Mitsuru and Aco Nishizaki sought to break free from habitual garment boundaries.

Seeking to prove that a garment can be several things all at once, Ujoh’s Mitsuru and Aco Nishizaki sought to blur boundaries, layering their signature deconstructed and layered tailored silhouettes with elements of workwear and sportswear. Their designs bridged several worlds within a single look, splicing the back of a shirt with the front of a jacket, for instance, and working extensively with denim, a largely untapped register for Ujoh.

A few workwear silhouettes were done in collaboration with Dickies, and more broadly, the designers explored its versatility in a variety of silhouettes in indigo, ecru and brown.

To lighten the casualwear classic and transcend any sense of the literal, they sliced into the silhouettes like they do with their tailoring, which was also plentiful in the lineup. Therein, along with the blacks, whites and grays, they mixed up dusty pastel hues and added openings and touches of semi-transparency that articulated a deliberate sense of airiness.

Jackets were cut diagonally across the body or given elongated front tabs, open sides and wide cropped backs. Skirts were wide and flowing yet structured, with panels of black suiting fabric interspersed asymmetrically here and there, with flaps of fabric echoing the shape of leather tie belts.

In another deviation from previous Paris outings, they integrated elements of their second line Ujoh Synth, with sportier aesthetics.

For just a handful of printed pieces, meanwhile, Ujoh worked with artisans in Kyoto, best known for its kimono making, to hand-paint rolls of fabric with floral motifs before fixing and painting the background, with each 20-meter swathe of cloth taking a week to complete.

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