Maiko Kurogouchi skipped the traditional catwalk this season, instead treating her guests to a rare moment of quiet and delight among the nonstop whirlwind of fashion shows. She staged her collection at the Paris outpost of Tokyo’s Ogata, a temple of Japanese haute cuisine of exquisite design and such a preternaturally calm atmosphere that it felt suspended in time.
Ogata was conceived as a multidimensional experiential place—besides the restaurant, it houses a tearoom, a boutique, and an exhibition space, which is where Kurogouchi displayed the crafts, antiques, and cahiers that served as the collection’s inspiration. Called Fragments, it referenced the centuries-old art of Japanese porcelain making, particularly one of its highest expressions, Early Imari pottery, made since the 17th century in the town of Arita in the Saga Prefecture. Kurogouchi traveled to the site, immersing herself in the past and present of the revered tradition, which is being actualized by contemporary artists, who guided the designer through her exploration of Early Imari techniques and artworks.
The pale tones of Early Imari were translated into the collection’s nuanced palette of translucent layers of neutrals, recalling the “ideal white” transparency potters were pursuing in the past as a template of perfection. The glow of the porcelain’s glaze was hinted at through the use of sheer lamé jersey, rendered into column dresses with delicate plays of knots and draping. Deep diving into the elaborate culture of pottery making, Kurogouchi also attempted to master yokoku, an ancient technique of pressing molds onto porcelain surfaces to obtain patterns. “I wanted to transform porcelain into clothes,” she said with the conviction that only a true passion can drive. Through the yokoku technique, abstract curlicued motifs were embossed like reverse tattoos onto denim straight-cut jackets, trousers, and jumpsuits, as well as regal, sleek silk coats, while asymmetrical knitted tunics were woven with delicate handiwork, reminiscent of shards of porcelain.
The collection had a serene, almost ceremonial tone. Volumes were billowy and gentle; linear yet soft-handed design jibed with today’s flair for the pared down. Just a few stronger accents of black leather offset the overall vibe of poised serenity, which felt authentic, personal, and refreshing. In her intense determination to energize old Japanese traditions and keep them alive and pertinent for today, Kurogouchi’s work, albeit subtle, is rather remarkable.
