From mermaids and athletic nomads: SS27 trends from Tokyo

Designers and brands showcased their craftsmanship and eye for detail at Tokyo Fashion Week, which concluded over the weekend. They emerged from the depths of the sea, impressing with true statement pieces, tradition and individualism. Five trends in particular stood out.

Tradition meets modernity

Under the title “Threads of Dreams”, the Philippine brand Bench/ hosted a joint show to mark the 70th anniversary of diplomatic relations between the Philippines and Japan, according to the show notes. The three designers Rhett Eala, Jaggy Glarino and Joey Samson presented their collections, making their debut in Japan at the same time. Eala drew on his mother's memories of a trip to Japan, connecting both cultures through textiles in the style of antique kimonos. Samson focused on traditional Japanese umbrellas and kimono-inspired dresses.

Glarino looked to the cultural heritage of the island of Mindanao, translating indigenous Philippine clothing and traditional craftsmanship into a contemporary design language. He reinterpreted the Solihiya weaving technique – a Philippine diamond pattern made from rattan – and other traditional techniques in architectural silhouettes and sculptural forms.

Meanwhile, Japanese menswear brand Yoshiokubo combined influences from Mongolia with modern outerwear and running gear in its “Natural Born Nomads” collection. Floral ornaments and cord details, some taken directly from quick-release fasteners, were seen on short running shorts, running vests and various jackets and coats.

Underwater world

Japanese brand Yushokobayashi presented its “Mermaid’s Tears” collection, decorating the runway with seaweed, crumbling palace columns and air bubbles in a nod to the creature's habitat, according to the show notes. The collection featured shiny sequin dresses reminiscent of scales and coarse-meshed net pieces layered with various materials such as lace. These were accompanied by matching accessories, including a knitted octopus bag and a three-dimensional anchor belt with simple drawings.

After 40 years in Taiwan, Charinyeh took the plunge to explore new waters in Tokyo. It was the brand's first show in the Japanese capital. According to the label, it is available at more than 20 points-of-sale in its home market. Creative director Yeh Cha-Rin brought the local underwater world and its flora and fauna with her. Coral appeared in the form of skirts with curved ribbons and draped elements on dresses. Colour gradients on various pieces evoked the connection between the sea, the beach and the plant world. Octopus embroidery and prints featuring dolphins and jellyfish completed the look.

Megmiura Wardrobe, back on the official fashion week schedule for the first time since autumn/winter 2023, showed its “Post New Wave” collection. It was born from designer Meg Miura's enthusiasm for David Byrne of the band Talking Heads. His music and his use of movement were influential. Instead of the uniform elements usually typical of the Japanese brand, the focus was on fishing attire. Maritime motifs such as Breton tops and sailor hats ran through the looks.

Transparent and flowing

Charinyeh also used transparent and flowing fabrics for its sea-inspired collection, allowing other patterns to show through the layers, like a fish in the depths of the ocean.

This lightness was not only observed in the underwater world. The Tokyo and New York-based label Anna Choi and Japanese womenswear brand Eitaro, which presented its first collection just one year ago, also utilised the interplay of transparent and flowing fabrics. All three brands noticeably opted for wide silhouettes, which were either flared by elements underneath or enveloped the layers below. Layering played a central role. In terms of colour, however, they were less in agreement; the spectrum ranged from a black floor-length dress to various colour gradients that differed depending on the piece.

Powersuits

Perry Jones, Keisukeyoshida and Fetico showed a much clearer line with their powersuits, which differed mainly in their details. All were black, had flared shoulders and were paired with high heels. Perry Jones, the label of the US designer of the same name, opted for a black blazer with contrasting white lapels and a decorative gold button. The label styled the look without a blouse, creating a deep neckline.

Japanese brands Keisukeyoshida and Fetico opted for blouses with long, pointed collars, reminiscent of the 70s, but also left a few buttons undone. The two differed mainly in the cut of the jacket. While Keisukeyoshida opted for a wide, boxy shape, the suit at Fetico was tailored at the waist but had wider-cut trousers.

Deconstructed and multiplied

Collars also played a central role for the Japanese unisex brand RequaL and the Japanese label Mitsuru Okazaki. Both brands either multiplied them or even removed them from their original place. RequaL showed a shirt with several collars that stretched over the shoulders, exposing the collarbones. This was paired with several ties. Mitsuru Okazaki, in turn, arranged them in a circle as a central design element and omitted a collar at the neckline.

Meanwhile, Seivson from Taiwan appeared to have taken apart a pleated piece, arranging its parts together with lace and corset elements to create an asymmetrical coat dress.