At the Yohji Yamamoto show, the models stepped onto the runway without any accompanying music. Instead, the only sounds were the gentle glide of their feet on the raised wooden platform and the clicking of camera shutters. This quiet ambiance allowed for contemplation of how distinct the Yohji experience is compared to mainstream fashion shows—no flashy celebrities paid to be there, no paparazzi frenzy. Despite his 40-year history of runway shows, the 80-year-old designer Yamamoto was not short of notable attendees. Diana Widmaier Picasso and Klaus Biesenbach occupied the front row, alongside French artist Orlan, musician Warren Ellis (who recently walked in Yamamoto’s men’s runway), and milliner Stephen Jones.

The collection kicked off with an all-black palette. Although the intricate details might not be immediately visible in these images, Yamamoto’s designs were far from flat. Coats, dresses, and suits featured collapsing squares, akin to walking cubist sculptures. Drawing inspiration from cubism, Widmaer Picasso’s grandfather portrayed subjects from multiple angles, adding depth and complexity. Indeed, anyone wearing these pieces on the street would turn heads.

As the show progressed, Yamamoto explored geometric shapes and volumes using mismatched red and black plaids, pinstripes, checks, and textured tweeds. While some larger squares even sported zippers for practicality, functionality wasn’t the primary focus of these experiments. Instead, Yamamoto’s designs resonate on more esoteric and emotional levels, weaving themselves into the lives of those who wear them.

Behind the Scenes, Yohji Yamamoto exhibited his characteristic blend of attentiveness and elusiveness. He nodded in response to questions but offered only brief answers. Was he drawing inspiration from cubism? A succinct “Yes.” However, when it came to observing Picasso’s work, his response was “Braque.”

In a striking finale, Yamamoto unveiled a set of five understated gray suits and coats. At first glance, these garments appeared to reject the imaginative and experimental designs that preceded them. Only the pyramidal shoulders hinted at visual intrigue. But appearances can be deceiving. For those watching the show remotely, the front view revealed only half the tale. As the models retraced their steps down the runway, they paused to showcase the sumptuous bustles—more organic in form than Braque’s cubist geometries—that adorned their backsides.

Coincidentally, the Pompidou Museum features a black coat dress with a red bustle from Yamamoto’s 1989 collection. This piece is currently on display in Laurence Benaim’s poignant exhibition, “La traverse des apparences,” at the Centre Pompidou. And here, we encounter Stephen Jones once more. As he awaited his chance to greet Yamamoto, the renowned hatmaker mused, “It’s fascinating to witness others borrowing from him over the years, yet now see him executing those very ideas.” Even contemporary designers find his work remarkably fresh.