One large light bulb hung from the ceiling of the Saut du Loup show room at the Palais de Tokyo, dangling between a string quartet. But instead of hitting the Mozart – which would have been appropriate, given that designer Yusuke Takahashi recently designed costumes for a performance of the Magic Flute in Tokyo – the musicians played a curious, furious composition by Serbian composer Hristina Šušak as a backdrop to CFCL’s autumn show.
The players wiggled their bows and accompanied the high notes of their instruments with nightmarish screams and moans that hovered somewhere between ecstasy and pain. After naming his show “Knitware Cadence,” Takahashi felt the music would match the rhythm of tension and release he was trying to capture in his clothes. Moreover, he hoped that the experience of listening to live music would enrich the evening slot that CFCL had established for the first time on the PFW programme. “The show gives people the opportunity to find new music and enjoy a new experience,” he said in a preview.
This season radiated a fiercer energy than the sparkling, sequined spring outing. After viewing the ‘Mode et Sport’ exhibition at the Musée des Arts Décoratifs in Paris, Takahashi was impressed by the fencing and riding outfits on display; they captured the mix of sophistication and functionality that defines his own label, an acronym for ‘clothes for contemporary life’. Determined to give his collection a sporty wearability, he had tried to give an athletic touch to more formal looks – tailored blazers and suits – but also streetwear silhouettes – bomber jackets – to match the cadence of his client’s wardrobe from Monday to Sunday. The best looks had a touch of ’90s Armani, with sleek, lightweight athleticism that was convincing. It was also interesting to see CFCL branch out further into accessories, with woven thigh-high lurex boots joining the knit-focused collection.
The CFCL team, which has now grown to 50, recently took possession of its own knitting machine at its Tokyo headquarters. This allows them to continue experimenting, developing internal samples and creating custom designs for customers. If we can believe his taste in music, Takahashi has a radically iconoclastic side. If he could express that impulse in his clothes, the results could be fascinating.
