#fultonstcritique

Mike Amiri is Los Angeles fashion. His Fall 2022 womenswear set- shot via a candid look book- demonstrates that the American designer has nearly perfected his upscale take on classic daywear. The Amiri label- founded just eight years ago in 2014- has integrated into American pop culture built on prized denim, stylish accessories, and a spirited, contemporary rock and roll attitude. It would have been easy for Mike and his team to rest assuredly given all the mainstream success this once tiny label has achieved in such a short period. Opting to challenge themselves and grow intrinsically rather than remain boxed into a set domain means the label is now entering its second life. Nearly unrecognizable from his previous work just a few seasons ago, the designer is stepping up his game to match a level of work typically seen on the runways in Paris and Milan. This LA kid has arrived. Amiri’s eye for interpreting luxury in a grounded, metropolitan ideology proves that the Los Angeles scene may have more to offer on a global scale. Mike and his downtown team appear to be making the pitch, who needs New York anyway?

Louis Vuitton has their monogram print. Gucci, their horse-bit buckle. As far as house codes go for Mike Amiri’s concept, the designer has relied heavily on denim as a means to show his craftsmanship and love of the cotton crowd favorite. For Fall, a remix of a jean and sweatpants combination paired with a cozy navy blue teddy coat and crew-neck crop-top displayed the designer's willingness to experiment with the new while staying connected to his roots. Did this hybridization of styles work? Not necessarily, though the inclusion of playing with different mediums to arrive at consumers ever thirsting quench for comfort was valiant in its efforts. Continuing along this trend of mix-and-matching fabrics saw a maxi length pleated skirt in black and one in white, as well as a cement-colored leather panel, conjoin with the popular Amiri denim. If not a win for style, at least the pattern makers had fun creating such contraptions. Sumptuous takes on classic daywear pieces perfected the enticingly modern mood of the season. The most notable out of these crafted categories was the strong outerwear. The softest fleece-lined moto jackets in all of LA were shown alongside burly, oversized wrap teddy coats and moody 1980s style blazers. The Amiri woman is grown up and ready to enjoy a mature wardrobe to accompany her new lavish lifestyle. If you want to be taken seriously, dress like it, in the case of Mike Amiri- he is certainly designing like it. Furthering this established collection into a realm of balanced cohesion highlighted the ambitious task of adding desirable base layers of comfortable essentials to the lineup. Styles like the brand’s known boxy, strong shoulder cotton t-shirt and cashmere, silk blend turtleneck did just that. Sporty and contemporary undertones uplift this highly contextualized statement of dressing for an active lifestyle without sacrificing the accompanied beauty of these clothes.

Since deciding to show in Paris for the Spring Summer 2020 menswear season just over two years ago, Amiri has enjoyed a facelift of principle. Undoubtedly inspired by the touch and finesse of the French, this once DIY-infused brand is evolving into a budding name followed as much now for its modernity as it once was for its jeans. In just eight years- the blink of an eye as far as this industry is concerned- Amiri has established itself as a go-to label for excellently crafted staples and pieces that improve one’s daily wardrobe rotation. The noticeable improvement in taste behind this once mainstay streetwear brand proves the founder is innovative and will remain committed to furthering the Amiri story. The question then is, where will he push himself to next?

In place of a standard runway set to showcase his Autumn Winter Menswear series, Dries Van Noten opted to flex his growing talent for the art of cinematography in a four-minute fashion film directed by Dutch photographer Casper Sejersen. For the film, the acclaimed still life photographer paired his colliding themes of romanticism and stalled pleasure tuned to the soundtrack Dream Baby Dream by the New York band Suicide. Rewinding a candle's extinguished flame and bringing back to life its impassioned burn hummed alongside the ticking metronome beat of Suicide’s lulled melody staged in an empty apartment- the show had assuredly begun. As the music geared up and the setting came into partial view, a pair of romantics lean in for what is assumed to be a show of affection. Yet a gleeful smirk of the female models adorned red lips and her quick motion away from her male counterpart show this is not a tale of love, but uneasy affection and the youthful ignorance of unknowingness pertaining to commitment. For a moment, in this lifeless, unkept room full of wandering, affectionate characters, one may envision a man behind the scenes charged with an emotional response to the current state of fashion. Ignited by more questions than answers, the hidden man - the creator of the fashion label itself- has begun to change his namesake label's aesthetic and philosophy. Have the pressures of investors finally contributed to Dries's identity crisis? Is this new world, full of rapid change accompanied by a suffocating news cycle our new reality, and if so, how is it affecting the creator’s output? What relevance does the Dries Van Noten label hold in a society growing increasingly reliant on dressing for comfort and ease, unwilling to bend to make even the slightest effort? The rebuttal to such concerns is this, infusing luxury with the practical and embracing trends to cater to a modern customer. Not changing for today’s consumer could result in the worst thing imaginable happening to any fashion house- the risk of becoming passé, or so that is the set expectation for creatives who avoid compromise.

What accompanied this brief cinematic experience was a photographed book showcasing a total of 75 looks. Thought the allotted clothing and accessories sprinkled throughout may lean towards a more accurate figure of 200 pieces in total. A black wool overcoat- any long-time fan of the D.V.N menswear line will instantly recognize its timeless pull- started what would be an ensemble confidently diverse in its ready-to-wear appeal, yet lacking in any real innovation. Decorative finishes and construction techniques such as the applied graphic embroidery and the dotting, rather, sprouting of life-like floral arrangements added a needed experience that highlighted the Belgians eye for the peculiar. Unexpected here was the reliance on the solid. The first printed piece did not arrive until the forty-fifth look of the collection. Compared to his womenswear, this line is a bit more conservative, still, the over-reliance on monotone colors such as deep blacks, pure whites, and the occasional light beige appeared out of character for the designer who made his mark with colorful risk-taking. This shakeup, rather shakedown, presented a new alternate for the house now entering its 35th year in business. The new Dries Man is less enthused, a tad more mainstream, and, suffice to say, easier to comprehend.

In 2018, when the Spanish fragrance conglomerate Puig announced they would be investing in the former fiercely independent label, speculation arose on the direction the newly cash-flush business would take. The years of independence allowed the proudly Belgian company to achieve a remarkable hot-streak of success. Four years since the investment took place, the feeling that perhaps the house has felt strains is becoming apparent. Trendy and unassuming, using prevalent styles this season attempted to incorporate two seemingly different worlds into one- at once Noten’s own highly curated version of style, and that of fashion driven by trend reports and outside influences like Tik Tok and Instagram. Elastic waistbands, wide-legged trousers, and indifferent cargo pants met with pristine tailoring and inspired prints. Attempting to read this customer base reveals a stretched performance of confusion. It is at once noble and daring to play with range in this context. Take the use of Cifonelli shoulders found throughout full-zip bomber jackets and structured double-breasted blazers. The jutting of the shoulder in contrast to the natural slant of the shoulder entices and challenges the current consumer to wear a style that has long been unpopular. When shown alongside a graphic drop-shoulder pullover and metallic, oversized bolero puffer coat, two seemingly opposing stances of what defines a dress code falter in their inability to overlap. What originally contributed to the strength of Dries’ menswear line was the apparel’s fluidity and timelessness working in conjunction to provide an endless amount of options for his customer. Take a trouser from his Spring 2012 collection and pair it with a jacket from 2004, the interplay and ease of transitioning between looks came from a place of engineered sophistication. It is sad to admit that is no longer the case.

Like all trends in fashion have shown over the years, very few styles last resulting from designers following rather than leading. Unfortunately for Dries and his beloved team of artisans, unless they venture back to their previous attitude of defining a stance, time will inevitably catch up to their decision to read and embrace a moment rather than a mindset. Like the models shown in the film, present Dries is too wandering, unsure of his current place within fashion. Dream Dries Dream again, fashion needs your reliable outcome and multitude of unique references, not clothing inspired by off-the-rack apparel designed for the masses.

Since Phoebe Philo announced her return to fashion just a couple of months ago, the mob that considers the Britain to be the voice of the 21st-century contemporary woman has been quick to ridicule anyone whose style even slightly mirrors her clean lines and exceptional ethos. Daniel Lee- who studied under Philo during his Celine tenure- has unfairly been depicted as such a figure. Now heading Bottega Veneta’s ready-to-wear line for 3 years, Lee has all but proven his point of view is all his own. Outside of the similar sleek lines and muted color palette, the 31-year-old creative director is directing a movement away from stale luxury stereotypes and embracing the all but hidden weird and quirky side of fashion. Lee’s strengths- textile development, tactility, and color- abound in a manner that introduces a fresh perspective to a house built on leather while changing how luxury should be perceived going forward. This Fall collection- marking his 9th collection for the house- emphasizes craftsmanship above all. The hours of handiwork allude to a sense that upon our emergence from the pandemic, quality and intensive engineering will provide furtherance on sustainability and elasticity.

From the beginning, the garment's straight lines provided a seriousness that when distilled fully captured a militaristic uniformity. Timeless are these styles that have survived centuries. Look one, a military jacket belted at the waist, enthused a tonality of strength. Broad were the shoulders and the when styled with the woody’s-chic Lug Boot, resemble a former army general calling out drills to soldiers on a freezing terrain. The use of brown and other deep earth tones signaled a shift away from the bright colorways of seasons past. Spring 2021 used lively hues like “Green Screen Green” and “Ocean Blue” and were right for the moment, yet continuing to apply such noticeable and actionable colors may detract from the current statement. It is cliche to assume that any and every military-inspired collection must carry with it a fortitude of durability and aggression. However, the silhouettes, shapes, and colors used are in line with a 1990s Prada revision and do surrender to a mode of might that is not shy in the slightest. From the beginning looks an idea morphed into something almost unearthly. Like moss blooming from a tree after a cold winter, the garments military-based suddenly began to bloom. The “flower” in question- pink, red, and teal feathers. Accordingly, each garment has approximately 4,000 feathers embroidered atop the cotton medium. Original, thought-provoking, and surprising, such a risk contrasts any notion that Lee hides from a challenge. A pop of orange here and a fur collar there kept viewers engaged, though could have been passed upon for its normality. For a second we are brought down to earth by easily understood conventions, however, this comforting feeling would all but surrender for a glam-packed finale. The show-stopping moment of the ensemble arrived in a slew of evening dresses celebratory with dramatics and devastatingly opulent. A knit dress covered in glass paillettes featured the continuation of Lee's highlighting the hemline through the use of extended fabric and detailing. In this case, the eye is drawn to fashion's greatest enemy- the knee. Quick to move away from such a grotesque and controversial stance on womenswear, a number in red may very be the fashion favorite of the season. Gathered in the center seam by two parallel panels, the red draped strips of woven fabric fall in a manner so gracefully it draws an emotional response immediately upon first glance. Undoubtedly continuing his predecessor’s legacy, Lee’s informed decision to respect and grow from Tomas Maier’s elegant creations is a nice touch and adds a layer of sophistication to the house that has largely been absent since his departure.

Though Bottega Veneta does not hold a place in Paris’s haute couture schedule, perhaps this was Lee’s pitch to the Fédération de la Haute Couture et de la Mode to give him and the 55-year old Milanese house a try. Splendid were the uniforms, and even more enticing was the efficiency in which the extremities unfolded as if they arrived from a dream. Daniel Lee is not Phoebe Philo, Philo is not Daniel Lee, ultimately fashion is better for it. Lee excels in his ability to envelop the mindset of the great fashion conceptualists Balenciaga, Margiela, and Yohji Yamamoto. Unrestrained and unabashedly himself, Daniel's tone this season rendered a liking to a three-dimensional masterpiece. The strategized fabric and involved construction prove conceptual clothing can and will serve a purpose in real life. Upon the arrival of the pieces that make it to the stores come January, one can only hope the world will continue in its recovery from the Covid-19 pandemic. While we wait, having such impactful, one-of-a-kind pieces will ensure some level of joyfulness will be present in the meantime.

Tom Ford proved that sex sells. With revealing necklines and cuts that exalted the female form, Ford’s aesthetically engaged Gucci established a moment in fashion history that thrived on the vivacious feminine spirit and the divine sensation of natural beauty. His name became synonymous with a style full of the heat of romance, passion, and the courage to display a confidence that every woman holds deep inside themselves. For Celine womenswear, Hedi Slimane too realizes that sex and capturing a moment of sheer emotion engages with the masses. However, his arrival to this realization began through his foray into exploring an envisioned contemporary cultural setting where lust and love encompass an intelligence that is less showy. Call it covered up, modest, or less risqué than Ford’s Gucci, but what exists in this space is a style flush with self ambition and confidence. A grand display that routinely balanced components of the ultra-luxuriousness and the commercial, Celine’s Summer 2022 womenswear ensemble encourages women everywhere to experiment with expression, embrace the nonchalant, and advertise femininity to a degree that will make onlookers blush at the way those who wear these pieces carry themselves.

Titled “Baie Des Anges”- the Bay of Angel’s in English- the serene imagery and resulting show was set in the bayside town of Nice, France. Next to the glistening ocean water and light, breezy atmosphere, Hedi’s angelic cast strolled through a peaceful, sun-filled town unbothered by any circumstance or current event. At first glance, the look was that of a familiar dress code, yet, a mealy of startlingly unknown and never-before-seen shapes and silhouettes appeared mixed between the more upscale daywear. It is fair to believe this work carries a familiar tone to much of Hedi’s past work. Although, those who critique the 53-years olds Celine tenure thus far fail to acknowledge just how recently Slimane has joined the house. It takes time to develop a narrative, establish a thread and build an entirely authentic vision. It is fair to say that while it has been four years since Philo left and Hedi took the reigns, fashion's most unabashed trouble marker is truly just getting started. His time is now, he is the face of fashionable dress that does not shy or scour from reality, but instead embraces the moment with a smile and a cheeky wink to the unknown.

The moment now is and has been the eventual arrival of Celine’s Haute Couture division. Couture has long been a tradition that celebrates the ingenuity and craftsmanship of garment formation. Extreme and tediously long hours or handwork combine with ultra-fine textiles to produce unique original creations that are always fit to measure for a specific client. Slimane’s first experience with the practice dates back to his “La Collection de Paris” showing for the house of Yves Saint Laurent in March of 2016. More recently, upon the announcement that the Dior Homme alumni would join the ranks at Celine, it was rumored that of the newly established house lines planned for his appointment, a hushed and private couture practice would follow suit, given the necessary funding was available to support such an advantageous startup. Here, off the bayside coast, placed inside a salon-like setting appeared to be Maison's first deliverances of this expected practice. Opening the show were a set number of six bias cut, sequined slip dresses. The model's faces were turned away to display only the back of their perfectly cut hair. One can’t help but think this is a reflection of the new private and oh so mysterious couture practice Slimane has been developing in the past two years. Outside of proving to be a great image, the transition from the austere elegance of an Old Hollywood film to the first look of the set was tremendous in its remix of creation. Look one- an updated take on the original bourgeoisie sensibility first displayed during the brand's Winter 2019 collection returned, this time with a slouchy striped blouse and a straight-cut black wool trouser. Styled with dangerously sharp moto boots and a boater hat, brevity exists in such coolness and ease where a paired back sophistication respects only the present. Baring the midriff under an oversized leather jacket in look two revealed that even Hedi Slimane is not immune to trends. Walk around any metropolitan center in the summer and this silhouette is all too familiar. Off the shoulder, cropped to the bust, or any exposing t-shirt dominates the summer look. Capturing such a liberating style, Slimane decides to smartly- incorporate the culture into his context, a move that will surely please any LA girls trip to Manhattan beach come June. Denim jeans, sparkling evening jackets, and even camouflage cargo pants were incorporated throughout. Transitory vintage meets a net-a-porte set on promises of promotional status, more simply put, these clothes are actionable essentials from the likes of a crew knit to fitted jeans, and topped off with a splendid black sequined evening jacket- a concoction ripe with understanding the desires of scale.

It was the conclusive looks that cemented the idea that Celine was making the shift from that of only a luxury ready-to-wear label to a house that includes a high-class haute couture atelier. In the final moments of the presentation, viewers were enlightened to a French aristocratic mode. Slimy cut leather skirts, silk pussy-bow blouses, and the grand, grand finale- a splendid cape sewn atop a minimal black dress proved this moment had indeed arrived. The black cape soared through the wind, ferocious and chaotic in its movement, as the sparkling hemline covered with a stripe of paillette’s mirrored that of a dark sea where light dances freely atop the churning waters. A high point for the collection, these final looks fed a dramatic and emphatic spirit that exalts the mysterious and favorable elements of the 250-year old couture culture. As the lone model struts towards a towering lighthouse, metaphoric imagery places itself in view- this season marks the dawn of a new chapter for the Paris Maison. Like a ship lost at sea, Hedi Slimane is redesigning the upper echelons of fashion through visionary implantation of wearability and prowess for the art of haute couture- the guiding light in question, his unremarkable ability to never compromise.

New York Fashion Week loves a debut show. Anyone and everyone from press offices to marketers greet the occasion with a flurry of attention in hopes to capture what may be a defining moment in modern history. For Peter Do and his team, their debut offering for their New York-based label reflected on the celebratory relationship of their immigrant status and the place they call home- New York City. Well, at least that is what they hoped to show. Each founding member of the brand has an Asian heritage where China, Korea, and Vietnam are represented with pride. Per the collections show notes, the team wanted to ensure viewers realize that despite the event marking their runway debut, this endeavor was indeed their 7th ensemble to date. Given this, the 46-look’s presented took on a format similar to Charles Dicken’s novel A Christmas Carol. Concepts marking the past, present, and eventual future work were explored in hopes of reflecting on and furthering the early legacy of the city's hottest label. “Lighter and Fluid” are the defining characteristics outlined by the team and epitomize a look that intensifies formalities for those obsessed with the pristine and kept. In short, Do’s outing was an aesthetically pleasing montage of chic clothing that renders itself to a clientele focused on an architectural wardrobe. Though, the result had many a reference to a past not entirely established by Do. They say the greatest form of flattery is copying, but when viewers are unaware of historical references, perceptions will trickle down into a dangerously falsified version of reality no matter how progressive it appears on the surface.

New York City indefinitely has the most magnificent skyline to accompany its picturesque views. Set in Green Point Brooklyn and facing the West Side of Manhattan, a clear September evening painted an image of peacefulness and absolute beauty for the stage. The collection opened on familiar territory. Lean overcoats cut to the calf resemble a style now synonymous with "The Do" silhouette. These classic lines, representative of a reflection of the past, included variations of functional vents. Formed through slits placed on the back and along the side, the pieces allow for an appropriate seasonal functionality as the weather begins to warm. Oversized suiting was an option all but present in former collections. Missing out an opportunity to showcase involved tailoring, the option to include the XL fit felt a little too close to a style exercised by Helmut Lang in the early 2000s. The cracks in the showcase began here. Unbeknownst to the viewer, the display began to take on a second act of the Helmut Lang universe. Wide jackets and two-toned or combo trousers made an appearance, yet the shape again felt too related and tried. Look 7- a white blouse with a decorative pocket- revisited a method of applying straps of fabric to support the garment on the body- another direct reference all too familiar to a style imposed by the Austrian turned Long Islander. A transparent knit dress in white styled over a pair of trousers also felt inspired by Lang, as did look 15’s leather pant and trench combination. Back cutouts found in the outerwear take shape in a circular motion. Curios but edgy in detail, the placement, and surprise of such a pattern unveil's interest, yet upon the realization Lang did it first, the style is anything but original and fails to appeal once again. It is easy to access a tone of disapproval for the striking similarities. Much of what Do provides has been done and seen before. American fashion is built on sportswear and a style that craves function and utility. By tapping into this look for the season, viewers feel a jolt of pride and understanding knowing such an aesthetic is profoundly relevant and would be praised for its minimal response to life’s current challenges. But not here. What has been done in the past is history. Realizing this and failing to acknowledge the former work of someone as influential as Helmut leaves a poor taste in the mouths of fashion enthusiasts who do not deserve such blatant, forced association.

For the present timeframe, a mealy of oversized t-shirts with dropped shoulders breathed something fresh and contributed to the simplistic, fluid direction of the proposed thesis. More inclusive of the brand’s trademarks was an asymmetrical pleated wrap skirt extended to the ankle and a finely tailored jumpsuit that pooled to the floor- the latter being a proposal unfamiliar to the label. Finishing the collection on a high note was important. What started as a scene all too familiar concluded on an uplifting key. The future looks offered a detailed oriented and more personal feel- an element largely missing at this time in fashion. The last ten or so looks granted viewers an ultimatum of direction. A minimal past or a decorated future? The answer proved to be the latter. Through decorative embroideries and finishes, a luxurious undertone swept away any lost hope that change was out of the coming equation. Embroidered into overcoats, fitted blazers, and on the side of a bias cut evening dress, large and colorful floral motifs point to a more decorative era in the house of Peter Do. Newness is always good, and when the addition of accouterments relates to a narrative- the result borders on the terrific.

In a slight twist of irony, the revival of the label Helmut Lang took place just days after this runway presentation. The unfortunate actuality is that Peter did Lang better than the label that bears his name had. Given the hype placed on this debut and the resulting work, one may hope the label would have strived for an actionable approach that is current and pertains to the present. T-shirts are not enough. The flashback to seasons past seemed unimportant as fashion is at a critical juncture. Anticipating an authentic voice to stir the waters of change and representation, this letdown resulted from Do failing to seize this moment and deliver upon the notion that he is the voice of the next generation. Although, the conclusion of the show did prove he has more to offer. Here is to hoping he will find his voice and be back on track come next season. New York fashion desperately needs it.

Yamamoto’s universal stance of avoidance to trend-driven fashion refreshes upon a mindset that is surprisingly in tune with the present. Opposed to building on a popular color or print, his ability to remain current circumferences on the duality behind cut and fabric formation. Any work without an underlying meaning to support the idea runs the risk of accepting normality and engaging with life’s most mundane outputs. Balancing this act between craft and purpose is a task requiring a substantial fortitude for capturing an array of focused results that parlay a message of deep sincerity. The impending and near unavoidable dangers of the progressing climate crisis were dear Yohji’s thesis points for his celebratory 40th-year anniversary collection. An issue highlighted often by members of the media and discussed widely throughout the art world, attempting to speak on such an issue when producing a physical product may seem contradictory to most. How so does one solve the riddle between activism and consumption, production and reduction? Here, a literal take on the matter consumes what arose from such contemplation. Strip away collars, sleeves, and shorten hemlines. A sincere yet rudimentary take on an impending crisis, Yamamoto is less action-oriented and more reactionary. For the 78-year-old designer, his approach is one steeped in common sense. As beautiful and mesmerizing as ever, Yohji Yamamoto’s brilliance with permeating on the practical magnified the master’s grand and singular focus for the women he dresses. Decades later, the result is as competent- and progressive- as ever.

Referring to the allotted work as minimal fails to consider the handiwork behind such an achievement. However, a simplistic adjective did follow course throughout the set. Evidenced by the subjective attitude behind the organic dress forms, Yohji states, “I was thinking of global warming, so there were no collars, or sleeves on anything. I cut them off because it’s too hot.” Innocent and pure, a sustained career spanning decades that is as in touch with the times captures a uniqueness all too familiar with Japanese design in general. Beginning the ensemble, guests were invited to engage with many a draped piece. Look three in particular set in motion what would be the collection's key identifiers- unbalanced and differing neck and straplines and a palate as dark as midnight. Always bound and never raw, the slight fold and twist of the fabric highlights the chest, collar bone, and shoulders wonderfully and displays the body as if one were gazing at a pristine Grecian statue. Asymmetry contributed to the passionate affair as sharp angels ousted any notion of familiarity. Forget crew necks, Yamamoto is making a pitch that the 70-degree slope is the hottest line of the season. With each passing look, the momentum of the showing enjoyed the energy of liberation. Black in color, yet deeply freeing, look 7’s wrap top and asymmetrical handkerchief skirt hinted at a woman less covered, and even less vulnerable. Chalk it up to dressing for the climate crisis, though, this notion of latitude is worth noting given just how covered and protective collections of the past have been. Before the abandonment of this distance sets in, a trio of double-breasted trench coats swarms in to offer accommodation for those less open- after all, now 19 months into a global pandemic, not all feel as ready to engage with a freer world just yet. Transparent tops, sleeveless blouses, and straight-cut trousers accommodated dressing for the warmer weather, however, all this talk about meteorology quickly fell silent as an abstraction grasped the audience's view. Spray paint, no, chalk? Perhaps. Plastered seemingly at random across a set of four dresses existed a type of paint-covered piece that walked the line between art and fashion. Genuine and soulful, the silver finish covering the negative space transcends the notion that this fashion is simply just clothing. Rather- as is displayed so meticulously here- the cascading stroke of the material harkens a resemblance to the decaying space around us. As all good poets and their stories do, the interpretation is ultimately left up to the onlooker, yet here, the enlightened must not work as hard to grasp what the dressmaker is alluding to.

Romantic as ever, Yohji Yamamoto placed his latest creation in a field that has little to do with affection. Speaking on the climate crisis for a couple of seasons now has allowed the artist the creative freedom to establish an alternate stance to bringing awareness through creative advocacy. Whereas many a designer may speak on their sustainable efforts through the use of utilizing leftover fabric or the up-cycling of trims in a collection, not one has resolved or highlighted the issue through a cut. Then again, who can light a match to this consistent and highly regarded artisan? Oversimplifying the harsh realities surrounding global warming will do no one any good. It is through such realistic and functional work as this that will draw attention to the importance behind the matter. For this, Yohji Yamamoto deserves respect. The oftentimes misunderstood poet has entered a chapter of activism. Thanks to his exceptional eye and knowledge of engineering, there is little doubt that his voice on the matter will be hushed.