But the chrysanthemum dresses were beautiful, and the broader nomad costume totally gender-neutral: a state of mind. The women’s wear was an oddity in that Takahashi had included it because the role of the feminine (pretty toxic) was such a keynote in the source narrative. The money-shots were the puffer jackets and sweats featuring images from the movie, and the great tatterdly layered tweed pieces. This is all hyper-philosophical hoo-ha, of course. There was also something almost Catholic in the overall insinuation of self-flagellation post-seduction that was discernibly heterosexual and a touch hypocritical (tragedy narratives always blame a fatal flaw instead of calling out the agency of choice). There were elements of uniform, something sherpa-ish, a definite Mongol nod (confirmed by Takahashi), and more broadly a sense of wandering quest. Takahashi said this was “all Japanese,” but some of the tailored pants and red-and white looks seemed to nod to English and Nordic dress, too. Perhaps because my best-loved and researched Japanese clothing reference is Yohji Yamamoto-the daddy-some of the nomadically layered silhouettes here reminded of his mischief-making vagrant runway alter-egos, which are themselves rooted in Japanese tradition. Within these divertingly tortured physical exertions unfolded a great collection. The final section, witch-free, saw rope-man/Washizu awakening and running, but (in a mirror to the famous closing scene of Throne of Blood) being encircled by arrows (which fell from the ceiling to the floor, very impressively) as a metaphor for the inescapability of consequence. In the second dance-section hot-and-needs-a-blowout witch is joined by two secondary hot witches (Christina Guieb and Candela Capitan) who wend witchily and proximate to rope-man/Washizu, before totally ensnaring him and leaving him upon the mountain top on which they were until recently enchantedly bound.
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