Following an exhibition at London’s V&A celebrating his work, Ryunosuke Okazaki has returned to the runway.
Presented live and modeled by people instead of mannequins, Okazaki’s striking exoskeleton designs exude a visceral, androgynous elegance. The sweeping curves and spikes can resemble armor but also express gentleness; the alien-like joints protruding over exposed skin reveal the delicacy and vulnerability of the human body underneath. These creations engage with the body in a uniquely innovative manner, as seen when models’ limbs bend or enfold to integrate with the sculptures. Simply calling it ‘wear’ doesn’t quite capture the essence.
Despite his business primarily being supported by art collectors, Okazaki has begun moving towards more practical and wearable designs in recent months. Building on previous collections of bags and shoes, this season marks his initial entry into ready-to-wear fashion, including a green turtleneck sweater with detachable shoulder boning and a tubular dress featuring a scythe-like design across the torso.
New prints also made their debut. Python and leopard prints introduced an element of the animal kingdom, nodding to the designer’s themes of animism and nature worship. Meanwhile, traditional patterns like tweed and pinstripes echoed fabrics from classic garments, far removed from Okazaki’s typical creations. A floral pattern featured in the penultimate look initially seemed outdated and unappealing to him. âIt felt somewhat nostalgic, like the pattern on my grandmotherâs futon,â Okazaki remarked. âThereâs something very human about [florals], like a person trying to print nature onto something.â He spoke of valuing that initial feeling of rejection. âWhen I actually made it, it became one of my favorite pieces from this collection, and I felt that hatred could transform into life and then into love,â he reflected.
Growing up in Hiroshima, Okazaki describes his work as a prayer for peace. This season, by engaging more with the human body, he reached a new depth in his artistic expression. âItâs like I moved from a transcendent, conceptual idea of prayer to something more personal; a prayer inherent in everyday life, as a way of getting closer to people,â he explained.
The accompanying music ranged from dark and ominous to calming and meditative, drawing inspiration from the Japanese concept of âkidoairakuâ, an idiom encapsulating the spectrum of human emotions: joy, anger, sadness, and pleasure. âI want to be honest about what I create,â Okazaki stated. âAnd my expression, stemming from a prayer for peace, remains constant whether in fashion or art.â In challenging times, his cosmic talent connects with something that âkidoairakuâ doesnât cover: hope.
