Y/PROJECT PUSHES THE BOUNDARIES OF INDIVIDUAL EXPRESSION
Under the nave of the church L’Oratoire du Louvre, Glenn Martens pushes one step further Y/PROJECT’s ethos of deconstruction as a mean of individual expression. The soundtrack itself channels the designer’s ironic take on fashion, mixing the habanera rhythm of George Bizet’s opera Carmen with its Muppet Show parody.
Once again this season, Martens is blurring the perception we may have of clothing by creating impossible objects with an infinity feel, as if the pieces were never- ending. Asymmetry and disproportion run through the collection and distort the traditional silhouette: jackets, coats, polos or blazer dresses assemble front panels of different sizes, one escaping from the classic symmetric pattern and going up the neck. The asymmetric high-waisted fold over pants or pop-up pants, now symbols of this deconstructive design philosophy, are continued this season.
What seems like the real structure is always twisted and creates drapé or 3-D effects. The lining pops out of the blazers and becomes a buttonhole, revealing the garment construction and creating new volumes. The kimono sleeves and double shoulders modify usual proportions by drawing new, bigger contours.
The Y/PROJECT design ethos turns what may look so familiar at first sight into something unexpected. A pocket becomes a sleeve, a collar opens up and turns into a shoulder pad, a classic bomber jacket can be worn upside down. Jackets, whether Barbour, track or bomber, disrupt perception, making it almost impossible to figure out where these garments start and where they end, to distinguish the top from the bottom, or understand how they should be properly worn, mainly because there’s not one right way to wear these pieces.
Martens’ prolific creativity comes to life in a show irrigated by liquefied inspirations, where eclectic references are blended together: the silky flared trousers could be medieval or coming straight out of the 70s, the traditional Polish hand-painted pants stand alongside heavy heeled boots, inventing a new aesthetic language. The showstoppers this season are certainly the bodycon tulle suits looking like drawings walking down the runway, with piping and stitching details outlining the anatomy.
Y/PROJECT’s accessories line is getting elevated every season: the now iconic accordion bag is developed in new color ways and fabric, with a transparent peek- a-boo version which promised to be a summer hit. Two new men’s bags, a weekend one and a more day-to-day version, complete the line and add an extra level of chic.
Unveiled for the first time at Pitti Uomo, the men boots are now proposed with higher heels, buckles and metal tips. The women’s signature spiral sandals are brought back with a new design, as well as the oversize boots. The cut-out mules are embellished with China-like paintings. Two new shoe forms are introduced: platform laced sandals and square-toed heeled boots. While still bold, the jewelry is evolving into a sleeker and more wearable version. A new Y-shaped ear cuff is meant to be an it-accessory.
More than ever, the SS20 collection puts on the runway thought-provoking silhouettes. With versatility at its core, Y/PROJECT celebrates the expression of individuality.
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