印花方面，雙人組設計師Hokuto Katsui（勝井北斗）和Nao Yagi（八木奈央）合作的Mint Designs，本季雅致中有奇趣的設計，也獲得媒體一致好評。走出品牌以往概念性過重的窠臼，在以傳統靛藍為主調，搭配簡潔套裝、襯衫款型的系列中，看似浮世繪海浪的筆觸，實為交纏花卉藤蔓；遍布裙裝的漸層格紋，則是由各異其趣的椅子交疊；而身上帶有靶心的玉兔，更令人不禁莞爾。
以往總以科技感取勝的Somarta，本季告別鏡面印花搭配亮片鑲嵌的一貫手法，設計師Tamae Hirokawa（廣川玉枝）色調剪裁皆轉向柔和，帶出淡淡童話幻夢。從新藝術風格（Art Nouveau）中的蜷曲藤蔓圖紋中得到靈感，設計師改以鏤空、刺繡與蕾絲等軟性元素結合A字短裙等略帶小女人味的單品，富20世紀初時代感的蜷曲髮型也相當耐人尋味。此外，數位編織Legging仍是Tamae Hirokawa強項，由上季的幾何切割轉向本季生機結構，展現設計師在Issey Miyake麾下磨練出的功底。««
»»It is not east to follow the footstep of the big 4 fashion weeks, but Tokyo succeeded in doing so by merging its traditional heritage with sub-cultural elements as well as the city’s endless stream of creativity.
At Arealage, designer Kunihiko Morinaga pulled off a fluorescent light show that could make Alexander Wang’s version seem pale, Motonari Ono also pulled off an optical illusion by letting his models carry mannequins onto the runway, while Yasutaka Funakoshi of Alice Auaa made his loligoth rendition of “Alice in Wonderland”, while he himself walked out in a giant bunny suit.
Meanwhile, In Process by Hall Ohara’s sea of parachutes have turned quite a few heads, boutique Harcoza featured a dress made with some 250 paper cranes, while Christian Dada presented their collection in huge ice blocks, which must have been hell to install.
In the category of more serious design, traditional Japanese influence was big this season, as Matohu continued to offer a range of Kimono and traditional color inspired dresses as well as coats. Meanwhile, up and coming label Shiroma and veteran Kamishima Chinami both followed the same trail, experimenting the possibilities of washi paper and Japanese painting respectively.
Mint Designs has displayed maturity with its most wearable collection this far, which featured quirky prints with an obscure sense of humor, whereas Tamae Hirokawa of Somarta traded her signature futurism for femininity of the Art Nouveau period.««