SHANGHAI — As guests took their seats for the Shushu/Tong spring runway presentation, they were greeted by an unexpected yet charming prop waiting on every chair: a brightly colored umbrella. The accessory was an immediate, unmistakable nod to Jacques Demy’s whimsical 1964 cinematic classic, The Umbrellas of Cherbourg. This cinematic masterpiece served as the key reference point for the collection, which designers Liushu Lei and Yutong Jiang aptly titled Darling Melancholy.
The resulting show brought a distinct touch of French New Wave cinema to the bustling energy of Shanghai Fashion Week. However, Demy’s cinematic vision was not the only point of inspiration woven into the garments. The designers cleverly blended the mid-century Parisian aesthetic with the youthful, rebellious spirit of Mary Quant and the futuristic geometry of Courrèges, all while maintaining a distinct, playful dash of Miu Miu’s signature irreverence.
Along for the ride on the runway were short, undeniably girly silhouettes, delicate petal-edged details, voluminous balloon skirts, and intricate macramé lace rendered in a mouthwatering array of candy-colored combinations. To keep the overall mood resolutely upbeat and lighthearted, the designers added a gentle drizzle of embellishments and charming beaded daisies that caught the light with every step the models took.
Everything presented on the runway was exceedingly pretty, neatly proportioned, and disarmingly wearable, appealing directly to the modern consumer’s desire for clothes that are as functional as they are photogenic. Melancholy, however, proved to be an entirely different matter. Whatever deep heartbreak and emotional longing was unfolding on screen in Demy’s tragic-romantic film, here it had simply been handed a bright pink umbrella and told to cheer up.
Just when the saccharine sweetness of the collection threatened to overwhelm the senses, a few unexpected sporty details would casually jog by, injecting a dose of casual dynamism into the lineup. Yet, it was ultimately the accessories that had the final word on the runway. Each model clutched a ladylike, boxy handbag tucked neatly into the crook of her arm, resembling nothing less than a coveted Pop Art toy brought to life.
Behind the whimsical aesthetics lies a deeper narrative shaped by the designers’ formative years. Speaking backstage after the show, designers Liushu Lei and Yutong Jiang discussed their childhood obsessions with Japanese anime. This specific cultural sensibility has long hovered around the label’s distinct design codes, which frequently play with schoolgirl uniform tropes, subverted traditional tailoring, and an embrace of slightly unreal prettiness.
According to the design duo, this season saw the definitive style codes of the 1960s passed intentionally "through an Asian lens." The result was a collection of garments that showed virtually no interest in bittersweet longing or melancholic reflection. While the melancholy may have formally occupied a starring role in the title of the collection, it certainly failed to make an appearance anywhere near the hemlines of the skirts.
The brand’s well-groomed, impeccably dressed front row certainly did not seem to mind the absence of sorrow. They sized up all the unabashed cuteness on display with the laser focus of Very Important Clients (VICs) who were already mentally adding those bouncy skirts and pastel layers to their virtual shopping carts before the final walk had even concluded.
