ORIENTAL LOVER ~shade of grey~

crane printed kimono: SUZUYA
transparent mirrored sunglasses: (similar one here from LLLESTEVA )
acid-washed tank top: (FROM MY FATHER)
yellow shorts: ZARA
transparent hand clutch: KLEAR KLUTCH
colorblocking basketball sneakers: NIKE ZOOM KOBE VENOMENON 3



Yes! This has been already my third, or more accurately second, oriental inspired look so far.Even though I'm open-minded, and not afraid of those unusual judgments, it's honestly a little weird to wear head-to-toe kimono style in a outta-Japan country, especially, in China, where is filled with guys having incomprehensible prejudice against Japan.But still, the truth is, this kimono, which was spotted accidentally at SUZUYA when I was in Tokyo, has completely blown me away and has gotten me insane. Thus, I have to make attempt to do some stying and transform with this killer. 

It first appears in m mind the variation of color-blocking. So I choose the yellow shorts from ZARA to add more contrast accent while the sneakers from NIKE ZOOM KOBE VENOMENON III play an extra role to strike a balance and add more sporty chic statement.You know I quite like the idea of matching kimono with sneakers, for I consider it an intriguing combo of classic beauty and modern energy. And for the sneakers themselves, my affection towards them has been beyond my words could tell.

ETHEREAL MOMENTUM

It has always been some fashion reviewers chattering how London Fashion Week lets them down by complaining the endless use of prints. However, Mary Katrantzou did prove them wrong this time by providing us a spectacularly gorgeous collection. 

Despite the strong, stiff experimental shapes - often resembling deconstructed geisha costumes, with origami-like panels of printed material bound with industrial belts.It seems that Mary Katrantzou shifted away from the prints and color palette that have contributed to her meteoric rise, to a strong focus on shape and silhouette. Inspired by Edward Steichen's and Alfred Stieglitz's photographs, we can probably sense the impressionistic tone of their black and white photos. Katrantzou took full advantage of her remarkable techniques of pattern and cuttings to reengineer nature effectively. 

Not to mention more about the blossom-laden tree print with the midst moonlight, or the amazing Perforation technique of Zen scenery, Katrantzou's option for the architecture of asymmetry and contrast are the major events of this collection. A series of ethereal and slightly melancholic Origami dresses, a black mohair dress patterned with white woven lace evoking the graphic latticework of an iron bridge, a long black leather dress with cape sleeves embossed with graphics derived from a city scape print, intarsia knits glistening with iridescent prints, and a structured black jacquard suit with a shadowy pattern of trees. While less catchy than past seasons, the collection was impressive in its artisanal handiwork. It is clear Katrantzou is looking to strip back in order to evolve, but she has to be careful not to stray too far from her brand identity.