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Walking into Adeam’s showroom during New York Fashion week was like walking onto the set of an old film. Hanako Meada created a risen blush pink subsection of the room to serve as the new collection’s look book backdrop.
For fall/winter 2016, Adeam pulled inspiration from traditional Japanese arts and crafts techniques, such as Boro patchwork. Created by peasants and artisans in the 18th century, this patchwork method was common for most of those that could not afford to wear lavish silk kimonos. The arrangement of piecing scraps together formed a unique textile fabric, and brought together an array of sophisticated sewing and weaving techniques. The collection showcased several uses of the Boro patchwork technique, while also reflecting on Kumihimo weaving. A form of braiding, Kumihimo interlaces strands of cords and ribbons, and was once recognized as a Samurai’s armor lacing. In the bustier top and dress, Adeam weaved together pieces of denim to replicate a similar effect, creating a sturdy structure for the otherwise elegant pieces.
While thumbing through the collection’s thirty looks, we saw a noticeable, easy play of black, white, charcoal, indigo, and blush pink hues. Cascading tops and velvet gowns were mixed among basket weave sweaters, deconstructed blazers, and asymmetrical draped trousers. There were harness bra tops, bustier pinstripe dresses, shearling wrap skirts, and sashiko patchwork jackets. Adeam also continued its partnership with Paul Andrew to create a dual version of peep-heel, pointy-toe strappy suede heels in the collection’s famed blush pink and black.
The diversity of the collection checked off numerous masculine vs. feminine juxtapositions, while offering a functional, beautifully decorative collection fit for the seasons ahead. Meada proved once again that beauty can always be found in the most overlooked of places.