garments such as bomber jackets and trench coats, but with the poetic, almost ceremonial touch that makes the imprint from the hand of Nakazato is so characteristic.
Male and female models negotiated their way around a curious red pool in the center of the catwalk before musician Tsubasa Hori began her piano and vocal performance and dancer Pau Aran Gimeno emerged from backstage, barefoot and dressed all in white. . As he entered the basin, the blood-like liquid began to soak into the fabric of his costume and then dramatically stained the white carpet as it continued its procession and the models reached their end.
The public seemed moved by a sensation that was difficult to define, apart from the awareness that this was a special moment and an equally special collection.
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