I have a confession. As much as I love color, and especially considering I’m also an artist, so I’m supposed to love color, 95% of my closet is black. When I moved to Japan, I assumed I would fit in as much as I possibly could considering I’m not Japanese because of a shared affinity for black. Much to my chagrin, little did I know, that while Mr. Watanabe’s (as in Junya, not Ken) black may represent in the West, in today’s Japan, color rules. Aside from the kimono and anime-inspired harajuku girl ensembles, if you google Japanese Fashion 2011 (and I did, unfortunately only after I moved), you’ll see not only color, but a rising trend in print mixology and colorful layering.
In Japan, while black has not been completely abandoned the color is perceived as serious, proper and work-related. I call it the Juon-effect which references the Japanese film “Juon” on which the American scary flick “The Ring” was based – in a nutshell, dark, ghostly, mourning kind of use of black as opposed to the more German cool avant-garde approach. Currently designers like Issey Miyake have discovered new ways to honor black while injecting other colors into their design palette through an exploration of textures and prints.
In a recent collection, Junya Watanabe managed a departure from his usual shades of black and gray with splashes of blood-red and other jewel tones. Unfortunately as is common in Japan, the adherence to sameness and uniformity could not be resisted - the looks in his fashion show were presented with the models’ heads shrouded in identity-hiding fitted white tulle masks.
The kookiness of karaoke is making its way into the mainstream with the help of designers like Tsumori Chisato and Hidenori Kumakiri. Tsumori Chisato’s S/S 2011 has a touch of Sonia Rykiel. Her collection showcased bursts of playful colors on silk 40′s style short sets and long flapper-style sweater dresses. The colored-on prints are almost child-like without being cartoony. Many pieces are wearable and simple in line and fitting. As much as I love the architectural edge of Comme de Garcons, Chisato’s clothing thankfully don’t need “how-to-assemble” manuals or the assistance of two fitters. Kumakiri designs clothes that are as color-packed as Chisato’s collection, but throws in a much-needed twist of muted urbanity. His separates are layer-friendly, funky and perhaps a bit young, yet so versatile one could style them up or down.
My favorite Japanese designers, are hose who embrace color without hesitation yet offer pieces that are luxe, spirited (not haunting), well-constructed and feminine. Junya Tashiro pumped out easy smock-frocks with modest color blocking and a touch of kawai. Undercover brings color to leather and suede and makes sleek and mod-referenced outerwear. Mint Design and G.V.C.V. fully grasp the allure of mixing patterns and fabrics in a way that feels individual and jacked into cultural aesthetics beyond their own.
While Beautiful People produces pale, soft and clean pieces that remind me of what could be a Michael Kors/Paul Smith brain child, I heart Keita Maruyama most of all. The Tokyo-born designer produces collections that are subdued and simple with beautiful obscure prints and classical silhouettes. His work expresses a fondness for glamour and a respect for the feminine form. In his Autumn/Winter 2010 he mixed his hues with neutrals (mostly camels and grays) and when he incorporated black, it often suggested femme fatal. Not a ghost, “Career Woman” (キャリアウーマン) or monotony in sight.
















