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Y-3 falls in love with the three stripes again

12 Sep '12
3 min read

This season, in celebration of its 10th anniversary, Y-3 blends past and future to create vivid and futuristic interpretations of its sport-style signatures. The result is a look forward at the 10 years to come, rather than a look back at the 10 years past. Shown on Manhattan’s far west side on Sunday, September 9, 2012, as part of New York fashion week, the Y-3 collection explored iconic elements of the label’s pioneering aesthetic: the acid-bright prints; the bold, voluminous silhouettes; the graphic three-stripe motif; and the influential breakthroughs in footwear and apparel. 
 
Yohji Yamamoto, the label’s designer, described an act of “walking backward into the future,” suggesting an unabashed embrace of all things Y-3. As artist Devan Harlan’s 3-D projections transformed the St. John’s Center space, models walked the runway to original music by Jiro Amimoto while a front-row crowd of David Beckham, Michael Stipe, A$AP Rocky, Anton Yelchin, Brook Lopez, Isabel Lucas, Lupe Fiasco, Jesse Williams, Natasha Bedingfield, Casey Spooner, and Laure Shang looked on.
 
The collection sought to reexamine Y-3’s founding mission: to define the future of sport and style. First and foremost, this meant the inclusion of eye-bending graphic prints, designed by Mr. Hayashi, the imperial printmaker to the Japanese royal family (who also designed the now-iconic hibiscus print found in Y-3’s debut 2003 collection).
 
This time, Hayashi produced three motifs—called “Feather,” “Water,” and “Thorn”—in brilliant hues of orange, blue, pink, and green. These prints swirled across everything from mesh parkas, baseball caps, and silk scarves to stretch tights, canvas totes, and ruffle gloves. In similarly graphic fashion, Y-3 deployed the adidas three-stripe motif to dramatic effect: emblazoning it in varying widths on billowing coats, pleated skirts, and bold accessories.
 
This season, Y-3 also channeled a classic sophistication, embodied for women in refined tennis dresses with pleated skirts, jersey shirts with tiered ruffles, and mesh swing dresses with asymmetric draw-cord details. While volume was present, there was a feminine silhouette and a newfound focus on the waist. Whether it was a neat blazer in micro French terry, a cropped blouson jacket, or a short-sleeve trench-coat dress, these pieces embraced a womanly elegance. The men’s collection also displayed a lightness and a lack of construction, presenting easy parkas, linen blazers, oversize shorts, and dress shirts inlaid with contrasting patterns of black and white.
 
 

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