Whereas last season was devoted to a pure “passion for form,” this season’s collection was informed by a highly personal perspective. Ohno allegedly drew inspiration from his own room, an eclectic mix of valuable artwork and items of more sentimental value such as vintage shop finds, souvenirs from overseas sojourns, and dusty toys, thus blurring the divide between high and low.

For this collection, Ohno homed in on “quotidian vintage garments”—an unusual departure from his usual M.O. in past seasons, which have drawn on more far-flung influences beyond fashion. Nonetheless, the collection did not disappoint. Ohno breathed new life into familiar vintage fare such as metal band T-shirts, military jackets, and hunting jackets, transforming them into modern, artistic, and delicate womenswear.

Standout pieces from the collection included a leg-of-mutton sleeve short jacket, Jodhpur-esque pants with a voluminous waist, and tight-fitting pants with panel lines transitioning into semi-circles around the cuff. There was also an oversized jacket with prominently deformed shoulders, embellished with a large eye motif affixed over the breast.

“Vintage” is a tired trope. Yet Ohno manages to breathe new life into an old theme with his skillful eye for material and pattern, combined with a devil may care attitude. His creations are both unique and sardonically humorous, in the best way. Moreover, his sublimely random placement of models in a small space was evocative of a green contemporary artist exhibition. Yet ever the designer of belles-formes, even this seeming randomness was a calculated homage to the atelier of the great Japanese writer of belles-lettres, Tatsuhiko Shibusawa.