In the beginning, there was only confusion.
When Brit Tripudio’s name lit up a black screen with bright red letters followed by his latest collection’s name — ‘Let’s Go To Tokyo’ – in the same form of typography, no one expected to find two bodies clad in mesh to start dancing down the runway. The performance seemed to be part dance, part martial arts exhibition, and part death trap. For a good minute or so, the audience was left in a state of consternation – would the entire show be some sort of performance art? But after a backflip and a sashay off the catwalk, the real show began.
A graffiti-inspired backdrop took the place of the black screen and models clad in urban, Japanese-inspired garb came strolling down the runway. Japanese pop filled the airwaves as a multitude of double zips, silver rings, and ripped denim passed by.
While impeccably made and well-styled, the collection felt rather dated. O-ring pulls, layering techniques, and jacket silhouettes that have become oversaturated in the world of street style over the past few seasons seemed to be the stars of the show. Excessively ripped jeans and blackletter typography a la Life of Pablo didn’t help the cause either. The influences in his work were crystal clear and were executed to near perfection.
That being said, however, Brit Tripudio’s collection was perhaps one of the most wearable ones of the season – read: one of the most sellable ones. That in itself is a success as fashion is and always will be a business.A lack of inventiveness doesn’t equate to a lack of style. Editors and fashion enthusiasts might not find anything particularly original about ‘Let’s Go To Tokyo’ but that doesn’t mean they won’t be purchasing the pieces once they’re available. Let’s face it: it’s nothing new but it’s still something great.