Some collections announce their ideas with spectacle. Yentity does something more interesting. It lets you discover the argument while looking at the clothes.

A blazer arrives with a flash of fluorescent mesh. A man wears shorts that appear to have borrowed fabric from a striped shirt. A pale blue blouse meets something resembling a school uniform, then walks away in sharp burgundy boots. Elsewhere, a long black dress becomes a canvas for an enlarged domestic image. None of these combinations seems particularly interested in choosing a side.

That matters for Yentity’s Spring/Summer 2027 collection, presented under TAIWAN SELECT at Rakuten Fashion Week Tokyo. The Taiwanese label proposes what it calls a “new classic” for contemporary urban women, reconsidering traditional femininity through gender-neutral silhouettes and clothes built around confidence, independence and comfort. Underneath that wardrobe is a psychological idea: Carl Jung’s concepts of the Anima and Animus, broadly concerned with feminine and masculine aspects existing within the psyche.

Fashion has spent decades drawing lines between menswear and womenswear, then gleefully stepping over them. What I like about Yentity is that the collection does not treat crossing those lines as a stunt. Masculine and feminine references simply live together.

The closet has become a shared apartment.

Acid tailoring

An oversized black blazer is familiar territory until fluorescent yellow mesh begins peeking out underneath it.

That collision makes the look.

The jacket carries the visual authority we associate with traditional tailoring: broad shoulders, dark color, long sleeves and a generous shape. Then Yentity introduces something almost sporty beneath it, a perforated yellow-green layer extending toward the knees. A small orange-yellow motif at the chest and a flash of red at the cuff puncture the darkness.

I love how quickly the mood changes depending on where you look. Above the waist, this could almost belong to an office. Below it, the fluorescent mesh has the energy of a tennis court under artificial lights.

That tension makes the Jung reference tangible. Masculine and feminine are not presented as two costumes fighting for control. They overlap.

Borrowed uniform

This look could have walked out of several wardrobes at once.

A dark short-sleeve shirt sits above generously cut shorts, with striped fabric extending beneath the hem. There is a belt, black socks and sneakers. It sounds straightforward until you notice the little interruptions: a red layer at the waist and graphic images placed across the shirt.

The outfit reminded me of uniforms, but one that somebody has personalized after the rules stopped being enforced.

The striped fabric is particularly clever. It looks as though a dress shirt has somehow escaped from underneath the shorts, creating another layer without making the outfit cumbersome.

On a male model, that ambiguity becomes even more effective. Yentity is not merely borrowing menswear for women. The exchange travels in both directions.

That is the point.

City layers

Brown, pale blue, forest green and burgundy should feel like separate conversations. Yentity makes them sit at the same table.

A loose brown overshirt frames a pale blue top, while green appears along the sides. Wide brown trousers fall toward burgundy shoes. The silhouette is relaxed without becoming shapeless.

This may be the easiest look to imagine leaving the runway and entering an actual city.

There is something very contemporary about that practicality. Our wardrobes increasingly need to move between categories because our days do. Office, train, coffee shop, dinner, airport. Clothing cannot always wait for us to change identities.

The soft tailoring understands that.

And those burgundy shoes are exactly the kind of small decision that makes an outfit memorable. They are the period at the end of the sentence.

Blue shift

Here, Yentity takes the familiar blue shirt and loosens its social expectations.

The pale blue top has a raised collar tied softly at the neck, with layers extending beneath it. Dark navy shorts sit over another striped layer, while pointed burgundy boots completely change the posture of the outfit.

There are traces of school uniforms, office shirts and equestrian dressing, but none takes complete control.

That is what makes it interesting.

The blouse could easily be coded feminine. The roomy shorts could lean toward traditional menswear. The boots introduce another kind of authority entirely.

Rather than blending everything into neutrality, Yentity allows each reference to remain visible.

Think of a collage by Hannah Höch, where fragments from different contexts suddenly create a new person when placed together. Yentity’s method is far quieter, but the instinct feels related. Identity is assembled.

Soft utility

A dark brown utility jacket meets an ivory skirt that twists and gathers around the legs.

I kept returning to this image because the top and bottom seem to operate under completely different rules.

The jacket has a high collar, large pockets and practical snap closures. It belongs to the vocabulary of uniforms and outerwear. Below it, pale fabric folds around the body with an almost liquid softness before meeting tall brown boots.

Hard and soft. Utility and drape. Masculine and feminine.

But describing the look through opposites almost misses what Yentity is doing. The interesting part is not that those qualities are different. It is how normal they look once they occupy the same outfit.

That may be the collection’s strongest interpretation of Anima and Animus. Harmony does not require sameness.

Domestic surrealism

Then Yentity gives us an image large enough to swallow the dress.

A black column becomes the background for what appears to be an enlarged photographic still life, with amber and gold tones stretching vertically down the body. The simple spaghetti straps leave the image largely uninterrupted.

It feels less like a printed dress than a photograph someone decided to walk through.

Knowing that Yentity incorporated imagery originating in the designer’s own photography makes this use of visual material particularly interesting. The everyday object becomes monumental once transferred onto clothing.

There is a little Pop Art logic here. Take something ordinary, enlarge it and suddenly we are forced to reconsider why we ignored it in the first place.

Against the collection’s layers and tailoring, this directness feels refreshing. Sometimes identity is complicated. Sometimes you just wear the picture.

Desert officer

Camel brown takes over here in a long coat with military and trench-coat associations, but Yentity refuses to let the reference become literal.

The upper half is full of structure: shoulder details, a high neck, layered front panels and controlled volume. Then the garment opens toward the legs, revealing darker and lighter panels beneath.

The result resembles a uniform caught halfway through becoming a dress.

I particularly like the long vertical movement. Fabric extends almost to the floor while the openings allow the inner layers to appear with every step. Nothing feels sealed shut.

There is also something cinematic about the earthy palette. It recalls the sand-colored wardrobes of science fiction, where clothing has to suggest both an imagined future and some ancient civilization we cannot quite identify.

Except Yentity’s future is not about technology.

It is about permission.

Shared closet

The most useful way to understand Yentity’s Spring/Summer 2027 collection may be to forget the old question: Is this masculine or feminine?

It becomes increasingly irrelevant the longer you look.

Jung’s Anima and Animus provide an intellectual framework, but Yentity wisely does not turn the runway into a psychology lecture. Instead, the idea appears through ordinary wardrobe decisions. A blazer becomes oversized. A blouse meets long shorts. Boots change the attitude of soft fabric. A traditionally practical jacket sits above a flowing skirt.

These are clothes having conversations with one another.

And personally, I find that much more persuasive than fashion that treats gender fluidity as something requiring constant explanation. We already live in a world where people borrow jackets, swap shirts, shop across departments and build wardrobes according to what looks right rather than what a sign above a rack tells them to buy.

Yentity catches up with that reality.

Its idea of the “new classic” is especially compelling because classics have never actually been fixed. The suit changed. The shirt changed. The acceptable length of trousers changed. What men and women were expected to wear changed repeatedly. We simply have a habit of calling yesterday’s disruption tradition once enough time has passed.

Yentity understands that the next classic may already be hiding inside combinations that once seemed contradictory.

What stayed with me was the ease of it all. There is color without chaos, experimentation without costume and intellectual thought without requiring the wearer to explain Carl Jung over dinner.

You can simply put the clothes on.

Maybe that is where Anima and Animus become most relevant. Identity does not need to be divided into two neat boxes before getting dressed in the morning. Different parts of ourselves can coexist, contradict one another and still belong to the same person.

Yentity turns that psychological idea into something refreshingly practical.

Open the closet.

Take whatever speaks to you.

Yentityの服を見ていると、台湾の新しい世代が「クラシック」という言葉をどう更新していくのか、もっと知りたくなる。都市で生きる人の自由や自立を大切にしながら、日常の服に少しだけ意外な選択肢を加えているところが、このブランドらしい魅力だと感じた。写真や色、レイヤーを通して見える個人的な視点も、Yentityの世界をより身近なものにしている。東京の次に、このブランドがどんな場所へ自分たちの「新しいクラシック」を運んでいくのか楽しみだ。