It always seems like the further I get into a fashion week, the more abstract the sketches get. In these two cases, I barely added anything to the original live version.
The Issey Miyake invitation was a truly pleasant surprise. It was a hot dusty Sunday in the Tuileries and I had been walking around carrying a heavy bag all morning, so I took an hour and a half nap in those heavy metal chairs they have under the trees outside the tent. When I woke up, a crowd was surrounding me waiting to get into the show. I had ended up in a cluster of lovely ladies who work in the Issey Miyake showrooms all over Europe, and as I did my warm-up sketches they took an interest in me and gave me a bit of inside track into the company and the backstage happenings. The show was running very late.
The scene was pretty hot – lots of dress-upwomanship going on under the sun. I was snapped while sketching by Bill Cunningham, which I tried to appear oblivious to, while being quite chuffed. I never get asked to pose for street style – could care less, really – but to merit even an offhand snap by the godfather of street style photography was a pleasant moment. I like to think it was because I was sketching, but it could have just as easily been because I was wearing a white shirt.
Going from the bright scene outside to the the pitch inside the tent couldn’t have been more dramatic transition. Over a thousand souls inside a hot black tent on a scorching day created an airless atmosphere that was less than ideal for absorbing a collection properly. I managed to squeeze into a back-bench seat and squeeze out almost a dozen sketches from my squeezy-brush.
The show was appropriately light for spring, both in the sense that lights were used in the staging and the looks themselves appeared light and literally botanical. As the first collection under the creative control of designer, Yoshiyuki Miyamae, the sense of renewal came across.