Issey Miyake: A Look back to Spring/Summer 2023 in Paris by Elli Ioannou

Iris van Herpen: Mythology and the Metaverse

The Meta Morphism dress with lasercut translucent silk and Mylar leaves, symbolizing the myth of Daphne turning into a laurel tree, a highlight of the AW22-23 show. Main picture and cover by Elli Ioannou for DAM in Paris.

The artistic ingenuity of fashion designer Iris van Herpen has hewn a new path for haute couture. Drawing on dance, choreography, science, architecture, music and new technology, her sublime designs are not only otherworldly but exquisitely crafted. This season she explores the metaverse. Story by Jeanne-Marie Cilento. Reporting by Ambrogio de Lauro. Photography by Elli Ioannou

Sparkling crystals hang from the tips

of the silken leaves creating 

a glimmering aura 

IRIS van Herpen's ensorcelling designs are at the vanguard of haute couture, refashioning the future. Her singular vision will be showcased at a major new exhibition, to be held in Paris at the Musée des Arts Décoratifs, next year. Many of her pieces are already in museum collections. 

The Dutch designer's preternatural creations have been worn by Cate Blanchett and Beyoncé to Björk and Lady Gaga and were highlights at this year's Met Gala in New York. In Paris, van Herpen celebrated 15 years since she first launched her eponymous fashion house in 2007. This season, the designer explores our connection to technology and how it effects our sense of self.

Called Meta Morphism, the Autumn/Winter 2022-23 collection was presented in Paris at the Élysée Montmartre, a famous music venue where David Bowie and Patti Smith have performed. 

Van Herpen examines how we will change and adapt with the rise of the metaverse. Although a futurist, she looked back twelve centuries and drew her inspiration for her latest designs from Ovid's Metamorphoses. Transformation is the overall motif running through the ancient work's myriad myths and history of the world.

The Roman poet wrote the epic Latin narrative poem in the 8^th century and the theme of metamorphosis  ~ van Herpen's starting point ~ is introduced at the beginning: "In nova fert animus mutatas dicere formas/corpora ("I intend to speak of forms changed into new entities").

Iris van Herpen's new major exhibition will be held in Paris at the Musée des Arts Décoratifs 

Casey Curran's sculpture of Daphne

on the runway with Apollo as 

fluttering golden leaves

Van Herpen also based this latest collection's themes on the myths and stories of Narcissus, Arachne and Daphne and Apollo. She collaborated with sculptor Casey Curran to create a dynamic statue of Daphne, that drew all eyes at the heart of the runway at the Élysée Montmartre. 

The sculpture's gilded skeleton sprouts abstract white blooms like living flora, representing the laurel tree. The work floated at the centre of the space like a talisman. The quivering golden leaves above the figure were designed to suggest Apollo's unrequited passion for her.

Walking around this potent artwork, the models teetered on winged, 3D printed heels wearing  sinuously surreal designs made with an entrancing combination of new technology and superlative hand-crafted expertise. 

Many of the lacy, corporeal details are 3D printed and then meticulously hand-sewn together, maintaining the artisan tradition of haute couture yet upending staid preconceptions of form and material. 

Key to van Herpen's work is sustainability which she has made an integral part of the design and production process of her collections. Since she founded her label, she has developed new techniques and experimented with materials not usually associated with couture. 

She wants to not only push the boundaries of what is considered haute couture but leap beyond them. The designer sees haute couture as a laboratory for experimentation, influencing and inspiring ready-to-wear. Every season is an opportunity to express, in material and digital form, new ideas. 

The designer sees haute couture as a fashion laboratory for innovation and experimentation 

The Singularity jumpsuit with

3D printed adornments made

from leftover cocoa bean shells

This season, using 3D printing and working with Dutch designers Eric Klarenbeek and Maartje Dros, Van Herpen  developed the Singularity jumpsuit (see at left). Figure- hugging in rich, warm ochre hues, the design was brought to fruition by using left-over cocoa bean shells.

The raw cocoa beans shells are processed into granules and then mixed with glucose. This stabilized substance is then spun into a filament, forming an organic biopolymer that can be 3D printed, making the production of the material entirely sustainable. 

As a finishing touch, the embellishments are electroplated with copper. The jumpsuit is interwoven with vegetative tendrils that wreath Cindy Bruna's body encased in upcycled organza.

Another innovative material used by Iris van Herpen in this collection is a biodegradable fabric made from a type of banana called Abaca, originating from the Philippines. The fabric is made of 40% raw silk combined with 60% fibre from the banana plant’s stems. 

The Abaca and silk are woven into a shiny material that shimmers with the shine of banana leaves. The designer also worked with Solaris, using recycled Mylar as the base for intricate embroidery and laser cuts. The fine, translucent face jewellery that the models wore for the Paris show was created with artists Staskausas and Lance Victor Moore.

The pellucid fabrics of the collection have a gossamer texture and are in a subtle palette of creams and beiges, giving the models an ethereal, otherworldly grace. Contrasting with these incorporeal figures were those dressed in darker hues of blue and amethyst with a dash of copper and silver to enliven the glistening embellishments.   

The sinuously surreal designs are made with an entrancing combination of new technology and superlative, hand-crafted expertise 

The Omnipresent dress with it's

filmy, spider-web like lace

bounded by laser-cut 

black framework 

The myth of the master weaver Arachne was the inspiration for the delicate laces forming embroidered webs like the Omnipresent dress (at right). The halo-like tendrils around the face were designed to suggest threads that could be woven. The facemask made of fine, lasercut steel forms a frame for the lace. Black lines encase the translucent filmy embroidery like stained glass.

The tragic tale of Narcissus, who falls in love with his own reflection, was the impetus that spurred the designer to create luminous surfaces that were layered and reflective. The Narcissus coat (see below) worn by Winnie Harlow is also embroidered with faces that seem to move and then disappear. 

The myth of Daphne and Apollo engendered the design of the finale look with Daphne's metamorphosis into a laurel tree. Van Herpen interprets the story as a metaphor for our immersion in virtual worlds where we merge with the metaverse. 

She asks questions about what this could look like: "How do we envisage our digital counterparts? Who do we dream of becoming in these digital realms?" Well the designer has given us the answer, with this collection, to the most important question: "What will we wear?"  

Scroll down to see highlights from the AW22 Haute Couture Collection in Paris

Fashion Designer Yuima Nakazato's Blue Season

Like a Vermeer painting, Ukrainian model Ali Honcharuk is all stillness and repose. Yuima Nakazato's cascading celestial silk chiffon gown adds a dash of futuristic verve. Photographed backstage before the Japanese couturier's haute couture AW 2022/23 Paris show by Elli Ioannou for DAM 

Yuima Nakazato is one of the most intriguing and visionary fashion designers working today. From creating sustainable fabrics to eliminating the needle and thread, he is taking haute couture into new realms. We talk to him in Paris and look at his latest collection, including exclusive backstage shots. Story by Jeanne-Marie Cilento. Photography by Elli Ioannou. Reporting by Antonio Visconti 

"The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural...The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white." ~ Wassily Kandinksy

The origami-like set representing the Earth, 

designed by Yuima Nakazato for his Paris show. 

Photograph; Mathew Fisher

BLUE is the title of couturier Yuima Nakazato's new collection. Blue for how he felt during the pandemic, blue for the sky outside of his window in Tokyo and blue for our planet. 

In a diaphanous kaleidoscope of azure, the designer's latest creations floated amid origami-like paper sculptures based on his pen and ink drawings of Planet Earth. The models whirled around the circular catwalk installed in the Toguna space at the Palais de Tokyo in Paris. 

"The glimpses of sky visible through the buildings outside my window in Tokyo brought to mind the rest of our shared planet," the designer said. 

"Almost in a state of prayer, I worked towards the creation of this collection. To our eyes, the sky and the sea both appear blue, but this is nothing more than a visual phenomenon. Dipping a piece of cloth into the ocean will not turn it blue. This color is a mystery we can see it with our eyes, and yet it doesn’t really exist. Wearing blue garments, I thought, might almost make a person feel as if they were draped in messages from one of the avatars of old." 

Thoughtful and self-contained, Yuima Nakazato is expanding his manifesto of experimentation: new materials and technology combined with superb artisanship. This Japanese dynamo is doing some of the most interesting and far-reaching work among not only the couturiers on the official Paris schedule but among contemporary designers today. He thinks beyond each fashion show to his cohesive vision that encompasses creating sustainable textiles and a couture that could be worn potentially by everyone. 

Yuima Nakazato is doing some of the most interesting and futuristic work among  contemporary fashion designers today

The evocative runway show with the bride

in her cascade of silken, white chiffon.

Photograph: Elli Ioannou

This type of "big picture' thinking in fashion is rare, especially at the upper echelons of haute couture which by its very nature is a hermetic world available to few and often conservative in its adherence to traditions. 

The labour intensive, hand-sewn garments are made of expensive fabrics and are, of course, costly to purchase. Yuima Nakazato is challenging some of these sacred couture premises while still maintaining the beauty and uniqueness that is central to the haute couture ethos. 

Although the designer's ideas are cutting edge and full of new technology, he never loses sight of the poetry amid the science. He brings a romantic, appealing aesthetic to his collections that transcend even his more avant-garde creations that are full of dark drama, from alien elfin ears to long prosthetic arms. 

He doesn't let his interest in the latest technological developments overwhelm his creativity. His vision has the potential to change the future of fashion and yet he manages to create pieces that are desirable to wear. His radical ideas inform his design philosophy while still making interesting, beautiful clothes. 

Designing his latest collection before it's presentation at Paris Haute Couture Week this month, Yuima Nakazato says he felt overwhelmed by what was happening in the world and online and decided he needed to come back to the grounding work of doing things by hand. The Blue collection is the second physical runway show he has held in Paris since the pandemic put them on hold for two years.

The designer's ideas are cutting edge and full of new technology yet he never loses sight of the poetry amid the science

Ethereal silk creations were contrasted

with protean kimono-like robes. 

Photograph; Elli Ioannou

"My heart was made heavy by all the things I read and saw from around the world these past six months," he said. "Overcome by feelings of confusion and powerlessness, all I could do was turn away from my phone. My hands, however, continued creating; sketching pictures, shaping clay, tearing up old fabric to be woven and dyed. "

The designer believes by creating something himself it was a comfort and a way of resisting today's digital world that he felt was overwhelming.

"While digitization is a big trend in the world, we also focused on making our creations in this collection by hand," he explains. "We actively adopted the traditional techniques that have been inherited over generations to make the kimono. For example, indigo dyeing, lacquer, embroidery and split weaving. Also, this collection is made with a rectangular pattern as much as possible. This is also an ancient kimono philosophy that does not waste fabric." 

One of Yuima Nakazato's central aims is to make fashion as sustainable as possible. As fabrics are produced in rectangular form, his designs inhibits the loss that occurs during the production of clothes. Inspired by the kimono, the new collection used that shape in different ways. Obviously a single rectangle does not suit the human body but joined together it can ~ and results in a garment that fits anyone. 

"We are studying more about the philosophy of the kimono, which has a structure that changes and fits everyone's body," says the designer. "I am incorporating this concept into my design. Since the kimono is made of rectangles, it does not actually have the shape of a human body but it fits everyone at the same time. 

"In other words, the approach to garment-making is completely different from that of the West, which tries to make it fit the three-dimensional human body. I believe this Oriental approach to the body goes beyond modern mass-customization concepts, that it can be tailored to each person."

"While digitization is a big trend, we focused on making our creations by hand. We adopted traditional techniques inherited over generations to make the kimono."

Backstage in Paris, a model adjusts the ceramic 

neckpieces designed by Yuima Nakazato.

Photograph: Elli Ioannou

Yuima Nakazato strives to have a  positive effect on the lives of the wearers of his clothes. One of the key philosophical elements underpinning his designs is his focus on the body's capacity to renew itself. 

"If we treat garments as extensions of our bodies, then wouldn’t it make sense for them to change alongside us?" he questions. He has turned not only to the latest technology to explore this idea but has also looked to Japanese history. 

"Traditional Japanese garments are never actually finished, they are constantly being repaired, darned, and patched. Sleeves get replaced, the obi gets adjusted, and hems get shortened. These alterations ensure that kimonos can fit people of all shapes and sizes. With transformation at it's core, the kimono inspired ideas of dynamic movement in this collection."

Nakazato and his team work with local craftsmen so that traditional handicrafts and methods are part of his designs and support Japanese kimono culture and preserve it for the future. Examples are Kiryu's embroidery and split weaving, Tokushima's indigo dyeing and Kyoto's use of lacquer. 

With his signature combination of fusing technology with craftmanship, Nakazato is experimenting with a range of different techniques that will make producing fashion kinder to our planet: from testing the use of new plant-based materials to using up fabrics that have been thrown on the scrap heap. 

Nakazato and his team work with local craftsmen so that traditional handicrafts and methods are part of his designs and support Japanese kimono culture

The designer created an abstract yet 

enchanted atmosphere at his Paris show.

Photograph: Elli Ioannou

 

"I try to use materials that easily biodegrade (that microorganisms can decompose) like those that are plant-derived materials. I also try to make one garment out of a single material. 

"That said, plant-derived fabrics are not always environmentally friendly. The important thing is, before looking at the material, whether the wearer will continue to use it for a long time. 

"The designer should consider not only durable and long-lasting materials, but also a design that transcends trends. However, I think that the kimono culture of the Edo period in Japan had all these elements. I believe that it can be realized even in modern times." 

Each collection now includes Yuima Nakazato's Type-1 garment production system which eschews the traditional needle-and thread. The garments are put together using specially-designed snap fastenings. So pieces can easily be changed and modified to suit the individual. This is central to his aim that unique clothes can be designed for many wearers. It also means a damaged part of a garment can be easily replaced and thus extends its lifetime. The designer believes that this system means anyone can be encouraged to make clothes either for themselves or as a business.

"I continue to use Type-1 as a standard," Nakazato says. "In design, I am pursuing something that dynamically changes, and with this system, not only can it be customized, but also the size can be changed, and even a belt like a kimono belt can be styled. By combining them, the areas of the changes that you can make will expand even more." 

"The designer should consider not only durable and long-lasting materials, but also a design that transcends trends."

Yuima Nakazato's fabrics were specially dyed

to create textural, almost 3D patterns. 

Photograph Elli Ioannou

The most thought-provoking aspect of Yuima Nakazato's collections is his experiment with brewed protein, a synthetic material designed and produced by a Japanese company that he collaborates with called Spiber. 

The material's shape can be controlled through digital fabrication. While petroleum-derived textiles such as polyester keep their shape with heat processing, natural dyes don't take hold. However, using biosmocking, the synthetic protein can take natural dyes, and the shape can also be controlled.

"Biosmocking has made great strides this season," Yuima Nakazato says. "Until now, digital UV printing has been used to control the shrinkage of the fabric and form the shape, but this time we succeeded in combining it with the traditional technique of indigo dyeing (combined with lacquer) and tie-dyeing: 'shibori'. Since it is made from natural dyes, it is not only 100% biodegradable, but also has unprecedented suppleness.

"Fusing this approach with traditional kimono production techniques such as the use of indigo dye, lacquer, and tie-dyeing allows us to balance shape retention with flexibility and improve material biodegradability by shifting away from petroleum-based inks, resulting in a further demonstration of biosmocking’s value as a garment production technology. "

Another aspect to Nakazato's sustainability philosophy is using surplus textiles. For this collection, the designer and his team asked companies, from clothing brands to manufacturers, to let them use their  leftover fabric. They collected redundant textiles that could not be sold and others that were remaindered and would eventually end up as landfill. 

"I wanted to create something beautiful from these dregs, from surplus materials that would usually be regarded as little more than industrial waste." 

Couturier Yuima Nakazato backstage

before his Paris haute couture show with  

his film camera. Photograph: Elli Ioannou

"We created this collection by using this 'dead stock': materials without a purpose, left waiting in storage due to damage, overproduction, or a myriad of other factors,"  the designer clarifies. "While each of them is special, attaching actual value to them is difficult. 

"With a small shift in perspective, however, they can become something entirely new. I wanted to create something beautiful from these dregs, from something that would usually be regarded as little more than industrial waste. That perspective is something I wanted to challenge through this collection."

Important to producing ecologically-aware fashion is making sure garments are made of a single material. After visiting processing facilities and recycling centers where garments are disposed of, Nakazato realized the importance of taking into account how garments will be treated, once they become waste or are upcycled, during the process of designing them.

"Wherever possible, the pieces in this collection feature mono-materials. We have endeavored to avoid sewing different types of materials together. This approach should result in garments which are easier to recycle and which have a lower chance of ending up as landfill or in the incinerator."

Looking at fashion as a whole and its effect on the environment, the designer believes we also need to come back to an appreciation of the hand-made. "There was a time when most clothes were made at home. In the past, the person who wore the garments and the person who made them were close by, and many people had the skills to make clothes. In a sense, this was a world where people only wore bespoke garments."

"The ultimate garment I would like to create, is one that is a 'living thing,' constantly altering its appearance according to the wearer's body and the external environment."

Celebrating backstage at the Palais de Tokyo.

after the successful haute couture show. 

Photograph; Elli Ioannou

Yuima Nakazato believes that while it would be good if people were able to make their own clothes easily or have them made locally, technology is very effective at connecting producers and consumers. 

But he says that the links from the designer and producer to the wearer and the person who ultimately disposes of the garment must evolve so that each "layer" works to make the process much more ecologically freindly.  

"The ultimate garment I would like to create, is one that is a 'living thing,'  constantly changing, metabolized and altering its appearance according to the wearer's body and the external environment. When it's role is finished, it returns to the soil. How can we achieve this? That is what I have in my mind for the future."  

Scroll down to see highlights from Yuima Nakazato's AW 2022/23 Haute Couture collection

Backstage in Paris at the Palais de Tokyo before the show, dressed in filmy, silk robes of blue. Photograph: Elli Ioannou

The origami-like set designed by Yuima Nakazato in paper to represent our Blue Planet. Photograph: Elli Ioannou

A model wearing the sculptural ceramic neckpiece specially designed by Nakazato for this collection. Photograph: Elli Ioannou

Even from discarded surplus fabric stock, Nakazato was able to transform the textiles into beautiful creations. Photograph: Elli Ioannou

A long, fluid robe inspired by the rectangular forms of the kimono. Photograph: Mattew Fisher

A wonderfully feathery, creamy silk bridal gown with an avant-garde aesthetic was the finale of the show. Photograph: Elli Ioannou

A close-up of the potent ceramic sculpture necklace created by the Japanese designer. Photograph: Elli Ioannou

A long, flowing gown with specially-dyed textural details was a feature of this collection. Photograph: Elli Ioannou

During the show, the models walked tin futuristic cloaks amid the evocative set which was suggestive of  rocky terrain. Photograph; Elli Ioannou

Backstage at Yuima Nakazato's haute couture show, the models gather at the Palais de Tokyo in Paris. Photograph: Elli Ioannou

A symphony of blues and whites, the models almost merged with the blue paper landscape created from Nakazato's drawings. Photograph; Elli Ioannou

A cloud-like interpretation of a contemporary kimono in a diaphanou ensemble of variegated blues. Photograph; Elli Ioannou

A voluminous blue and white creation with a sculptural belt that looks both comfortable and elegant. Photograph: Elli Ioannou

The designer mixes experiments with new materials like brewed protein along with using traditional Japanese artisans for embroidery and hand-dying. Photograph; Elli Ioannou

Sustainability is also key to Nakazato's work and he and his team look at the processes from beginning to end of how a garment is made, including the textiles. Photograph; Elli Ioannou

Considering fashion as a whole and its effect on the environment, the designer believes we also need to come back to an appreciation of the hand-made.Photograph; Elli Ioannou

Nakazato brings a romantic, appealing aesthetic to his collections that transcend even his more avant-garde creations that are full of dark drama. Photograph; Elli Ioannou

Digital textile technology was used to print Nakazato's delicate sketches onto fabric without losing their impact. Photograph; Elli Ioannou

Nakazato is always experimenting with new techniques to make producing fashion kinder to our planet. Photograph: Mathew Fisher

"Wherever possible, the pieces in this collection feature mono-materials," says the designers. "We have endeavored to avoid sewing different types of materials together." Photograph: Elli Ioannou

"We are studying more about the philosophy of the kimono, which has a structure that changes and fits everyone's body," says Nakazato. "I am incorporating this concept into my design."  Photograph: Elli Iaonnou

Each collection now includes Yuima Nakazato's Type-1 garment production system which eschews the traditional needle-and thread. The garments are put together using specially-designed snap fastenings. Photograph: Elli Ioannou

"We created this collection by using 'dead stock': materials without a purpose, left waiting in storage," Yuima Nakazato explains."With a small shift in perspective, however, they can become something entirely new." Photograph: Elli Ioannou

Blue is the title of couturier Yuima Nakazato's new collection. Blue for how he felt during the pandemic, blue for the sky outside of his window in Tokyo and blue for our planet. Photograph: Elli Ioannou

Nakazato and his team work with local craftsmen so that traditional handicrafts and methods are part of his designs and support Japanese kimono culture and preserve it for the future. Photograph: Elli Ioannou

Thoughtful and self-contained, Yuima Nakazato is expanding his manifesto of experimentation: new materials and technology combined with superb artisanship. Photograph; Elli Ioannou

A happy Yuima Nakazato among his models after presenting his collection in Paris, only his second physical runway show since the pandemic put them on hiatus for two years. Photograph: Elli Ioannou