Yohji Yamamoto Ready-to-Wear Fall 2018. Paris Fashion Week

_MON0896_MON0440Yohji Yamamoto RTW Fall 2018_MON0679_MON0269_MON0174

(Images from Vogue.com and WWD.com)

Before Japanese Rinzai Zen Master Takuan Soho (1573-1645) died, this great scholar-artist-teacher instructed: “Bury my body on the mountain behind the temple; throw earth on it and go away.  No scripture reading, no offerings—go on with your meals. Afterwards, no pagoda, no monument, no posthumous name or title, and certainly no biography full of dates!”  At his final moment, he wrote the Chinese character for yume (“dream”), put down the brush, and died. ”  From http://www.enlightened-spirituality.org/Zen_Humor.html


Yohji Yamamoto who has always used death or the end of ones life as a subtle reflection on the inevitable in most of his collections.  The duality between dark and light also seen as the chiasmus of light and dark.  That are one in the same, yet appear from two separate points.  A beginning and an end.  Where life, human existence maintains its purpose within the middle.  The day as it is, set at this point in time.  Is all that matters.  Without thoughts of the end or its beginning.  This is the awareness of mortality.  The Taoists would call this the Shining Mind, the Zen Buddhist would inscribe it to be what is known as the Buddha Mind.  If you were to look at from a Western philosophical perspective you could call this the “The Enduring Mind.”

We use up the days, despite exhaustion.  Never to return.

For Yamamoto’s Ready-To Wear Fall 2018 collection he paid homage, gently, to the great couture designer Azzedine Alaïa.  Out of respect, there would be no need to elaborate on the passing of one of Fashion’s greats.  But, to see Yohji Yamamoto once again, as noted numerous times in my reviews of all of his collections.  The master designer knows form, particularly the female shape (as did the late Alaïa).  Which, as Yamamoto is aware, holds a subtle and blunt appeal to aesthetics, the movement and the pose is uniquely feminine.  As is the narcissism.  In turn it can be accentuated and complemented with different styles, younger designers should study this without referring to text books, cell phones, digital ‘trends’ and University courses.  What fits and what doesn’t is experienced not taught.   A Master designer such as Yohji Yamamoto is able to layer and drape fabrics in an elegant array yet still revel an impression that is truly feminine.

Yamamoto’s Ready-to-Wear Fall 2018 collection with its statuesque and vivid forms of layered and textured clothing.  Also experimented with Picasso cubism as a surrealist representation in visualizing styles via some of the pattern work, makeup and hair.  This is not a new theme for Yamamoto as it has been seen before as an influence (Cubism and Surrealism) in previous shows, but maybe not as obviously stated as it was with his RTW Fall 2018 collection.

Beautifully draped and fitted clothes which at times shows Yohji Yamamoto’s ability to define geometrical cuts and prints,  cleverly aligned as symmetrical styles, but tweaked with its pushed up fabrics to offset perspectives.  Which is the influences of surrealism and cubism as an art form in their representation; the realignment of symmetry that is to offset and warp, thus revealing extra dimensions.  For Yamamoto’s RTW Fall 2018 collection is mostly confined to fine wools blended materials, which drape around the models without looking like it’s covering up the feminine shape, trench coats, and double breasted blazer styles, angled in asymmetrical  configurations.  Intricately pattered and neatly crafted leather pieces  as corsets, re-cut utility style belts.  Cropped leather jackets and vests.  Tassel inspired accessories that dangled from the models heads, if carefully studied, one would see (as an attachment) small pigs with wings.  There is a sense of irony and humor with this collection, but also a sexiness.  With a contemporary and original take on 1980s sexual power on show, which has not be seen for awhile.    But appears to be edging closer as one of the main trends as we move further into 2018.


Rick Owens Ready-to-Wear Fall 2018. Paris Fashion Week

_OWE0337_LLL0300_OWE0353Rick Owens RTW Fall 2018_OWE0587

(Images from WWD and Vogue.)

Paris Ready-to-Wear Fall 2018 has also (unfortunately) showcased the dowdy and frumpy attire which has spilled over from the other fashion weeks.  With Milan’s mess incapable in diluting the poor styles and fits inherited from New York and London’s Fall 2018 shows.

Rick Owens ‘angry’ 2018 men’s collection (please refer to my review) still resonants as a subtle and blunt vanguard against the “conservatism”  (as quoted by Rick Owens) creeping into fashion and elsewhere within popular culture at this point in time.  Probably more of a confused digital based ‘idealism’ in its perspective flux than anything else.  Regardless, critique and study is still important as long as it is not dwelled upon.  Just written down and to move on.

As noted in the Saint Laurent RTW Fall 2018 show via Anthony Vaccarello, the high hemmed shorts and/or mini skirts may be a settling trend moving into Spring/Summer 2018 at some point.  These are seductive and alluring styles, which have their beginnings in the 1960s and 1970s, however it was less of an 80s trend.  But, fashion design as a creative process instigated by a talented designer maybe able to fuse past ideas into an contemporary pose.  Rick Owens Ready-to-Wear Fall 2018 collection has attempted this by offering a collection inspired by the Arte Povera (poor art) art movement of the 1960s and 1970s.  While uniquely re-establishing the simplicity and raw beauty of natural fabric styles and perspectives, that is “Arte Povera”.  Owens has added the word “seduction” into the mix.  Thus setting the stage of what it is to be seductive as we pass through the last remnants of #tag conservatism.

Rick Owens has created his version of the mini-skirts and high hemmed shorts, which is paradoxical for a designer that, over the years distance himself from the tighter and more obvious sexy feminine styles.  Intermixed with the puffy, draped concepts which has been paired in his previous male and female collections, also noted are the military style utility belts and over sized hip bags on some of the pieces.  There is an ironic take on Owens’s representation of seduction, very cleverly constructed ideas within his RTW Fall 2018 collection as narcissism is seduction of the self first.  In that respect women are masters of the art.

Rick Owens Ready-to-Wear Fall 2018 holds true to his stalwart color palette of browns, cream, yellow, grays, camel with the achromatic power of black and white.  Also noted are the ghostly apparitions spread through out the collection, this maybe the spectra of death.  Which has been a persistent theme, seen in previous Paris collections.

Saint Laurent Ready-to-Wear Fall 2018. Paris Fashion Week


(All images: Yannis Vlamos / Indigital.TV via Vogue.com)

After the woeful showings at all the Ready-to-Wear fashion weeks leading up to Paris, it is of course reliant that the Paris fashion week/s be the Crème de la Crème (on a good day) however failings occur at every fashion week.  But New York, London and Milan just showed how poor fashion is being crafted at the moment, too many brands eager for a spotlight and dreadful sourcing of trends from hashtag ‘digital’ movements (which was noted by two major Fashion magazine/websites).

You cannot reshape fashion as an attempt at reshaping the physical form.  If there is a duality in fashion it is to accentuate the male or female physique.  The skilled designer can decree styles, even with experimentation, that will still define both of the sexes.  In which was witnessed via the Men’s Fall 2018 collections that embraced and representing the masculine form (within its different mediums),  as opposed to the Fall 2018 RTW women’s shows so far this year, it has been a covering up, dampening and suppressing of  the female shape.   These are not social/political statements derived from a confused idealogical spectrum, but rather, sloppy designers assuming markets exist (which they’ll find out the hard way – don’t exist at all).  Women dress for themselves, not men, their narcissism of reflected beauty is one of the perfections of the feminine.  Anthony Vaccarello for Saint Laurent understands this.

As noted in my Saint Laurent Spring 2018 Ready-to-Wear. Paris Fashion Week review, Anthony Vaccarello has reinstated the rebellious sex appeal, a defiance against enforced convention.   Drawing from the early years, more so from Yves Saint Laurents Russian ‘Cossack modernist’ collection which was shown in 1976, Vaccarello has stripped it back, revealing more flesh and risqué.  Even with the cold snap that has ascended across Europe, a sexual radiance of female desire is the eternal flame.  What better way to keep warm at night.

Saint Laurent Ready-to-Wear Fall 2018 collection is absolutely stunning, the intricacies  and mystique of lace, dark and enveloping styles, free flowing and crated.  A deep strength that is its core aesthetics, a confidence within its reflection of desire.  Once again, as noted with Christoper Kane’s Fall 2018 collection, leather and lace, combined is an impressive look.  A sexual exuberance, that holds the mysterious.  That in turn works so well as a combined piece.  Leather pants and loose style high hemmed shorts, vastly different than tighter styles.   Vaccarello paid homage to Yves Saint Laurent‘s Rive Gauche Paris bohemianism,  tassels, jewelry, beads and hanging accessories.   Sequence dresses, hemmed high over the knee with floral designs.  Evening style cocktail dresses.  The colour spectrum is mostly dark and moody, with an overall sultry focus.


“FIEKE WOLF” returns in 2018


(Front cover for the 2012 novel FIEKE WOLF)

FIEKE WOLF will return in a short story format in 2018 which will be part of a full novel.

The character was created in 2011 with the original novel FIEKE WOLF published in 2012, with a follow up short story (sequel) in 2014 which was part of the collection (Novel) of short stories called “When Time Ends, The Seasons Begin“.

The below excerpt is from the 2014 short story.

“FIEKE WOLF” (2014):

“Livastein looks over his shoulder at the bar area. “Everyone is pretty stressed…all the corporate take overs and restructuring of news networks…Also what is happening with Russia, China and US tensions. So a combination of the two equals uncertainty…Thanks for the drink,” Livastein replies lifting the glass and sipping. “So, you got a lead…and you want to chat about it and I’m the closest, familiar journo face,” he says smiling. Hoping that the spontaneity of Nessy meeting him here in this bar, buying him a drink, could lead to something intimate later on.

“You read my mind, that and you ain’t working with a competitor…” She says smiling, taking off her blazer and placing it behind the chair. “…Ok, I gotta be ambiguous here…but damn, it’s big though. You heard of C51?”

“No, but my guess it’s military?”

“It is, nothing secret as such C5I is a Communications, Computers, Combat systems and Intelligence unit based in Washington, anyway, since the late nineties the Pentagon has been running simulation drills on an all out attack, cyber that is, on American systems, infrastructure, computers…everything. And the way this government over managers it’s departments, put it this way, there are a dozen internal security sections, loosely under the umbrella of the National Security Agency…”

“Congressional hearings on the NSA spying on us…it’s citizens, the story isn’t new.”

“That’s not the story…Way before 9/11, mid nineties Capital Hill drafted a proposal to run a Prism style computer spying system to monitor, internally, us…Americans. The thing is the draft proposal was to find the source…” She pauses and sips from the cocktail. “…Of Iwar attacks, first probing attacks that took place ten years ago.”


“Internet war…”

“The usual hackers?”

“Way beyond that…not some group that posts on Twitter…”

“Islamic groups…”

“Please…” She replies sarcastically. “…their sophistication was only enhanced by our departmental complacency or incompetence in old school intelligence gathering…that was 9/11, a benchmark, hasn’t been reached since…probably never will. Far from cyberwarfare. I mean lets face the facts, most if not all of those Islamic nutcases are bandits…”

“Then the usual suspects, China and Russia”

Nessy takes another sip from her cocktail. “Close…But not quite, us and them…China, Russia have been hacking each other for years…Right now, we have a cold war part two, no one wants to really officially call it that, but it is, China bearing down on the South China Sea, setting up bases and oil platforms in and around the disputed Islands. Russia invaded Crimea, funded and armed militia in the East of Ukraine in a slow motion invasion…That theocratic czar, the Russian president, has tactical nukes lining the Eastern side of Ukraine…”

“…No doubt we have tactical nukes aiming from the west via NATO.”

“Of course…but that, all of that, cold war, everything is pale to comparison to the major threat that could hit anytime. And it could already have started.”

“The Iwar…”


“But how is it different to a nuclear threat?”

“Similar but dissimilar…the nukes…”

“SATRAN KAEVON” paperback (Adrian Glass. 2017)

Paper back now available on Amazon https://www.amazon.com/dp/1973563045



My 2017 book “SATRAN KAEVON” is available in paperback via AMAZON

Please refer to link:  https://www.amazon.com/dp/1549728717



“Your greatest threat is not from yourselves, although at times humanity does show a capacity for self destruction only to be entrapped, for its justification to believe in superstition and fears, once again, although a curse it can be rejected, by the human desire for significance. Despite it being insignificant within the cosmos!”

Adrian Glass’s avant-garde fiction continues. Defined by its uniqueness as he introduces characters that are all interlinked within their different realities. Caitlin Feldstein a clinical psychologist, who has just opened her small therapist office in lower Manhattan, New York City – as she deals with her own personal trauma of loved one’s lost. Issy Ainslee, a public relations advocate for a nonproliferation and arms control think tank based in Washington. Both women are now witnessing the connexion, as…

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