Kolor’s Junichi Abe, the master of category-defying styles, offers a master class in mixing and patching things up
At Kolor, it was a rare IRL presentation for the still mostly digital autumn/winter 2021 Paris season. There is a runway, set in what looks like an outdoor space that, in the darkness, bears some resemblance to the Midtown Garden of Tokyo Midtown during their year-end festive light-up. But, in fact, the show is staged in Happo-En Garden in the affluent residential neighbourhood of Shirokanedai, Minato. There are attendees too, appropriately socially distanced, as can be made out. The models, both men and women, walked the runway in the manner models walked when they are watched: aloof and indifferently, or impossibly cool. It helps that the clothes are able to augment the in-person attitude. And, how they are worn—often with indefinable mash-ups that never leave the effect we still know as elegance. After last season’s on-set, topsy-turvy headache inducer, the runway show allows, once again, Kolor’s riveting patchworks within recognisable wholes to be appreciated without the interference of distracting camera work.
Fans of Kolor and its low-key designer Junichi Abe look out for the season’s “accent” pieces, usually outerwear for autumn/winter. And, they won’t be disappointed. Wearing one of these delightful pieces would continue to invite the inane question from the clueless, “did you they have not have enough fabric to finish the other side?” Case in point: A slouchy blazer looks perfectly normal on the left side, but to its right, there is no corresponding other half of the notched lapel. Instead, you get the button side of a strip of cardigan! Or another: A regular crew-neck sweater that is not so regular when you spot the sleeve of a Harrington jacket on the other arm, and its tab collar on half the neck. We could go on, but detailed description takes the fun out of looking at the clothes and be captivated. Mr Abe not only pulls together disparate elements to complete a garment, he marries genres too. Athletic wear, in particular, is spectacular incorporated into more traditional menswear staples. A vintage-y track top, for example, could magically be worked into a classic bombardier jacket.
Pairing and patching have always been Mr Abe’s particular forte. Through the years since Kolor’s founding in 2004, he has been able to perfect the mixes, which, despite the increasing complexity, never felt contrived. This season, as stated in the show notes, Mr Abe tries to forge, in the light of the world’s present troubles, “a new style of simplicity where complexity also coexists within.” This is not immediately obvious if you allow the complexity that evidently exists to carry you away. Perhaps simplicity comes in the final product, when all the different parts have settled in their respective places to yield their intended effects (such as when elasticised in-seams in this season’s pants settle with regular out-seams). The womenswear, shown alongside the men’s, appears to be more composited—with some pieces, you can’t be sure which is part of the garment, which is accessory. Perhaps it is in bafflement that interest is sustained.
Reaction to Kolor, in fact, borders on the fanatical. It is considered one of the most successful labels in Tokyo, heightened by their collaborations with sports brands such as Adidas and Puma. Like Comme des Garçons, Kolor’s key pieces from past seasons fetch a high price with sellers of the pre-loved. As Junichi Abe continues his deep, deconstructive pulling apart and then bringing together of classic styles and opposing categories of clothing, and applying textures and colours (in order for its name to retain its meaning?) to the results in unexpected ways, there will always be a strong following of his style of simplicity that happily allows complexity to coexist.
Screen grab (top) and photos: Kolor