The future is in designer P.J’s inspiration. That’s why she has always been curious about the uniform element, AI, science fiction films and animations and felt connected with them. Many of her imaginations come from the phantom brought by film and internet. Her own imaginary world is like that and so is her design aesthetics.
One of the inspirations of the new season comes from Mamoru Oshii’s animated film “Ghost in the Shell 2: Innocence”. In the film, the boundary of reality and fiction is ambiguous, so is that of human and robot. This ambiguity fascinates the designer. P.J found and read the novel mentioned in the film, L’Eve Future. This science fiction was written by Comte de Villiers de L’Isle-Ada and was published in 1886. What’s incredible is that it has already thoroughly discussed what is going on today. The author said, “If our gods and hopes are but scientific phenomena, then we have to admit that our love is also a scientific phenomenon.” What is the ultimate dream and destiny of human beings? The flowing material desire or innocent love? If innocent love doesn’t exist, can modern science and technology create a “perfect lover”? The new-generation Hollywood film “Her” corresponds to this theme as well. The so-called “perfect lover” is only a lonely illusion. After all, all of this remains a topic about the solitude of human. As for technology, will it make our future more lonely?
For P.J, solitude has been her theme of thinking. In fact, human, in nature, is a lonely creature. She accepts and embraces this solitude. Even in an era of carnival, her fashion has always stayed on a unique road, from groping her way to actively searching for breakthrough and liberation, and has remained aloof from the world. Her fashion is a reflection of herself, boundary-breaking and undefined. She designs exclusive ready-to-wear clothes with a wild temperament, which even seems unapproachable and uncontrollable, but always amazes people with appreciation.
“We all have high demands for love, but cannot reach our ideal status.” The designer is an aestheticist in the pursuit of love, while her conclusion is pessimistic and fatalistic. However if considered carefully, this might just be a kind of elaboration and relief. In this way, her design language is restrained; it abandons the sexy pretension; it is feminist and only exists for itself.
The colors of the new season clothes are more abundant, black, white, red, purple, dark green, like shadowy phantom wandering alone in the future space. Red and black are still the main colors. They are imprinted with the designer’s characteristics and they carry on her consistent religious sense. The element of embroidery is kept; it is both Chinese and futurist. The designer has always favored and emphasized the application of the oriental elements, but they are imperceptible forms, not a presumptuous and flamboyant display.
This series is the designer’s homework with regard to the thinking of life and future in the internet era. Solitude it is, but an active and sober one. The designer said that she had no persistent thought about flesh. If soul can be converted into cyber data, she would like to give it a try. Just as in “Ghost in the Shell 2: Innocence”, Batou was left, but he did not feel lonely, because he remembered the Major’s last sentence, “In the internet, I’m always with you.”