Conversationally, Kei Ninomiya tends to be amongst fashion design’s most taciturn protagonists. This can be frustrating when pumping him for intel post-show in Paris, but becomes a slight bonus when—as again this season—that show is in Tokyo.
Without any chance of extrapolation, you were left again to wonder at a collection you could see gracing either Helena Bonham-Carter or Edward Scissorhands (but ideally both) were they ever to go out on a date. The first two looks, a top above a black tulle skirt and a fitted-ish dress with a slighter tulle trim, were fashioned in what looked like quilted panels of square spires that were longer at the hip, shoulder, and elbow. These were colored in a 3-D, pixelated, mostly lilac mishmash that suggested, perhaps, there was a blown-up floral photoprint lurking somewhere.
This seemed confirmed by the floral shirting—so radically bourgeois for Noir—that lurked beneath some of the series of black tailored pieces that followed. These were intersected with long zippers across the body that allowed them to be worn like a creatively peeled banana. A high jacket whose front skirt was divisible by lines of vertical zippers was also particularly cool.
Two long black dresses, one cut narrow, the second flowering outwards at the skirt, were enframed like a choice piece of tropical fruit in a supportive lattice, this one of leather. Then came a double-coated look, short over long (a slight theme this season), that semi-obscured more supportive structures in buckled leather strapping at the legs. A little tangle of this strapping returned in harness form above another black tulle skirt. More tulle followed, first black, then pink, in more full petticoat skirts south of cropped and multi-zipped bikers.
Two highly enjoyable Yeti-goes-to-prom looks contrasting pink tulle against what looked like a typically riotous Ninomiya fabrication of shaggy strips of material followed. Then a chlorophyll green phase returned to the idea of latticing, almost cellular in structure, worn with a marvelously punky high-court judge’s wig in the same green. The final trio was an almost all-noir confection; first a dress of furred spikes that resembled some kind of sensual burr, second a hooded dress in a bottlebrushy texture, and finally a piece that seemed to encase its wearer in a bouquet of black, white-piped petals.
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