Graduating from Tama Art University in Tokyo, Mihara Yasuhiro is often given less recognition than the other noteworthy designer hailing from the same school; Issey Miyake. This show, however, demonstrated that Yasuhiro is only just getting started in building his blossoming legacy.
As I took my seat on the runway, waiting for the show to begin, three men in high visibility jackets were sweeping the catwalk, which was covered in shiny red and green confetti. Among these men was a familiar face; there stood Yasuhiro, both efficiently sweeping and joking with the crowd, just moments before his show would begin; a rare break in the rigid separation between audience and beyond the curtain which I hadn’t seen before at any other shows.
Yasuhiro’s SS23 collection explored the deconstruction of classic formal wear into casual tailoring; two-pieces not only took on a looser, wider structure than archetypal office apparel, but also employed unique heavyweight materials. Deliberate fading ensured that earth tones were muted even more than usual, and allowed instances of colour to pop sharply before understated backdrops.
There were also several exhibits of double denim with elegant, experimental cuts, as well as leather jackets with low collars tailored to resemble cardigans. Leather and denim statements were two of the biggest trends noted from street style in Paris during the few days prior, and undoubtedly something which we’ll see more of over the coming year. The classic Mihara trainer silhouette made a regular appearance throughout; the recognisable chunky and uneven sole allowed yet another chic compromise between casual and formal. Bomber jackets were also the target of experimentation; one was cropped above the waistline with long, swollen sleeves, whereas another had a longer silhouette, but no sleeves whatsoever; almost as if mismatched.
Certain pieces were printed with images of accessories or different clothing, including a dress, a pearl necklace and a cravat; perhaps a parody of modern consumerism, and how surface-level designs often trump the underlying quality of craftsmanship in fast fashion. The show’s finale was joyous; every model walked out grinning and clutching balloons, and bubbles were sprayed into the air as Mihara came out to a standing ovation. One small child even tried to repeatedly eat the bubbles, which everyone found rather amusing.
I was lucky enough to speak to Mihara after his show.
Over the course of the week’s shows, I had seen a lot of 80s influence, and wanted to get his take on whether 2023 would be the year in which the decade’s styles would dominate. Once his translator had finished speaking, he smiled, and replied that since he began designing in the 90s, it was only natural for him to take significant inspiration from the 1980s; it was the century which shaped his views and culture, especially with all the great work coming out of the USA.
I also pointed out that 2021 was the year of gorp-core and utility, and could see that his collection was shifting away from that genre into a transitory period - integrating certain aspects of functionality into deconstructed formal wear. Mihara laughed; he said wanted to bring together ‘as many styles as possible’ in this collection, and believed that other designers would do the same this year, rather than focusing specifically on one category as has been done in the past.
The Maison Mihara Yasuhiro show was my personal highlight from Paris Fashion Week, and I hope to watch Mihara go onto even bigger things in the future.
Words by James Frost
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