There is always something seriously brooding and dark but beautiful about the Julius collections and this time was no different. On occasion the locations for the shows are therefore also held in the underground and this one was fittingly organized in an underground parking garage – which interestingly finds itself in one of Paris’ poshest districts near Opera – not as space to park your car, but as a chosen venue for raging and raving and reveling youth – real fire extinguishers on the walls equipped with roaming cameras included. Not to mention that it was 100+F° outside.

Thus it can be easily seen that creator Tatsuro Horikawa over time has developed a veritable cult following for his exuberant but brooding shows, this one cryptically referring to the word ‘apocalypse’ but spelled in reverse, which once again after the last show in winter seems to be referring to some strongly raging and angry dystopic future – or in this case a present. Because the Julius press release goes as far as to make ‘the current distorted state of the United States’ responsible as the source of inspiration for the ‘rage’, ‘dissatisfaction’, and ‘rebellion’ expressed by means of the design in the Julius SS18 collection & show. Which is all rather odd when you are sitting in France watching a show by a Japanese designer.

So yes, Julius is an angry but beautiful show. As is usual. And as usual as well is the large variety of technical Japanese handy and machine work on display on different dark fabrics, because they are the veritable masters of this ancient art. Add to that military patterns with a khaki pallet and some crimson blood red, and indeed you will come to find this brooding dark Asian vibe which needs no translations, and which is above and beyond politics, because it is something directly out of Shogun, from the lost times of medieval Imperial Japan.

Words by Sandro and photos from Julius.

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