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Yang Li AW15, Dazed backstage, Paris
Backstage at Yang Li AW15Photography Virginia Arcaro

Yang Li AW15

The ‘Gone Girl’ soundtrack’s ‘industrial symphony’ accompanies a collection featuring structural metal-backed silk

Initial reaction:

“Tension” was the word that Yang Li repeated when asked about the collection. You could see it in the choice of fabrics as metal-backed silk was sculpted into trench dresses – which appeared crumpled like a plastic shopping bag. You could see it in the rough edged leather jackets and the trailing threads on silk trousers. You could also see it in Li’s take on the ball gown as floor length silk dresses trailed the ground in muted tones of dusky blue and forest green. Li has consistently been questioning the balance between perfection and imperfection and here, by playing with tropes of ladylike dressing, he articulated an intriguing kind of elegance. 

Metal power:

Li was almost creating sculptures on the body as silk bonded with aluminium featured heavily throughout the collection. This malleable fabric could be moulded with the hands – it was made up in to jackets and coats that crumpled around the body, holding their shape like tin foil. This was the primary way in which Li created tension – as these garments were contrasted with more fluid materials. 

Positive tension:

“I think we always experience tension whether it’s a personal battle or something physical.  What I find beautiful is what we do with it afterwards. Tension is not necessarily negative –it’s fear guiding you towards something valuable.” This tension was evident in Trent Reznor and Atticus Ross’ acclaimed soundtrack for David Fincher’s Gone Girl – which Li called an “industrial symphony”. That in itself is yet another contrast that sums up the collection’s design make-up.