It is difficult to think about fashion and moods borrowed from Catholic religion without immediately conjuring up in your mind the architectures of rich Baroque churches, the pomp of ceremonies (and maybe their connections with fashion runways or even red carpet events…), the craft behind sacred vestments, the attire of saints, ex votos as accessories and the influence of priest's cassocks and religious vestments in fashion.
You could write lengthy essays about Catholic inspirations going from sacred images of Madonnas, crosses and cherubs recreated in sequins, crystals and gems, to Elsa Schiaparelli's embroidered motifs such as St. Peter's keys or Dolce & Gabbana's use of Miraculous Medals.
Yet you can also look at this inspiration from a more arty point of view or monastic as well, and explore the attire of pilgrims or themes of simplicity and moderation, like Japanese designer Akiko Aoki did in her latest collection.
Born in Tokyo in 1986, Aoki studied fashion at the Joshibi University of Art and Design and at London's Central Saint Martins, founding her eponymous brand in 2014. One of the finalists for the 2018 LVMH Young Fashion Designers award, Aoki is currently considered one of the most promising young Japanese designers.
Aoki was educated at a strict Catholic school from kindergarten to high school and, in her A/W 23 collection, showcased during Tokyo Fashion Week, she looked back at these personal experiences.
For her first show in five years, Aoki opened with ankle-length dresses matched with veils that referenced the Virgin Mary, evoking the vibes of Antonello da Messina's Virgin Annunciate painting.
The religious inspiration was filtered through a deconstructed tailored eye, though, so that, rather than opting for extravagant religious references, Aoki kept it simple.
Antonello da Messina in his portrait of the annunciation dispensed of the archangel and re-shifted the attention on a young woman partially hid behind her veil, opting for a restrained palette and a symmetrical rigour; Aoki did the same, avoiding distractions and going for a rigorous approach with menswear-inspired suiting and fabrics.
As the collection progressed, the religious inspirations continued with monastic and nun outfits with veils that evoked visions of statues embodying modesty and black and white lace designs (was the black lace a reference to the attire of the Virgin of sorrows?), but was also combined with other inspirations.
While recycled garments such as dresses and T-shirts reassembled from second-hand designs (by now a classic on runways) pointed at casual attire and sportswear, towards the end there was almost a hint at military inspirations with ample jackets and coats evoking parachutes, that also included some references to the grandeur of historical costumes in their lace details, voluminous sleeves and belts with large pockets forming pannier-like constructions around the hips.
Besides, while some of the deconstructed designs and in particular the trenchcoats with sleeves forming an unconventional silhouette, almost angel wings from the waist to the hips with pockets around the bra line, still seemed to have a link with the religious inspiration, there was also a bondage twist all over the collection.
Punk straps on jackets and trousers pointed at sexual constrictions and at creating straight-jacket-like effects, while, quite often, the conservative front of a dress hid a sensual back characterized by cutouts and corset fastenings. Besides, Aoki juxtaposed more sensual or kinky textures and textiles such as lace, faux shearling and black plastic-like materials to her menswear fabrics.
The shoes were a combination of fetish and religious architecture: a collaboration with Three Treasures, the sky-high platform of the shoes (as perilous as Venetian calcagnini) elongated the silhouette of the wearer in extreme ways. The marble effect platform pointed instead at plinths and statues and at architectural elements you may find in churches.
Also the presentation referenced in some ways religion with the runway bathed in circular rings of lights, almost a symbol of blessing, or maybe a hint at a rite of passage towards a mystical bondage aesthetics.
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