There are few things that are more satisfactory for this writer-or more about the technical skill of a designer-Dan a well-placed and used godet. The autumn show of Jingwei Yin in the Shanghai Fashion Week had it a lot – he knitted them in affectionate, slinky dresses and placed them in silk dresses and skirts with such agility they moved as foaming ocean water while his models were walking.
Last season Yin built his collection around the idea of mourning – his wife had lost a loved one, and Yin, who is Buddhist, designed his way to understand her Christian approach of grief. What he has been able to understand, however, is the universal language of the loss. “This collection was very emotional,” said the designer Backstage, “I made it for my wife and what she experiences,” he went on. “It’s about healing.”
Yin is the kind of designer whose language is so unique and accurate that his collections have randoming aesthetic lines, regardless of his first inspirations. He extrapolated sadness and his own actions of care in a series of gestures that mix this more introspective starting point well, merge well with the usual brutal sensuality of his clothing. The show was opened with a fantastic deep velvet hood that was applied to a pure top, which Yin described as a hug. Along the same lines were a series of generously cut dresses that he apparently started to start with a knot near the navel; They floated around the body and stroked it tenderly, spread his more recognizable body -conscious output away from the shape and revealed a looser side of his hand.
There was a lot about that body-first styles-yin, the most impactful consisted of a bodysuit with diagonal lines that cut the hull and a skirt that is dragged on a collar rowing on the hip. They were a more abstract rumination of Yin’s ideas about human resilience, the way we break and heal again.
The buddy here was built with a prominent shoulder than normal, but just as sharp – those longline jackets should certainly be. Yin often says that an important part of Oude Waag is the fusion of conflicting elements; But a series of corsets or double skirts formed from Corduroy, Denim and Jersey were slightly less convincing racks, because they were not as solved as his customization and evening clothing. Oude Waag has not been immune to the current volatility of the Chinese market, because most Yin counterparts have neither. He has the right instinct in trying to extend day clothes and, in the absence of a better term, out-out, but based on this collection, Knitwear is where he needs to be able to commercialize more seamlessly.
“I try to go one step further every season,” Yin expanded the day after his show via SMS. He has left his mark in China by doing exactly that and staying true to his unique sensuality in a market that is often inadmissible. A slow combustion that will certainly reach the West fast enough.