The rich palette included fiery red, varying shades of blue and splashes of green, pink and even yellow, with the odd flash of decadent gold. Vibrant poppy prints extend down one side of a complex, layered maxi skirt and tunic two piece as pleats and folds lend themselves to a look that hangs beautifully.
It’s the precision of the cutting and the fabrics used that makes each look so different from the last. Bold ruffles and soft frills sit alongside pleated tulle and abstract, arty prints, used sparingly, whilst embroidery lends an ethereal edge to flowing skirts that float around slender ankles.
The construction of each look is highly complex, requiring great amounts of skill to produce. Fabric wraps around the models’ torsos and hangs from hips to fall in varying lengths, with asymmetry extending throughout each look from shoulder to hem.
The theme of the collection is “Petals, Minerals, Squiggles” and is meant to evoke the mystery of nature, drawing inspiration from it rather than replicating it more obviously. The swish of embroidered tulle recalls the delicately floating tentacles of a jellyfish and the various materials are collated and bonded haphazardly, like clumps of seaweed washed ashore.
There’s a certain kind of disorderly unpredictability about the collection, and indeed its vastness is like a coral reef in itself, with many different beautiful aspects coming together like an ecosystem, synchronising and working unexpectedly. The only difference here is that this system is no accident, no feat of nature, and Toga’s founder Yasuko Furuta seems to have an eye for an organised kind of chaos that we can’t wait to see more of.
Images: Eloise Peachey | Fashion Week Photographer | @eloisepeachey