Less is More. Y/Project AW24

Y/Project‘s Glenn Martens proved this season that sometimes less can be really more. The high profile and influential designer owned the fact his brand faces financial pressures and cancelled his runway show. In response, an important discourse opened up on the internet: the current industry system isn’t really working for independent brands. “Very honestly, we had a cash flow issue,” Martens candidly said. “We did the commercial showroom during men’s week, and we actually did grow. But at a certain point you have to make a choice. It’s €450,000 for a show, or €450,000 for pre-payment for production and making sure the collection is on time on the sales floor.” That Martens chose production and the sales floor will benefit his team and his brand in the end, of course. And somehow, the autumn-winter 2024 collection benefited too from that decision, because the lookbook is brilliant. Everyone from his father to to Interview‘s Mel Ottenberg and Purple‘s Olivier Zahm to his favorite stylists Haley Wollens and Camille Bidault Waddington is captured in the line-up. For the new collection Martens said he was thinking of pleurants, the sculptures of mourners that decorated tombs in medieval times, an instinct motivated by a sudden personal loss. He also mentioned Umberto Eco’s Middle Ages murder mystery The Name of the Rose. Putting his draping chops front-and-center, he added hoods to otherwise familiar garments like button-down shirts and fleece jackets, or inset sheer panels behind a row of buttons that gave his clothes a slouchy asymmetric shape. Some pieces featured manipulable velcro pieces that let their wearers adjust their silhouettes in the same way his bendable wire has been used in the past. A coat, for example, can convert into a cape, while a painterly floral print skirt can completely change form. Other pieces were shrouded with sheer net. The veiled pant suit gave the term fashion nun new meaning.