Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli



Happiness is just a hairflip away.
Chris Crocker

A NEW CLIP EVERY WEEK HERE

"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford
















4.04.2017

Ethosens

After presenting this 2017 collection, Yui Hashimoto greeted journalists so quietly that the subsequent push of voice recorders almost hit the designer in the face. Once you could make out what he was saying, his concept for Ethosens was so intellectual some people had trouble making sense of it : "The theme for me this entire year has been crossing lines. Line is an abstract word for me, and there are many perspectives in how to interpret lines, and the collection is an expression of those perspectives". If that sounds impenetrable, it was a little easier to understand after taking a closer look at the clothes. The 'crossing lines' concept refers partly to the impressively complex pattern work that Yui Hashimoto is known for, and this season he used one pattern layered over another to create a single item; the denim jackets are the most obvious examples. Beyond that, architectural lines crisscrossed on tops and trousers, and the brand's name, written in graphic katakana, was printed upside-down on tee-shirts and etched onto trailing canvas belts. Elsewhere, isometric cubes and monochrome neoplasticist prints slotted nicely onto loose-fitting trousers, straight-cut overcoats, and bomber jackets. The fabrics, some of them made especially for Ethosens in Hamamatsu, a coastal city on the other side of Mount Fuji from Tokyo, were noticeably high quality. Among the monochrome austerity of the collection's palette, there were enough curious infusions of aubergine and coral and pops of bright blue to keep it from becoming clinical. Despite the extreme mathematical intricacies that Yui Hashimoto works with, the resulting collection exceeded a satisfying, well-crafted minimalism; luckily for the designer, his technical expertise speaks for itself.

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