December 5, 2020

Y/Project RTW Spring 2018

Glenn Martens didn’t reinvent what he’s been doing at Y/Project for his spring collection, but he did cast a new eye on the quintessential dorky dad in his Hawaiian shirt and khakis; the goody-two shoes country club girl in her pink cardigan, white blouse and pearls; and the Nineties suburban kid who listened to rap in his fleece, jeans and Timberlands. Martens gave these uniforms of mundanity, conformity and complete lack of imagination a new lease on life. Even the natty, shapless faded red polo worn to death by an endearingly clueless goof I was smitten with a few years ago had hope in Martens’ hands. It was reimagined as a crop top with a drawstring waist and worn over bunched tulle pants.
Taking what’s familiar and basic way out of its comfort zone is Martens’ gift and goal. It’s within the universe of what Demna Gvasalia started Vetements with, but Martens’ vision is far more romantic. “Y/Project is always about individuality and reinforcing personality and characters,” he said backstage. “Sometimes on the catwalk you see different kind of women, but sometimes also all these women are new.” He gave play-the-rules stereotypes permission to break the mold, cutting a pair of

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