The one thing you need to know about Kozaburo Akasaka’s spring show is that everyone looked absolutely cool. The designer made his New York runway debut in a Brooklyn warehouse, with two drummers on either side of the runway as the models walked back and forth around small piles of rocks sometimes covered in excess denim or ties, like a Zen garden for modern tension. A few elements tied the show together, the most important of which was the predominance of denim, a high waist with a double waistband (belted on the second row of belt loops) and a pair of weird glasses with blinders that were very chic. Taking in the entire presentation was like fifteen minutes of quiet people watching in a new neighborhood: you try to figure out who is who based on the clothes they wear. It was exactly what Akasaka meant.
“My starting point is the characters living in the ‘Land of the Setting Sun,’ the imaginary utopia I created through my branding,” Akasaka said after the show. Each model had their own essence and energy, they were characters – but not archetypes – and they all wore expertly cut clothes. See a model in a red denim Canadian tuxedo with an oversized denim trucker jacket and royal blue cowboy boots; see another in a softly draped short-sleeved button-up shirt, tucked into low-rise jeans with a pattern that resembled a snake’s path in the sand, cut extra long to completely conceal the feet underneath, which also carried an old-fashioned briefcase was carrying in one hand. Also see the model in a lightweight tweed wool suit with an extra-long jacket and pleated trousers, and a semi-sheer button-down with a subtly cut picot edge closure with snaps.
Upon closer inspection, patterns began to emerge. Almost every look had something sssshaped about the; the clothes had curved edges, denim was embellished with matching piping that snaked around the legs, and patterns included an “s” shaped pattern or movement. Before entering fashion, Akasaka studied philosophy and religious studies, and began looking at the representation of snakes in different cultures. “Through my research I discovered that in Africa, China and Japan there has always been a representation of the snake motif, as life, power or happiness; the snake as a representative of nature.” A striking yellow and maroon graphic-print jacket appeared to have its roots in the water spirit Mami Wata, while a button-down shirt and matching trousers were embossed in warm silver to achieve a crinkle texture that also suggested a snake passing over the ground slid. .
