In Michael Anderson's Logan's Run, the main characters live in a supposedly utopian city. When Logan and Jessica escape the futuristic and computer run society in which they are trapped, they embark on a journey of discovery that leads them to the ruins of Washington D.C.
In the film the vegetation has reclaimed the buildings and monuments that the main characters rediscover and has done so in a fascinating way.
Ruins have actually been always considered as dramatically sublime architectural elements since they represent long lost civilisations, tangible traces of previous lives and cultures.
The aesthetic value of ruins was regarded highly in the 19th century and the effect of plants and biological incrustations climbing up monuments was particularly appreciated as they were elements that marked the passage of time.
It is therefore almost too obvious why knitwear designer Motohiro Tanji used this theme as the main inspiration for his debut collection at Tokyo Fashion Week.
Born in Japan where he studied Fashion Design at Bunka Fashion College, Motohiro Tanji continued his studies at Keio University. Here he worked on exploring 3D computer graphics/programming, investigating the possibility of using 3D geometric algorithms in contemporary fashion.
The designer then completed his MA Fashion Knitwear Design at Nottingham Trent University and established his own label in 2012.
His first collections displayed a strong derivation from Sandra Backlund's monumentally sculptural knits made by combining and assembling several small knitted elements together.
In his A/W 2015 collection, the designer seems to have managed to find his own way to turn his more extravagant and complex knitted designs into more wearable and therefore more commercial pieces.
Voluminous knits were therefore left behind in favour of three-dimensional textures such as thick ridges and narrow crests, abstract geometries and solid knitted rib patterns, chevron-like details and knotted or twisted decorative motifs for dresses and separates.
Some of these elements pointed towards plants climbing over ruins, others seemed references to multi-layered structures and natural armours such as biological exoskeletons.
The designer also deviced knitted alternative pieces to conventional outerwear such as capes with rounded collars while the palette revolving around sensible shades of dove grey, navy, ivory and black, though rather conservative, will guarantee him new growth in mature consumer markets.
It will be interesting to see how Motohiro Tanji will develop in future collections these techniques he now seems to be able to finally master in a better way and where he will take the knitwear discourse in a few seasons' time.
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