#stevenhall

“ᴡᴇ’ʀᴇ ᴀʟʟ ɢᴏɪɴɢ ꜰᴏʀᴡᴀʀᴅꜱ ᴀɴᴅ ᴡᴇ’ʀᴇ ɴᴇᴠᴇʀ ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ.”

“​🇮​​🇹​❜​🇸​ ​🇹​​🇮​​🇷​​🇮​​🇳​​🇬​ ​🇳​​🇴​​🇹​ ​🇰​​🇳​​🇴​​🇼​​🇮​​🇳​​🇬​ ​

ｐｅｏｐｌｅ​ ​🇮​​🇸​​🇳​❜​🇹​ ​🇮​​🇹​?❝ ​🇨​​🇱​​🇮​​🇴​ ​🇸​​🇦​​🇮​​🇩​ ​🇱​​🇦​​🇹​​🇪​​🇷​.

“𝕀𝕟 𝕥𝕙𝕖 𝕕𝕒𝕣𝕜 𝕡𝕝𝕒𝕔𝕖𝕤 𝕠𝕗 𝕪𝕠𝕦𝕣𝕤𝕖𝕝𝕗, 𝕥𝕙𝕚𝕟𝕜𝕚𝕟𝕘 𝕞𝕒𝕔𝕙𝕚𝕟𝕖𝕤 𝕪𝕠𝕦 𝕟𝕖𝕧𝕖𝕣 𝕘𝕖𝕥 𝕟𝕖𝕒𝕣 𝕖𝕟𝕠𝕦𝕘𝕙 𝕥𝕠 𝕤𝕖𝕖 𝕒𝕣𝕖 𝕔𝕠𝕟𝕤𝕥𝕒𝕟𝕥𝕝𝕪 𝕓𝕦𝕚𝕝𝕕𝕚𝕟𝕘 𝕥𝕙𝕚𝕟𝕘𝕤 𝕒𝕟𝕕 𝕣𝕦𝕟𝕟𝕚𝕟𝕘 𝕥𝕙𝕖𝕚𝕣 𝕠𝕨𝕟 𝕤𝕖𝕔𝕣𝕖𝕥𝕚𝕧𝕖 𝕡𝕣𝕠𝕘𝕣𝕒𝕞𝕞𝕖𝕤 𝕒𝕝𝕝 𝕠𝕗 𝕥𝕙𝕖𝕚𝕣 𝕠𝕨𝕟.....

..... Ｍａｙｂｅ ｙｏｕ ｇｅｔ ａ ｓｎｉｐｐｅｔ ｏｆ ｗｈａｔ＇ｓ ｇｏｉｎｇ ｏｎ ｂａｃｋ ｔｈｅｒｅ， ｌｉｋｅ ｔｈｉｓ ｆｒａｇｍｅｎｔ ｏｆ ａ ｓｏｎｇ.....

.....𝕕𝕣𝕚𝕗𝕥𝕚𝕟𝕘 𝕚𝕥𝕤 𝕨𝕒𝕪 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕝𝕚𝕘𝕙𝕥, 𝕠𝕣 𝕒 𝕡𝕙𝕣𝕒𝕤𝕖, 𝕠𝕣 𝕒𝕟 𝕚𝕞𝕒𝕘𝕖, 𝕠𝕣 𝕞𝕒𝕪𝕓𝕖 𝕛𝕦𝕤𝕥 𝕒 𝕞𝕠𝕠𝕕, 𝕒 𝕨𝕒𝕤𝕙 𝕠𝕗 𝕔𝕠𝕟𝕥𝕖𝕟𝕥 𝕠𝕗 𝕒 𝕓𝕝𝕖𝕒𝕜 𝕕𝕣𝕒𝕚𝕟𝕚𝕟𝕘 𝕠𝕗 𝕔𝕠𝕝𝕠𝕦𝕣 𝕥𝕙𝕒𝕥 𝕗𝕝𝕠𝕠𝕕𝕤 𝕪𝕠𝕦𝕣 𝕔𝕙𝕖𝕤𝕥 𝕒𝕟𝕕 𝕪𝕠𝕦𝕣 𝕤𝕥𝕠𝕞𝕒𝕔𝕙 𝕞𝕠𝕣𝕖 𝕥𝕙𝕒𝕟 𝕚𝕥 𝕖𝕧𝕖𝕣 𝕗𝕚𝕟𝕕𝕤 𝕚𝕥𝕤 𝕨𝕒𝕪 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕓𝕚𝕘𝕙𝕥 𝕙𝕒𝕝𝕠𝕘𝕖𝕟 𝕔𝕙𝕣𝕠𝕞𝕖 𝕠𝕗 𝕪𝕠𝕦𝕣 𝕞𝕚𝕟𝕕.”

“𝓖𝓮𝓷𝓲𝓾𝓼𝓮𝓼 𝓭𝓸𝓷’𝓽 𝓰𝓸 𝓶𝓪𝓭,” 𝓱𝓮 𝓼𝓪𝓲𝓭. “𝓣𝓱𝓪𝓽’𝓼 𝔀𝓱𝓪𝓽 𝓹𝓮𝓸𝓹𝓵𝓮 𝓭𝓸𝓷’𝓽 𝓾𝓷𝓭𝓮𝓻𝓼𝓽𝓪𝓷𝓭. 𝓣𝓱𝓮𝔂 𝓰𝓮𝓽 𝓸𝓾𝓽 𝓼𝓸 𝓯𝓪𝓻 𝓸𝓾𝓽 𝓽𝓱𝓪𝓽 𝓽𝓱𝓮 𝔀𝓪𝓽𝓮𝓻 𝓲𝓼 𝓵𝓲𝓴𝓮 𝓰𝓵𝓪𝓼𝓼 𝓪𝓷𝓭 𝓽𝓱𝓮𝔂 𝓬𝓪𝓷 𝓼𝓮𝓮 𝓯𝓸𝓻 𝓶𝓲𝓵𝓮𝓼 𝓪𝓷𝓭 𝓼𝓮𝓮 𝓼𝓸 𝓶𝓾𝓬𝓱, 𝓪𝓷𝓭 𝓲𝓷 𝔀𝓪𝔂𝓼 𝓹𝓮𝓸𝓹𝓵𝓮 𝓱𝓪𝓿𝓮 𝓷𝓮𝓿𝓮𝓻 𝓼𝓮𝓮𝓷 𝓫𝓮𝓯𝓸𝓻𝓮.

(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).