Global Fashion Collective — a fashion platform based in Vancouver, Canada — took over the Chelsea Factory Sunday afternoon, showcasing collections from Naoko Tosa, Perry Jones, Yui Noto and Tripleroot that explored the connections between technology, climate and nature.
The showcase opened with Tosa, a Japanese designer specializing in “disaster prevention fashion,” whose latest collection dares to ask the question, “what if it looked cool?” according to a graphic behind the runway. Models walked with a sense of caution, holding out their arms as if they were swimming through water, braving their own natural disaster.
Tosa, who is also a professor at the Disaster Prevention Research Institute at Kyoto University, showcased looks with LED lights masked under the fabric — illustrating the growing interference of technology in nature, creating a contrast between starkly bright lights hidden beneath muted colors.
Accompanying the designs, Tosa experimented with makeup, having models sport neon green lipstick or harsh bronze highlighter. The final piece was a bold dress composed of geometric plastic, symbolizing its apocalyptic attack on nature. As the show went on, the patterns became reminiscent of computer screensavers and stock photos.
The next designer, Jones, brought opulent elegance to the show, presenting a “sophisticated, shimmering ode to the moon.” The theme was embodied in the opening look with a twinkling, low-cut silver suit jacket complete with matching thigh-high boots and silver beads that seemed to drip off the fabric.
Similar flamboyant designs followed, like a strapless sequined jumpsuit with feathered trim and a coordinating men’s suit in the same sequined colors. The collection felt reminiscent of Bob Mackie’s elaborate designs that earned him the “Sultan of Sequins” title, especially with the collection’s penultimate piece — a free flowing, translucent and opaline jumpsuit that brought to mind Mackie’s custom designs for Cher in the ‘70s. With sharp tailoring emphasizing an inclination for sophisticated gaiety, Jones’ collection brought the glitz and glamor of the ’70s back to the runway.
Yuinoto, a brand helmed by Japanese designer Noto, offered a whimsical interpretation of spring fashion, backed by playful classical music you’d hear at a tea party. Models waltzed across the runway with a lilted cadence. The first piece set the tone, anchored by a pink headpiece that framed the head like a flower, along with a green bow scarf that resembled the stem. The sharp contrast between a white matching set with puffed shoulders and bloomers and sheer olive green tights completed the ensemble, as if the model had sprouted from a garden.
Other pieces reinforced the gilded, feminine themes of the show, which were embodied by regency-era ballgowns and Chanel-like tweed sets. Noto was most successful, however, in using headwear and accessories to establish the collection’s elegant yet empowering feminine style, such as a delicate, pink flower fascinator on a petite watercolor top hat. Built around seasonal themes, the collection reinforced a playful yet refined stylistic approach to spring fashion.
The final collection, by Korean designer Tripleroot, offered a sophisticated selection of her pieces based on “a story of blessing and welcome [to reinterpret] Korean beauty in a global perspective,” according to cards provided by the brand to attendees. The collection offered a stylistically pleasing mix of pastel and neutral colors, in which the looks’ accessories blended seamlessly into the existing designs — almost like an extension of the clothes itself. The show as a whole brought an air of professionalism, emphasizing the wardrobe of the working woman with a stylish twist.
Contact Maggie Turner at [email protected].
