The theme was “reconstructed suiting” at Junya Watanabe Man. Jackets were grafted to long skirts, twill mixing with denim and gabardine, and worn with stitch-less trousers or distressed jeans. Outerwear was classically constructed at first glance, but revealed a subtle sartorial secret at second: arms were attached to the bodies of coats in a way that mimicked restraint without actually inhibiting movement. There were also inky wool overcoats and iridescent trenches that criss-crossed at the clavicle. Beneath these, trousers were slouchy and billowed with each step. Knit cardis and crewnecks were sort of dowdy, akin to something your grandad would wear, but worn atop collared shirts and paired with those sharp-shouldered blazer-skirts, looked more suited to a high fashion devotee with certifiable good taste. This radical transformation of silhouette resulted in transgenerational clothing that was just as subversive as it was wearable.
Beyond the masterly construction, Watanabe really flexed his collaborative chops, linking up with an eclectic cohort of brands – many of which he’s tapped before. The distinctive logos of Brooks Brothers, Carhartt, Levis, New Balance, Palace Skateboards, Inneraum and Heinrich Dinkleacker could be seen throughout. The designer corralled so many different spirits into the lineup, disassembling and reassembling their defining characteristics in a way that made complete sense, but, ultimately, felt refreshing.
In a note sent to the press after the show, the designer wrote just one, epitomising thing: “I wish for men of different generations to wear these suits.” As soon as this collection hits retailers, Watanabe’s wish is certain to be fulfilled.
Photography by Christina Fragkou.
