#inprocesshallohara

(images via change fashion)

i think we're all of us here quite well aware that designers yurika ohara and steven hall's in-process by hall ohara (インプロセス) label is one of our most closely followed each season (see a/w 2010, s/s 2011, a/w 2011, s/s 2012, a/w 2012) at tokyo's japan fashion week, and despite the fact that i've sometimes been a bit at odds with their aesthetic (even though i generally passionately embrace it), i can pretty much always respect them for their depth of idea.

anyway, for their latest edgy exhibition for the upcoming (or maybe it's pretty much already upon us? i apologize for the loong opt delays yet again) s/s 2013 season, fashion snap explained that the title/theme was 'inner city distress' (都会の苦悩). and honestly, i must admit (especially as a former quite repressed private school student, among other things) that, once again, even as i wasn't as invigorated with passions for the actual visual appearance of the range, the idea really lit my soul afire.

thus, as tokyo add went on to explain, the concept was essentially one of breaking free of the tyranny of societal rule (trans.): "We live in the city, have been stuck and bound by school or work, and rules in every relationship. Textiled and padlocked with chains and fetters which express its straight, tied the body with impressive belts. Amid the black clothes, bright colours will gradually change to white, and light blue, the reason for the the long-awaited appearance, the clothes on [the models] backs holding a large parachute. Parachutes represent the systems of the old society, the liberation from the rule."

"When," (still trans.) they carried on, "you are in a crowded train crushed, there are times when you will want to throw away everything and flee."  and so we do, sometimes.  anyway, as the designers saw it, we can into things still bound to our old routines, but as the show gradually wore on, we too began to see and cast our shackles aside in favour of something new (although arguably the cost of designer clothing is just one more reason we all keep slaving away, but i'm going to go out on a limb and say they were being creative in a lovely way, so i probably shouldn't knock it, even with, like, glaring contradictions of nature).

anyway and moving on, the excellent website fashion press brought up some more of the clever symbolism contained within, describing how (trans.) "(f)rom darker monotone [the collection moved] to bright colours such as white or light blue. Theransition to a parachute means freedom from the constraints of society, and the old padlock and chain motifs of stress. The head bandage is a representation of the mind that had the stress of everyday suffering." oh, yes, sing it, sister.

and quite similarly, apparel web stated that the presentation was all about (trans.) "the stress and anguish of living in the modern world, [although it] became a show of colour that will brighten slowly, [as we start] feeling the strength to confront it." and though they didn't appear to understand the designers' intent, style wylde nicely described how "the first half of the  collection featured an array of models garbed in exquisitely draped  layers of graphic prints, head wraps and outer wear pieces that featured complicated belts and straps that hinted at hospital restraints."

in another turn of the symbolism, the rectangle was featured heavily throughout the proceedings, pointed out change fashion, and although they didn't really appear to hammer out just what this was about, it seems that the japanese societe perrier site did, arguing that (trans.) "we are bound to various things," and, perhaps, this was just yet another visual aid for how we are, quite literally...you know.  i can't say it, because i hate the cliche of that phrase.  and, frankly, i believe ms. ohara & mr. hall to be far more clever than that.  there's probably something deeper, then, non?

alors. finally, there was a beautiful description of the show published by the blog jenne chrisville, offering that "(s)ymbolisms [sic] were found everywhere in the collection, ranging from the cuts to the chosen patterns and prints. Triangular shapes dominated to symbolize the present hierarchy in the Japanese society with the old generation on the top while the youth struggle at the bottom to reach the zenith of the pyramid. Chain prints were also apparent which were obvious representations of the restraint that the youth experiences as they strive to make their ideas and thoughts heard in a society that gives more respect and regard to the more experienced...For this season’s choice of color, Steven and Yuriko chose sky blue to represent flight or going away from the harsh case of Japanese seniority" (see additional catwalk images at japanese streets).

(images via wwd)

i've in the past expounded at length on the fact of in-process by hall ohara (see a/w 2010, s/s 2011, a/w 2011) being one of my favourite labels at japan fashion week in tokyo.  i've liked their playful and colour-popped dark intellectual works, and while i'm not prepared to divest them of their title as one of opt's beloved houses, i have to admit i was a bit disappointed with the s/s 2012 range.  not because it was any less clever than other concepts they've put forth--oh, no--but i at times rather felt the clothes were lacking some of the verve we'd seen in seasons prior, instead, by-and-large a little amorphous and drab for my liking. 

titled 'ritualistic progression,' the excellent japanese site fashion press explains that the collection was centered around the (trans.) "(d)evelopment of the European VS American ritual form concept."  this meant in practice that designers steven hall and yurika ohara were exploring, as the japanese site fashion snap puts it  the juxtaposition of (trans.) "Victorian and Edwardian historical background(s)" and "American mass production."  as far as i can understand, they consider both to be highly ritualized, and wanted to contrast the prim historic costumes and modes of dress from those british eras with the conveyor-belt sportswear american corporations rain down upon us. 

wwd commented on some of the above notions, but without really offering any type of insight into the 'why' of the collection, writing shortly, "London-born Steven Hall and Yurika Ohara played with European tailoring techniques from the Victorian and Edwardian eras and applied them to casual clothing of an American persuasion. That meant working box frills, puff sleeves and gathers into casual separates like button down shirts, cardigans and even a trouser style resembling sweat pants. A few American flags were also incorporated into the mix."

range materials included cashmere, gingham, cotton, tulle, and plenty of knits, while the palette was based in their old standby black, but with less colour than we're generally accustomed to (especially for spring); white, pale gray, navy, beige, pinky flesh tone, and occasional pops of french blue, avocado, and red were mixed with, as japanese site change fashion puts it, a (trans.) "blend of star patterns and geometric linear patterns, (and) underlying grid patterns."  colour-blocking, american flag motifs, subtle checks, a bit of tartan, and screen-printed crown images were also added into the mix to play up on the notions of contrasting american-and-british-isms. 

tall dark roast suggests there was an androgynous quality to the proceedings, and while i'm not sure i always saw that particularly clearly (except maybe in those wholly unfortunate black bowl cuts the models sported), the relaxed, oversized quality of the pieces did serve to obfuscate any curves.  however, leggings and at least a couple of trim dresses (as below) did sport a distinctly feminine aesthetic.  otherwise, giant capes, slouchy cardigans and other knits, casual t-shirts, menswear-style shirts, asymmetrical skirts, and fluid shirtdresses stalked the catwalk, making up the remainder of the offerings (see additional images at jenne chrisville & japanese streets). 

i guess in the end i was left feeling disappointed because of the heavy sportswear tone of the collection.  we've seen so many designers over the seasons tackling casual tees and sweatpants that i find in-process to be better than that.  to be sure, their tactic was much different than we've before witnessed, and there were probably quite a few pieces one could do a lot with outside of the show (some of the knits, the smaller and more fitted dresses).  but it had such a dark and--instead of the romantic and exciting feelings victorian-influenced shows usually bring up--kind of 'blah' demeanor.  the palette was uninspired, and when i was looking for a hint of colour, i was usually treated to just more gray and beige.  also, a lot of the looks came out a little 'blob'-like, simply overwhelming the girls into a black mass.  again, with a closer inspection, i think there is actually quite a lot that could be done with clothes individually, but for such a concept, and such a label, i expected a bit more than this...

(images via jfw)

a season ago, i noted that in-process by hall ohara is one of my favourite labels showing at japan fashion week in tokyo, and, as i sat down to pen this review, that was, once again, the first thing that flashed across my mind. aiming to "captu(re) the energy of a garment that is in the process of being made," the clothes have all the vitality of the supremely inspired. 

always a little youthful, the a/w 2011 show was certainly still that, but more avant-y than previous presentations for the brand have been.  working with oversized shapes and pattern-on-pattern pieces, the range was inspired by the art deco movement. as the blog tokyo telephone nicely sums up (so i don't have to), "(b)y playing with shapes and proportions, Hall & Ohara capture the spirit of youthful rebellion that came to represent much of women’s fashion...This period in fashion history literally liberated Japanese women from the kimono of their grandmothers and the stiff Victorian & Edwardian dress of their mothers."  

thus, though the collection was something of a rebellion, it was one of the most aesthetically-pleasing we'll be likely to see, and indeed, one of the best shows coming out of tokyo thus far.  the colour palette centered on black, incorporating cool shades such as aubergine, gray, cobalt, navy, aqua, mauve, white, and lilac; certainly the clever use of hues kept the pieces from becoming too wild or varied when they descended into the interplay of perhaps three patterns at once. 

major runway trends included patterned stockings and leggings, draping, bubble shorts, deconstructed kimono elements, prints paired with prints, shirtdresses, pleated pants, and oversized elements (see some great detail shots here).  one of the designers' best collections to date, it was so impressive not just for the breadth of details, but for the supreme wear-ability juxtaposed with the artful creativity and museum-like quality of the pieces.  sublime.