When I saw Undercover‘s autumn-winter 2019 collection, I was literally like: “OMG. It’s an ode to Suspiria. OMG!”. Yes. Jun Takahashi really did a collection that’s in majority all about Luca Guadagnino’s remake of Dario Argento’s cult horror, Suspiria. First, you’ve got to know I’m a mega-fan of Luca and all his films. But his Suspiria transported me to a completely different world. So I was really impressed that somebody in fashion finally went crazy for this film and did a proper collection based on it. The mood of 1970’s, Cold War-era Berlin and a world-renowned dance company controlled by powerful, elusive, sadomasochistic witches… it’s such a good source of inspiration. Not only the collection’s colour palette was completely inspired with the film. Takahashi wanted to use the film stills for prints (Guadagnino gave his permission for this – he’s a film director with an incredible sensibility for fashion) and here we are with a line-up of bomber jackets, hoodies, dresses and skirts that picture some of the most standout moments from the remake. Tilda Swinton – who played three roles in the film – and her character of Madame Blanc in a floor-sweeping, red dress appeared in two ways: as a literal print, and as skirt-pant hybrid in the same colour. I think no other designer can make a collection look so good, using just one reference and focusing so much on it. The theme doesn’t feel tired or invasive. It’s for fans, but not only – I bet any Undercover client will rush for the collection’s garments, without even watching Suspiria. You haven’t? Please do!
Collage by Edward Kanarecki.
Although Jun Takahashi‘s autumn-winter 2019 Undecover collection was built around Stanley Kubrick’s ‘A Clockwork Orange‘ (the protagonist’s face appeared few times on duvet jackets, knits and socks, while some of the models carried matching canes), there was much, much more to the outing. Beethoven and Edgar Allan Poe appeared in the season’s main graphic, abstractly mixed with an UFO spaceship. This brings us to Jun’s friendship with Valentino’s Pierpaolo Piccioli, who used the same prints in his latest menswear offering (which was presented the same day) and labelled most of the pieces as ‘Valentino Undecover’. But wait. There was also the invitation that featured Caravaggio’s Supper at Emmaus. Some of the pieces were labelled with words (in phonetic Russian), like sabog (boot) and prestoopnik (criminal). Criminal? The feathered masks could have been some sort of dramatic, yet very chic, robber look. But the hats with a single, coloured feather? More of a muskeeter. And no, you don’t have to really comprehend all that or truly understand what’s the connection. The Japanese designer, who is known for balancing authentic streetwear with avant-garde, took us on a travel that’s above time and dimensions. The garments and accessories, from cable-knitted epaulets and sweatshirt-jumpsuits to heavy trekking boots and corduroy total looks, are heaven. And the finale, featuring only all-red looks, might have been a metaphor of hell, but the one with very good-looking demons and devils.
Collage by Edward Kanarecki.