You could say that Yohji Yamamoto‘s sublime autumn-winter 1998 lineup was about stretch. There were a lot of knits, both of the loving-hands-made-at-home variety and luxurious jerseys. Yamamoto explored the draping possibilities of the latter, but he also combined jerseys with more static woven materials. Post-show the designer told The Daily Telegraph that his idea was “to experiment with the ‘delayed’ reaction of certain fabrics contesting the movements of the body.” With the exception of the finale, bridal look, this was a relatively sporty show, even when it came to dressing for evening. To highlight that, Vogue photographed Angela Lindvall leaping through the Irish countryside in a knit ball skirt and ribbed turtleneck from the collection (obsessed). For the most part Yamamoto’s historicisms referenced the 20th century (the cargo-pocket peplums looked like a pre–World War II silhouette) rather than earlier periods. The caged finale gown, with its hyper-exaggerated 19th-century proportions, was the exception – and exceptional in every way. It was even accessorized with Doc Martens. Sally Brampton, reporting on the show for The Guardian in 1998, recounted that “the bride billowed down the catwalk in a cream skirt so huge that journalists in the front rows had to duck down below the skirt, only to discover a bamboo cage strapped around her waist with canes radiating out from it. Four men held up the vast My Fair Lady picture hat that floated like a snowdrift over her.”
Collage by Edward Kanarecki.
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