From the very beginning to the very end, confidence and strength resonate in Jiro Amimoto‘s guitar as one after the other, the dark silhouettes of Yohji Yamamoto‘s minimalistic parade stride down the marble runway of Paris’ Théâtre National de Chaillot. Raised brows and impeccable black lips are equal parts 1920’s silent film actress and children’s doll – playful, but in charge and in that, the perfect embodiment of the spirit of the collection.

After the show, a single word is used by the Japanese master to give insight into his idea : subtraction. And it is up to the observer to take away layer after layer of Yohji Yamamoto‘s immaculately crafted coats, blazers, and dresses to get to the core of his vision.

In the Autumn/Winter 16-17 collection, subtraction takes on many meanings – that of stripping down the garments of any excess while still keeping true to the “devil is in the detail” aesthetic Yamamoto is known for, but also that of stripping down the years and going back to the designer’s creative roots. In their simplicity, the garments take on both gender qualities, expressing Yohji Yamamoto’s unique sex appeal, which praise the woman’s grace while enhancing her masculine power. In this context, the working boots and the derby shoes made in collaboration with artisanal brand Cherevichkiotvichki perfectly match the looks.

Barely noticeable cuts and slits, tiny buttons and belts are placed in such a way as to create a play on the basic forms – elongating shoulders and arms, displaying delicate skin under the rough wintery fabrics, creating airiness and flow where heavy fabrics splattered with a tar-like substance evoke the denseness of a brush dipped in paint. The details range from thin and modest stripes of contrasting colours to the blatant and honest messages of the finalé : Lord, I’m so happy here. Give me some compassion.