Spring of Nüwa (the ancient creative goddess in Ancient China) was the name of her winter 2012 couture collection. Yin gives names to her dresses. It adds emotion to her fashion. Like a true artist, she sublimes and magnifies her senses, her dreams, and her feelings, into objects of new dreams that touch to the deepest of everyone and anyone, regardless of where, who and what.
Long measures of crepe georgette and muslin, ruched, undulating, sculpted over the shoulder, following a natural curve, creating a new one, with the lightness of air, and the strength of armor. Yin’s genius lies here. Her clothes are not designs; they are the objects of dreams. They originate from the study of the body, the anatomy of women, the fabrics’ properties, and the abstractness and the unplanned beauty of the natural world. Wind blown silks in muted, degrade colours twisted, cut and pleated into Orchid flowers, water coloured crystals stitched onto tulle to create cave like rock formations, hand pleated silks, trimmed furs and feathers worked into experimental gowns straight out of a phantasmagoric world, pure, abstract, and futuristic, and prints of lichen and water streamed onto deep lapis silk twill. Yin sculpts fur, silk, feathers, metal and dip-dye rope into statues. Alike marble, sculpted into the softest flesh under the genius hands of Bernini, Yin’s couture take its force from its softness. Her architectural approach to fabric, draping directly on the live model, make her silhouettes sensitive to movement, like a second skin, for both the body inside, and the air it flows past. Her fashion is organic, fused with Chinese purism, inspired by the raw forces of nature. Yin works on transparency, light, reflects and textures. Ultimately light, airy, and refreshingly new.
Over the last few years, Yinqing Yin has come a long way. 5 years at Les Arts Decoratifs de Paris, her awarding of the designer of the year city of Paris prize, the Hyeres festival, the press that followed, her first atelier rue de Visconti, her first couture collection, back in July 2011 during the couture shows, and her invitation to the Chambre Syndical de la Haute Couture Francaise. Vogue followed, Guerlain too, and Audrey Tautou at Cannes. Her success just cannot stall, for fashion’s sake.
Her approach to clothing is futuristic and organic, yet it is never frightening. A combination that makes her work remarkably wearable, suited for a ready to wear line. Which is exactly what she has done.
The collection, presented in September 2013 and one of the main figuration of the designers apartment concept developed this summer in Paris, espace Richelieu, should be qualified as couture poetry. The craftsmanship, detail and fabric coupled with Yin’s poetic genius fused together to create clothes that were nothing short of angelic. Timeless elegance made from the most organic inspiration is rare in fashion, regardless of the period. Her first ready to wear collection is directly extracted from her couture lines. The level of sophistication and complexity places her line on the high end of the market. The dresses, made from the most divine silk jerseys, georgettes and duchesse come at a steady price. Yiqing Yin has plans to expand her label, but also to explore other mediums, such as furniture, interior design, scenography or ballet costumes. This first collection is ultimately a first step for a designer who will bless the streets with her creations in the years to come: both the fashion press and the buyers have been unanimously supportive.
Photos from www.facebook.com/yinyiqing
For more photos: www.yiqingyin.com
By Martin Lyle