Apparently, a mysterious Parisian of the Chinese origine Yiqing Yin decided to transfer the sources of her inspiration from the oneiric world of her imagination to our more material one. Primeval creations and bodiless butterflies- moths that fluttered on the podium in previous collections of Yiqing gave way to feminine beauty in all its splendor and complexity. The beauty as it is seen by the young designer, because, as you know, the idea of this elusive concept is different for all of us.
Beauty is in the works of Yiqing Yin consists of contradictions: the name of her collection, “Oxymore” (oxymoron: a combination of opposite words), presented at the last spring-summer week of haute couture, says for itself. In it rough “male” fabrics – flannel, wool, and leather – are combined with pronouncedly “feminine” ones – silk, muslin and satin.
Couturier continues to experiment with drapes: cloth seems to be thrown on the body with certain nonchalance and tied to form asymmetric pleats. But the effect of the “natural” negligence, so successfully achieved by Yiqing, is in fact the result of a calculated to a millimeter cut combined with skillfully matched texture.
Sheer one-piece suits à la “second skin” from black jersey with graphic patterns, as if “tattooed” with Swarovski crystals, along with a mini-dress, a skirt and a jacket made of a mixture of silk and nylon (a revolutionary material, so fragile that it requires special bias cut) were perhaps the most feminine pieces.
This collection with prevailing gray hue stands out for its consistency and, in my opinion, higher commercial potential, compared to previous seasons.
Not all stylistic experiments can be unambiguously attributed to be successful, but after all one of the objects of haute couture is being a laboratory, where ideas are born for subsequent lines of prêt-à-porter.

Photo credits: Yiqing Yin / Regis Colin Berthelier