Tae Ashida (Q9281)
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Tae Ashida is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Tae Ashida |
Tae Ashida is a fashion house from FMD. |
Statements
It’s been two years since Tae Ashida has been on the runway. Pre-pandemic, her shows were stately affairs where diplomats sat alongside cinema stars and musicians. That mix of luminaries from politics and entertainment spoke to Ashida’s reach and the multiple client demographics she’s designing for. In recent seasons she’s addressed the group via experimental fashion films that saw her collaborate with Japanese directors like Yasuhiko Shimizu. For this go-round, she wanted a real-world showcase for her creations. To make that happen, Ashida took over Tokyo's Shin-toyosu Brillia Running Stadium, a venue created specifically for the Tokyo 2020 Olympics, and staged an outdoor show on its indoor track.Edging close to the 30th anniversary of her brand, Ashida’s recent work has focused on asserting her codes by centering on her essential pieces. This season that meant an exploration of the blazer, an item she selected for its connection to the office rather than telecommuting’s nebulous virtual space. The setup was carefully considered—guests were seated beneath the stadium’s interlocking archways while adhering to social distancing regulation—and so were the clothes. Few put on a jacket to work from home; to make the most of a blazer, you’ve got to head outside.Multiple incarnations of the piece made their way onto Ashida’s runway, but the lineup avoided business-casual blandness thanks to the details. There were tuxedo-esque cropped jackets adorned with oversized bows and knee-length single-breasted designs with a satiny sheen for the girls. Boys were given crisp white-on-white versions with dual textures and collars that extended into belts and classic houndstooth patterns paired with Bermuda shorts. The recurring checked pattern paired well with the collection’s standout motif, a wallpaper-worthy chinoiserie print.As the collection’s focus shifted toward after hours, Ashida hit her stride. There are fewer events to attend, given the current state of the world, but that party deficit means every occasion takes on special significance. As such, the eveningwear was relaxed and versatile enough to be worn to low-key functions. Several looks featured touches borrowed from the boudoir; gossamer-light column dresses with lace inserts and slips with an overlay of lacework replaced ballgowns. Even the stateliest gowns were offered in gauzy fabrics whose ruffles fluttered as models made their way down that Olympic track.
13 December 2021
Pre-pandemic, the idea of escaping into the woods seemed fantastical. The stuff of fairy tales and Sondheim musicals, the goal was impossible to achieve outside of a weekend spent at an Airbnb. Fast-forward a year and a half, and the idea is almost too real. In a moment defined by solitude, many have relocated to rustic new locations or reconfigured their lives to allow for social distancing. Either adjustment comes with a sense of isolation, something that Tae Ashida sought to address within her latest work. Her fall collection and its accompanying film take place in a woodland fantasy. Still, instead of going Brothers Grimm, Ashida approached folklore through the lens of futurism, meditating on what it means to be in seclusion in a world that continues to evolve rapidly.The subject felt timely. More importantly, it yielded interesting clothes as Ashida attempted to find the midpoint between the fanciful sweetness of fairy tales and austerity commonly associated with sci-fi. This comes through in the collection film by director Yasuhiko Shimizu and within its look book. Leaning futuristic, Ashida added warmth by softening sharp edges and including artsy flourishes on an otherwise stark piece. Without the watercolor flower on its bodice, the all-black midi-length dress would have seemed severe. Likewise, celestial embroidery featuring anthropomorphic moons and shooting stars on the back of cropped jackets kept the mood blithe. Collegiate staples like cricket sweaters emblazoned with a giantTand fitted cardigans served a similar purpose, the cozy familiarity of their presence tempering each look in which they featured.Fantasy may be trending thanks to the desire for escapism, but Ashida understands that her customers have to reckon with reality. They’ll venture into the woods metaphorically during the day, but ultimately those fuzzy sweaters and frilly blouses still need to be appropriate for Instagram selfies and Zoom meetings. As the outfits grew dressier, there was less need for moderation, and Ashida let loose accordingly. Gowns laden with transparent silver lace, lamé, and satin felt fit for a dream, one that will have relevance long after life has returned to normal.
20 March 2021
Usually, Tae Ashida presents her collections in a big way. The second-generation designer takes over the Tokyo Grand Hyatt and fills her front row with diplomats, dignitaries, and the city’s cool kids. The shows are always fun—Champagne flows and the scene after the final model walks is more akin to a party—but 2020 necessitated a change. This time around, Ashida created a special film focused on what she calls “healing expression,” a concept that focuses on the simple joys of touch and engaging with the natural world. Models posed alongside Dan Tsukamoto, the principal of the Tokyo Ballet, and artist Matt Kuwata, one of the aforementioned cool kids. A “living doll” on Instagram, Kuwata’s surrealist selfies take his features into uncanny valley territory. His presence, along with the internet-first presentation, added tension to the season’s core idea. Sure, everyone wants to become one with nature and achieve tranquility, but in the age of endless distraction, Facetune celebrities, and a global panic, can anyone actually attain those goals?Ashida’s answer was to create clothing that alluded to the rustic lifestyle and its charms. Olive peasant blouses and skirts printed with baby’s breath felt just right for a trip to the countryside, as did dip-dyed pleated dresses or jumpers covered in eyelets. The city slickers who enjoy Ashida’s designs are unlikely to be found roughing it in the woods, but no one loves the idea of country living more than those seeking to escape the metropolis. To that end, Ashida provided several sections devoted to escapism. Even the pieces that would work best in an urban setting—tweedy blazers, mesh leggings, and belted button-downs—were given a touch of the pastoral via fringe embellishment, floral patterns, or the addition of the official vacation shoe: espadrilles.The idea of clothing that soothes is compelling. This year’s difficulties have caused many to seek solace anywhere they can find it, and an outfit with the ability to uplift certainly can’t hurt. Ashida’s eveningwear is her strong suit, and she expanded her after-hours repertoire to connect with the overarching theme. Gowns were given embellishments that mimicked the look of falling flower petals and ombré in shades of sunset. Even the divergent pieces—a paint-splattered sequin tunic that snuck its way into the lineup—were playful, pretty, and sure to leave their wearer in high spirits.
20 October 2020
Tae Ashida postponed its presentation this season due to concerns over the coronavirus. In these extenuating circumstances, Vogue Runway has made an exception to its policy and is writing about this collection from photos.Most collections that tackle rock and roll adhere to a formula: leather jacket, ripped denim, studs—lather, rinse. repeat. Even though many of the genre’s legends avoided the literal approach to dressing, the sound has become synonymous with a familiar set of visual cues. Instead of relying on the greatest hits, Tae Ashida looked to the tasteful side of the music scene for her fall 2020 output. “Double amplitude,” the vibrational measurement that stretches to infinity, served as the season’s starting point. The concept led to looks that were decadent with a hint of edge. The luxury of Ashida’s materials didn’t fade into the background, but the tone shifted to something darker than spring’s exploration of abstract art. Ashida’s rockers were of the refined variety, more Bryan Ferry than Axl Rose, but they had bite.The breadth of references available to her meant Ashida breezed through motifs with the ease of a Spotify playlist. There were hints of grunge (double-face plaid skirts paired with chunky black boots and baby doll dresses with satin pussy bows), glam (Bowie-worthy transparent leopard-print shirts for boys and girls), and even electronica (pixelated patterns that hummed with energy). Still, these are ultimately clothes for a refined (read: older, wiser, not Coachella bound) customer. Each moment of youthful insouciance was countered by a look for her core audience.The front row of Ashida’s runway shows is usually comprised of diplomats and heads of state, and their desires differ from those of actors and influencers. As such, the final segment segued into the traditional. The rock theme came through momentarily thanks to liberal use of metallic silk and performance-appropriate silhouettes like ’70s-style jumpsuits, but the majority of the evening looks skewed conservative. As lovely as the glittering finale pieces were, with the overload of sequins and ombré, they felt princess-y rather than punk. The collection’s high points came when Ashida threw caution to the wind and cranked things up to 11.
27 March 2020
At first glance, it is easy to assume that Tae Ashida’s lively spring 2020 collection was referencing a specific artist. After all, the entire affair kicked off with nine looks devoted to abstract splashes of paint and cubist deconstructions of portraiture on cropped T-shirts and lightweight silk skirts; even the pops of pastel streaked across the faces of models like Yumi Lambert and Chiharu Okunugi had a Picasso-esque touch. Still, Ashida was less interested in paying homage to history’s masters and more concerned with the realities of modern techno-charged life. “There’s almost too much information out there now, and people are having a hard time with that,” Ashida shared of the symbolism. “The faces are a way of saying [that] we have to face this reality and decide individually how to deal with it.”The web theme came through in a stream of disparate elements. Thanks to Instagram and Google Images, we’re all primed to process an excess of visual information, and with each outfit, Ashida packed in the details. The focus shifted with the speed of infinite scroll, moving from zigzags and collegiate sweaters to prairie prints and pastels. At times the motifs complemented each other—the wavy lines worked surprisingly well when accented with fringe—but the collection was about a clash of ideas. The looks that played up this contrast were the most dynamic. A peacock-feather-printed scarf could stand on its own, but belted and worn with tailored trousers, it was a fresh take on the workwear blouse.After dark, the contrasts came in the form of metallic lace and loads of tulle. Refined gowns are Ashida’s specialty, but the feel and fabrications were lighter than previous seasons despite the wealth of ruffles and flowing trains. Menswear, a recent addition to the label that has served to inject a youthful perspective, received added polish thanks to core concepts implemented across gender lines. Soft-tailoring and embroidery are for everyone, and they elevated staples like bombers and tuxedo jackets. After the bright color and pattern of the beginning, the finale’s stately black and silver looks may seem comparatively subdued. Still, for Ashida, the palate cleanser was equally artistic. “The last pieces in the collection were a very Japanese touch,” she said. “There is so much happening that in a way, creativity and art have become even more important in our lives thanks to the internet. [Ultimately], it’s all about how you process it.”
23 October 2019
As the doyenne of Tokyo Fashion Week, Tae Ashida can always be counted on for elegant workwear and gala-worthy gowns, so imagine the shock waves sent through her audience when she began her Fall 2019 show with a bold new conceit: menswear. “I think this is something that we needed; we’ve been doing business for 55 years, and it’s [easy] to think that you know everything,” Ashida said postshow. “[Menswear] was something so new for us, so we had to start from scratch. We took new things into consideration in our everyday work and learned so much."The textured royal purple overcoat, anorak, and jeans worn by male model Chris Darton encapsulated Ashida’s vision for men with a look that was colorful, streetwise, and steeped in luxury. After seasons of having male friends and acquaintances inquire about pieces they might wear, she decided it was time to expand her horizons. “When I looked at them, I could picture them wearing the exact pieces they were inquiring about, so I thought, Why not?” she said. “I don’t have to make business suits; guys can wear anything.”The move into menswear occurs at a turning point for Ashida’s label. After the death of her father, acclaimed fashion designer Jun Ashida, last year, she is now at the helm of two of Japan’s largest brands. As such, maintaining a distinct identity for her eponymous range while evolving its scope were chief concerns. For day, the mood was youthful, filled with pattern and bright splashes of color. Pinks, purples, and punchy shades of lemon yellow featured on separates for men and women with long shirts for the boys, textured skirts for the girls, and a feeling that they could borrow from each other’s closets at any given time. Leopard spots and butterfly prints made for an unexpected juxtaposition on dressier looks, while a series of camel overcoats were appropriately luxe.Ashida’s eveningwear received an update thanks to futuristic fabrics and new silhouettes. Clients in search of a gala look will still have plenty of options, but slinky column gowns detailed with rainbow sequins and tiered looks with diamond embroidery felt fresh. The renewed energy of the collection was embodied by model Ai Tominaga, who closed the show in space-age silver and glossy leggings sauntering down the runway like a woman who just got her groove back.
25 March 2019
Tae Ashida was midway through crafting her Fall 2018 collection when she saw Hugh Jackman’s P. T. Barnum musical,The Greatest Showman, but the film’s pomp and circumstance aligned perfectly with themes she was already exploring. Shifting gears from Spring’s countryside influences, Ashida went for the high-drama thrill of unapologetic glamour. With a cinematic soundtrack swelling through the Tokyo Grand Hyatt and a host of high-powered women from the worlds of art and business filling the front row, Ashida sent out big-ticket gowns and boardroom-ready separates with flair. With the big top serving not as a direct inspiration but as an example of complementary creativity, Ashida avoided some of the pitfalls that come with tackling a well-worn theme. When show opener Cris Herrmann emerged on the runway wearing a red wool overcoat with angel wings covering its back, it called to mind ringmaster uniforms without verging into a literal retread.The romanticism of 19th-century fashion served as a recurring motif with top hats and tails making their ways into ensembles, black lace gowns steeped in Victoriana, and the appearance of a good old-fashioned petticoat. Rich textures like velvet and fur added to the sense of luxury, but even with the retro vibe, the majority of the pieces looked contemporary. Loose blouses covered in kerchief prints, tweed blazers, and glossy leather leggings were on-trend, as were the addition of uplifting slogans. “There’s something different about when you add words to a dress,” shared Ashida post-show. “It has the ability to add another level of meaning into the clothes.” Indeed, phrases like “sing like the wind, fly like the birds” and “no regrets, go forward” woven into trousers and tops provided affirmations, as did cheekier expressions like “so what’s next,” but the highlights didn’t need words at all.Closing the collections out with showstopper dresses that nodded to traditional Japanese fashion, Ashida ended with pieces including a blossom-covered lace and silk gown with an oversize sash, and a metallic striped number that took the kimono silhouette to voluminous new proportions. Stately, with a modern verve, the looks encapsulated the best of her brand and the season’s “the show must go on” message.
30 March 2018
Geared toward sophisticates in search of pieces that feel unique, Tae Ashida’s work has become a mainstay among royals, politicians, and ladies whose lunches are spent power brokering. In other words, you won’t find any novelty T-shirts or logo-covered windbreakers: Ashida specializes in clothes for grown-ups.Starting with a striped section featuring refined separates and dresses, the designer presented daywear for women who are going places. Classic black and white on the back of model Zlata Semenko gave way to a considerably more energetic interplay of color and pattern, with a vivid zigzag print covering cocktail dresses and tailored blazers. Ashida added a casual element via minidresses with intricate lacework, doll dresses, and bouclé separates in shades of red and blue, before transitioning into a safari-influenced series of separates, which included standards like double-breasted, trench-style sleeveless tops and snakeskin jackets with a glossy sheen. As wide-ranging as that sounds, it occasionally veered repetitious.Fabric plays an important role within Ashida’s designs, and often she will start with the material and build from there. “Once I begin designing, I realize that I want to express this element that is in the air within the garments—all these things that you see, feel, and touch that really come into a creation,” she shared postshow. This season she used metallic textures to great effect. Inspired by the natural beauty of the countryside and the gloss of light reflecting on the water, she accented skirts with liquid gold metallics and worked gossamer-like silk into suits appropriate for both the office and a weekend getaway to St. Mortiz. The inspiration also found its ultimate embodiment in a silver column dress that elicited raves from the audience.
23 October 2017