[Editor’s note: This collection was originally presented on March 14, 1998, in Paris at the Amphitheatre of the Sorbonne, and the photos have been digitized as part of Vogue Runway’s ongoing efforts to document historical fashion shows.]
Yohji Yamamoto is a designer who is in the pattern of returning to themes relatively than abandoning them. From a distance of far more than 20 several years, we can see that his slide 1998 assortment both of those reprised the cozy, chunky knits he experienced launched for drop 1995 and introduced the bridal motif he’d double down on for spring 1999.
You could say that the fall 1998 lineup was about stretch—or in extra present-day parlance, that the designer was practically flexing. There ended up a whole lot of knits, both equally of the loving-fingers-designed-at-household assortment and jerseys. Yamamoto explored the draping alternatives of the latter, but he also blended jerseys with far more static woven supplies. Postshow the designer instructed The Each day Telegraph that his notion was “to experiment with the ‘delayed’ reaction of specified fabrics contesting the movements of the human body.”
With the exception of the finale glance (more on that later), this was a comparatively sporty demonstrate, even when it arrived to dressing for evening. Vogue photographed Angela Lindvall leaping through the Irish countryside in a knit ball skirt and ribbed turtleneck from the selection. As the Detroit No cost Press acknowledged at the time, “Yamamoto is striving to nudge vogue in a looser path.” And possibly also in a extra present-day just one as effectively: For the most portion Yamamoto’s historicisms referenced the 20th century (the cargo-pocket peplums looked like a pre–World War II silhouette) alternatively than earlier periods.
The caged finale gown, with its hyper-exaggerated 19th-century proportions, was the exception—and remarkable in just about every way. It was even accessorized with Doc Martens, according to Jodie Kidd, who wore it. Sally Brampton, reporting on the show for The Guardian in 1998, recounted that “the bride billowed down the catwalk in a product skirt so enormous that journalists in the front rows experienced to duck down underneath the skirt, only to learn a bamboo cage strapped about her waist with canes radiating out from it. Four guys held up the vast My Fair Girl image hat that floated like a snowdrift about her.”
A time afterwards, Yamamoto would deconstruct the wedding ceremony dress in a unforgettable present at the Moulin Rouge (a position, one particular wit observed, superior identified for stripteases). That assortment could be construed as a adore affair with a gown, or the transformational feminine fantasies linked with both style and marriage, but in 1998 the designer was in a different body of intellect. “He reported he was playing up to mass-sector conceptions that manner was ‘extravagant and stupid,’” The Everyday Telegraph wrote. “The runway will become additional exaggerated, and that is the entertainment value of it all,” famous Richard Martin, then the curator at the Costume Institute, when interviewed later that year by The New York Times about the broader societal fixation with almost everything bridal. “If you think the marriage ceremony costume is the symbolic finale, it makes feeling that it’s likely to be extra hyperbolic than at any time.” It’s not just sexual intercourse that sells, following all.