• Text Lakeisha Goedluck
  • Photography Emily Malan
  • 3rd March 2020

Twisted sister

When it comes to a Y/Project collection, it’s always best to expect the unexpected. Glenn Martens is known for his “twisted aesthetic language,” as the designer’s show notes so aptly put it, and this was his most perfectly peculiar offering yet.

It was difficult to discern where one garment ended and another began, as a longline check overcoat and waistcoat came fused together. Similarly, a dress featured a velvet body as its foundation, which was layered over with a heavy check fabric in mustard yellow that wrapped around the model’s frame. A snakeskin top was combined with a pair of jeans that had a G-string for a waistline, while a Little House on the Prairie-style check dress included a V-shape cut-out around the middle to reveal a patch of denim.

A complete shirt threaded through the neckline of a fleck-knit top felt uncomfortable in the most alluring way. The same could be said of a velvet bondage top melded together with a striped work shirt, as sexiness and a wardrobe staple collided to gratifying effect. Of particular note was a recurrent Y/Project piece: the translucent dress. This time around, the garment featured multicoloured pieces of satin and black lace which undulated underneath as the model moved.

This overarching theme of grandeur was communicated via the accessories as well. The fact that Martens was inspired by the Edwardian period was evident in the heeled pumps which came decorated with pearls and eye-catching chains. In accordance with this approach, a gold concertina-turned-clutch felt especially fitting for a collection that was steeped in idiosyncrasy.