After successive seasons of canceled shows and virtual presentations, a largely in-person Tokyo Fashion Week returned in a blur of technicolor palettes, digital innovation và sculptural runway creations.

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With 54 brands in attendance & 30 physical showcases, the event"s Autumn-Winter 2022 edition marked an optimistic return to khung -- và the highest number of participants since the pandemic struck.
Designer Tomo Koizumi, whose extravagant creations went viral after his 2019 thủ đô new york Fashion Week show -- and, more recently, at the Summer Olympics Opening Ceremony -- showed in his trang chủ country, with Japanese celebrities among those modeling his creations.
Staging his intimate "red carpet"-themed show at Tokyo"s Edition Hotel, Koizumi expanded on his repertoire of sculptural ballgowns with a ruffled suit, worn by transgender mã sản phẩm and actor Satsuki Nakayama, and a red jumpsuit with a gigantic cream skirt, modeled by actor và former pop star Yuko Oshima.
"It was hard to lớn make and achieve," Koizumi said of his collection, adding that he believed it could bring "new opportunities" và that he hoped to lớn dress more Japanese stars in the future.

Tomo Koizumi was supported by Rakuten Fashion Week Tokyo"s "by R" initative, which supports Japanese fashion brands. "I think having your own signature style is more important than chasing trends," he said, of young designers. "You should try to lớn make trends." Credit: Courtesy Tomo Koizumi
Some designers used the welcome return of larger audiences to show their creations in new & unexpected ways. Punk-inspired label Kidill put on a live concert (pictured on top), dressing indie band Psysalia Hito in hyper-saturated colored dresses & tartan. Meanwhile Yoshio Kubo, in what was dubbed as an "NFT presentation" by organizers, presented his sculptural works as an exhibition, with models wearing monochrome creations that ballooned out into extravagant inflated gowns. The pieces were inspired by digital fashion, Kubo told, where possibilities are endless. "I used air to make (the pieces) big. When (attendees) looked at the collection, they thought the clothes were really unreal."

Kidill"s creations were worn by Japanese rock band Psysalia Hito who performed live at their show, with the band"s guitarist seen wearing the dress above. Credit: Courtesy Kidill

Yoshio Kubo, who founded his label in 2004, drew inspiration from traditional Japanese kites this season as well as digital fashion. Credit: Courtesy Yoshio Kubo
Covid-19 still loomed over the event, with attendees required khổng lồ wear masks và capacity limited to between 200 và 250 people per show -- less than a third of pre-pandemic levels. But Kaoru Imajo, one of the directors of nhật bản Fashion Week Organization (which oversees the event), said organizers were "very happy" with the turnout, despite the absence of more overseas buyers and international editors.
"We have wonderful designers that are coming up & international designers are doing shows," Imajo said over đoạn phim call. "But we wish that we could have had more guests."
While Covid-19 has posed significant challenges, the event"s organizers have also benefited from travel restrictions. Some of the more established local brands, who normally show overseas, chose to participate in Tokyo this year.
The event also gave emerging designers, like Shun Ishizawa, a chance to shine. Ishizawa, who debuted his eponymous label during the event, said the platform allowed him lớn "share my brand & worldview with more people," adding that Hokkaido, where he"s based, has a smaller fashion network than Tokyo. His collection, inspired by the rebellious "yankii" subculture of the 1980s, featured wide-legged trousers, as well as traditional Japanese iconography, like denim jackets printed with daruma dolls.

Cropped denim jackets were paired with wide-legged trousers -- a style favored by the subculture. Ishizawa said the pursuit of the "masculine" & "elegance" was central khổng lồ his brand. Credit: Courtesy Maison Shun Ishizawa

While Japanese fashion has a strong global reputation, thanks lớn the likes of Comme des Garçons, Yohji Yamamoto and Issey Miyake, younger and less established brands are still being overlooked internationally, said Imajo, the director. He believes the platform provides necessary exposure, but says more can be done within the industry lớn help country"s talent keep pace with young Korean & Chinese designers who, he believes, are "getting stronger."
This may be partly down to language barriers, he added, saying that Japanese designers are comparatively "not very good at speaking English" và could, as a result, be "shy," leading lớn communication issues with journalists and buyers. "I think Japanese designers have more potential, but they (aren"t able to) show it," he said.
Tokyo Fashion Award-winning designer Harunobu Murata, whose modern approach lớn womenswear this season was exemplified by relaxed suit tailoring và reinterpreted cloche hats, also sees a need to lớn nail down "the character of Japanese designers." It"s a goal that events lượt thích Tokyo Fashion Week are central to achieving, he added. "We need khổng lồ find out the right value of a Japanese designer, what kind of value we can give lớn the international buyers," he said in a clip call.
"We need khổng lồ define that. We need khổng lồ have a clear message (about) what we are and what we"re presenting -- what only we can vì from Japan," he said.

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Deconstruction was a prominent trend at Tokyo Fashion Week, with brands ripping up and patchworking together fabrics, creating negative spaces with prominent cut-outs. Both toile & gray versions of a cut-out dress by Taiwanese brand Seivson (above, left) made an appearance on the runway. Pillings pushed the boundaries with knitwear, creating a red oversized sweater, which featured a large cut out và a mix of knitting styles. Nisai"s collection also played with patchworking, with a denim shirt becoming an assembly of different shades and frayed edges.