Junya Watanabe A/W 2014

A sure-fire clue into the complex inner workings of a Junya Watanabe show can usually be found on the model's heads, where a basic hair-do suddenly takes on fully loaded artistic licence. This season Watanabe had his women clamped into closely fitting skull caps. They were made from what appeared to be discarded hair clippings that had been swept up from a salon floor and glued back together in all-black, puzzle-like formations. Collage was, in fact, this collection's theme, and though it's been a bit of a buzz word for Parisian designers of late, no one has done it with the skill, intricacy or poetic grace of Watanabe. Wool, netting, tulle and even flashy sequins were all employed as the raw materials for his artistic canvases. Working first in circle constructions that looked as if the clothes had been hole-punched with giant cookie cutters, Watanabe then moved to triangles, waves and petal shapes, allowing the diverse materials to pile up like a secret garden on tunic tops, ponchos, capes and dramatic long skirts. All of the sport and street elements of his past collections had been erased here, unless you count the puffer jackets that were reconfigured into Michelin Man funnel-like shapes. Meanwhile, Watanabe worked in an almost universally black palette. It is a true testament to this designer's workmanship that so much depth - not to mention emotion - was transmitted, while using such a flat, colourless hue.
 

A sure-fire clue into the complex inner workings of a Junya Watanabe show can usually be found on the model's heads, where a basic hair-do suddenly takes on fully loaded artistic licence. This season Watanabe had his women clamped into closely fitting skull caps. They were made from what appeared to be discarded hair clippings that had been swept up from a salon floor and glued back together in all-black, puzzle-like formations. Collage was, in fact, this collection's theme, and though it's been a bit of a buzz word for Parisian designers of late, no one has done it with the skill, intricacy or poetic grace of Watanabe. Wool, netting, tulle and even flashy sequins were all employed as the raw materials for his artistic canvases. Working first in circle constructions that looked as if the clothes had been hole-punched with giant cookie cutters, Watanabe then moved to triangles, waves and petal shapes, allowing the diverse materials to pile up like a secret garden on tunic tops, ponchos, capes and dramatic long skirts. All of the sport and street elements of his past collections had been erased here, unless you count the puffer jackets that were reconfigured into Michelin Man funnel-like shapes. Meanwhile, Watanabe worked in an almost universally black palette. It is a true testament to this designer's workmanship that so much depth - not to mention emotion - was transmitted, while using such a flat, colourless hue.
 

A sure-fire clue into the complex inner workings of a Junya Watanabe show can usually be found on the model's heads, where a basic hair-do suddenly takes on fully loaded artistic licence. This season Watanabe had his women clamped into closely fitting skull caps. They were made from what appeared to be discarded hair clippings that had been swept up from a salon floor and glued back together in all-black, puzzle-like formations. Collage was, in fact, this collection's theme, and though it's been a bit of a buzz word for Parisian designers of late, no one has done it with the skill, intricacy or poetic grace of Watanabe. Wool, netting, tulle and even flashy sequins were all employed as the raw materials for his artistic canvases. Working first in circle constructions that looked as if the clothes had been hole-punched with giant cookie cutters, Watanabe then moved to triangles, waves and petal shapes, allowing the diverse materials to pile up like a secret garden on tunic tops, ponchos, capes and dramatic long skirts. All of the sport and street elements of his past collections had been erased here, unless you count the puffer jackets that were reconfigured into Michelin Man funnel-like shapes. Meanwhile, Watanabe worked in an almost universally black palette. It is a true testament to this designer's workmanship that so much depth - not to mention emotion - was transmitted, while using such a flat, colourless hue.
 

A sure-fire clue into the complex inner workings of a Junya Watanabe show can usually be found on the model's heads, where a basic hair-do suddenly takes on fully loaded artistic licence. This season Watanabe had his women clamped into closely fitting skull caps. They were made from what appeared to be discarded hair clippings that had been swept up from a salon floor and glued back together in all-black, puzzle-like formations. Collage was, in fact, this collection's theme, and though it's been a bit of a buzz word for Parisian designers of late, no one has done it with the skill, intricacy or poetic grace of Watanabe. Wool, netting, tulle and even flashy sequins were all employed as the raw materials for his artistic canvases. Working first in circle constructions that looked as if the clothes had been hole-punched with giant cookie cutters, Watanabe then moved to triangles, waves and petal shapes, allowing the diverse materials to pile up like a secret garden on tunic tops, ponchos, capes and dramatic long skirts. All of the sport and street elements of his past collections had been erased here, unless you count the puffer jackets that were reconfigured into Michelin Man funnel-like shapes. Meanwhile, Watanabe worked in an almost universally black palette. It is a true testament to this designer's workmanship that so much depth - not to mention emotion - was transmitted, while using such a flat, colourless hue.