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Picasso said: “It took me four years to paint like Raphael, and a lifetime to paint like a child.” The beauty of Yamamoto’s work is that it combines complexity and intuition, canons and chaos, maturity and naivety in equal measure.
The design in the spring 2025 collection did not correspond to any generally accepted ideas about construction and was full of various foil and felt textures. However, the models were not burdened with hypertrophied volumes and overly complex shapes.
Yohji Yamamoto Spring 2025
Intricate draping and ties, long straps with buckles, illegible words on leggings and jagged edges of skirts eventually folded into fragile and very feminine forms.
Yohji Yamamoto Spring 2025
The duality of fragility and strength that many designers explored this season was embodied in Yamamoto’s abundance of lace, from veils covering one eye to complex, multi-layered outfits.
Yohji Yamamoto Spring 2025
“Very dreamy, but at the same time quite dark,” is how renowned pianist Pavel Kolesnikov described the sadly sentimental arrangement of works by Bach, Gluck, Ravel and Japanese composers that he performed live on the edge of the podium. As a result, the pianist achieved an incredibly harmonious symbiosis with what was happening on the podium.
Yohji Yamamoto Spring 2025
A series of looks in red, as perfect as a perfect lipstick, closed the show in a somewhat straightforward manner, making an unspoken statement.
Yohji Yamamoto Spring 2025
Yamamoto seems to like his collections to feel like a work in progress, which requires a great deal of skill. He doesn’t make grand statements or sum things up. Instead, year after year, he reaffirms his belief—and, I hope, ours—in the power of beauty against all odds.
Yohji Yamamoto
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