Breaking away from his traditional runway format, Juun.J presented a compact offering along with life-sized photography of each look. At the conclusion of the show, each model — again an evenly distributed cast of men and women — took their place in front of the picture representing their outfit.
An all-white shirt, grown to gown-like proportions, was the first look to appear, worn by a female model. It gave the point of departure of a collection in which poplin was used by the yard, in masculine favorites such as white, gray and pinstripes. The palette barely deviated from there: it was white and a skeleton crew of dark neutrals, save for one pleated dress that appeared in a stark orange-red.
The overarching idea of expansion and contraction hinged on these giant shirts being pulled in — by a belt bag, a pencil skirt, a sweater or slipped into trousers — or being left free. For men, it was cigarette trousers and sweaters used to contain those expanses of crisp shirting. On their female counterparts, pullovers were off-the-shoulder and the look was paired with heels.
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Quite often, the shirts were simply left free.
Being less belted and buckled in than previous seasons, the collection came off as less utilitarian, with a zen mien. His famed outerwear was barely present, represented by bomber jackets that could be layered on top of each other, with different messages embroidered along the back — likewise on trenchcoats and flight blousons.
For devotees, there was plenty to appreciate: poplin coveralls, oversized suiting, the aforementioned outerwear. “Life opportunities expand and contract,” proclaimed one of his block-letter slogans. This iteration was the latter in Juun.J’s work: an all-too-quiet outing from this master of volumes.