…tiles, mosaics, Moors, Spain, Institute du Monde Arabe, Jean Nouvel, Ortiz Echagüe are reference points for Fall 2001. The fabrics reminded Yeohlee of geometric forms that are decorative elements prevalent in Moroccan/Islamic culture. Jean Nouvel’s use of glass and screens at the Institute du Monde Arabe and the Cartier Foundation in Paris were a source of inspiration for their play on light and shadow and for what is concealed and what is revealed.
The proportion of the collection is high waisted and long and lean. There are double skirts with the top layer worn over the head and shoulders as a shawl – look 1. A coat, look 2, in mohair and alpaca, is low slung and anchored at the hips. The coat works as a wrap over the head and shoulders and is as cosy as a blanket. Ivory flecked matte brown double face fabric as skirts and pants is contrasted with grey silk shirts, the colors coming together tonally in a bold stripe poncho.
Hoods and cowls and shawls are prevalent as head wraps and as hip ties.
There are a myriad of patterns in the fabrics; multi checks, mosaics and tapestry motifs in burgundy velvet on a shimmery surface of gold – look 24; or a black starburst pattern on nude. Evening is a contrast of textures and weights in black and white. White mousseline cotton shirts contract with textured silk stripes, crunchy and stiff as in look 44 or soft and fluid and cut on the bias look 42.
Cultural cross pollination has always been a point of interest for Yeohlee. She shows a classic shirt under a kimono coat worn with a sarong, often only associated with summer and the beach, proposed here in wool for winter. Harem “I dream of Jeannie” pants are shown as part of a pinstripe suit look 19 and as Aladdin in look 30.