DARK and introverted, the Yang Li AW18 collection exuded mystery. Hardly a surprise considering his track record of black, black, and more black. Yet, as ever, Li crafted an incredible selection of bold, modern, and clean looks that encouraged us to indulge in our dark side. As guitarist Justin Broadrick, formerly of Napalm Death, played in the background at the gorgeous Gothic church of Saint-Merri, the romantic motifs of the collection clashed against the gothic atmosphere to create a disjointed yet effortlessly cool collection. With an array of textiles and fabric manipulation and a mass of stringy, messy hair, Yang Li pushed the boundaries of ready-to-wear, instead opting for the extravagance within avant-garde.
1987-2087 was a prominent tag that was intertwined in numerous looks. It’s meaning – a twisted ode to the past, present, and future of Yang Li as a designer, almost an imagined centenary celebration. The use of lace and wide-brimmed hats suggested a corpse bride or witch presence, and when some models walked with calla lilies, a meteorite style piece of foam, or a huge marrow it seemed they were there as offerings to the spirits. The coats of this collection were all stand out pieces ranging from a bright blue duffle to a voluminous floral poncho to a floral transparent mac.
Patent leather, asymmetrical zips, and sharp neon blue tailoring began the show. Double waisted trousers began to creep in, a new design for Yang Li and one that cleverly elongated the female form. Li’s 1990s minimalist silhouettes and double-face construction continued in this season’s collection. Likewise, his mix of machine and hand-sewing details remained visible. Yang Li’s Aw18 collection was a display of his talents, an insight into his world and an insight into his future too.
by Lily Rimmer