'Fashion Power': Zarny, the Myanmar Refugee Turned Tokyo Designer

Zarny draws on his roots for his designs, which have been worn by politicians and royalty. Kazuhiro NOGI / AFP
Zarny draws on his roots for his designs, which have been worn by politicians and royalty. Kazuhiro NOGI / AFP
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'Fashion Power': Zarny, the Myanmar Refugee Turned Tokyo Designer

Zarny draws on his roots for his designs, which have been worn by politicians and royalty. Kazuhiro NOGI / AFP
Zarny draws on his roots for his designs, which have been worn by politicians and royalty. Kazuhiro NOGI / AFP

Having fled Myanmar for Japan with his parents as a child, Shibuya Zarny began his fashion career as a model in Tokyo and went on to make clothes for royalty.
"Fashion is an art that has enabled me to survive," the designer, whose label recently held a 10-year anniversary show in Bangkok, told AFP.
The runway looks featured nods to Southeast Asian design, from leaf and eye motifs to jewelry worn under colorful jackets by shirtless male models.
Zarny's parents came to Japan as political refugees in 1993 when he was eight. As a teenager, dressing with style became a way for him to avoid being bullied.
His mother first taught him dressmaking, and before long Zarny, with his slim silhouette and intense stare, had been scouted as a model on a dance floor in the capital.
"At the time we had no Instagram," he recalled, so to see and be seen he would hang out at bars, arcades and novelty photo booths called purikura.
Zarny often went to Shibuya, the youthful district he later took as his first name.
"At that time Shibuya was really dangerous. There was a whole underground scene" with yakuza gangsters, he said.
As his career took flight, Zarny launched his eponymous label in 2011, a year before finally securing Japanese nationality.
The fledgling designer gifted 70 longyi -- a traditional garment that ties at the waist -- to Myanmar democracy leader Aung San Suu Kyi.
She wore a lilac one to accept the Nobel Peace Prize in 2012, a moment which Zarny said "changed my life".
'Brave heart'
Alongside his catwalk endeavors over the following years, Zarny acted as a mediator between Japan and Myanmar.
He even accompanied Japan's Princess Yoko of Mikasa -- dressed in a Zarny original -- on a visit there in 2019.
Now, with Suu Kyi detained since Myanmar's 2021 coup, he is raising funds for others escaping his native country.
When the junta seized power, Zarny received a stream of messages asking for help.
"So many refugees from Myanmar came to Thailand, at the border," said the 39-year-old.
He sprang into action, working with the United Nations refugee agency (UNHCR) and organizing events in Tokyo.
"Myanmar people lost their pride, they are sad. So I want to show my fashion power, to give them confidence and a brave heart."
Zarny's professional connections in Myanmar were scattered -- just one challenge he has faced in recent years.
The Covid-19 pandemic put a stop to jet-set parties, decimating demand for his expensive clothes and eventually forcing him to abandon his showroom in Tokyo's high-end Omotesando district.
One of his top clients -- politician Shinzo Abe, for whom he made suits -- resigned as prime minister in 2020 and was shot dead two years later.
Starting over
But Zarny is no stranger to starting over and has branched out into interior design.
He also made a suit for the captain of the refugee Olympic team ahead of the upcoming Games in Paris, where he hopes to one day present a collection.
These days Zarny runs his studio from a compact apartment in northern Tokyo, where dozens of small paintings showing bucolic scenes of Myanmar adorn the walls.
"My grandfather, who was an art professor, made these watercolors for me when I was a child, because I was missing Myanmar," he said.
The recent show in Bangkok has generated demand from Thai customers, leading Zarny to reflect on his roots.
"I was always thinking: where am I from? Am I a Japanese designer, or something else?" he said.
"I realized finally 'I'm from Southeast Asia'," Zarny said, adding that he wants to focus on this "original" source of inspiration.



Valentino’s New Designer Puts on Maximalist Paris Ready-to-Wear Debut

 A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)
A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)
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Valentino’s New Designer Puts on Maximalist Paris Ready-to-Wear Debut

 A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)
A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)

Alessandro Michele’s eagerly awaited ready-to-wear Paris Fashion Week debut at Valentino was unveiled in a setting that hinted at a transformation— a living room in flux. Stools, ladders, and lamps shrouded beneath white blankets evoked a house renovation, signaling not just change, but a conscious revival of past glories. The scene, poetic and subdued, perfectly set the stage for a “maximalist-lite” spectacle that was equally haunted by history and illuminated by Michele’s unique flair.

Meanwhile, under the soaring ceilings of the École des Beaux Arts, overlooking the Seine, Sean McGirr’s sophomore ready-to-wear show for Alexander McQueen arrived with a palpable sense of relief. The shift in setting — from a bleak industrial warehouse outside Paris to this iconic venue — reflected a fresh start for McGirr, whose uncertain debut had left critics shivering, both literally and figuratively. Now, with the benefit of more time to prepare, McGirr appeared more at ease, though hints of his sometimes overly simplistic approach still lingered.

Here are some highlights of spring-summer 2025 ready-to-wear shows:

Michele's Valentino's debut

The mood was set with haunting music and the steady beat of a drum, creating an ambiance charged with drama and anticipation. Michele, who made headlines earlier this year after being named the new creative director of Valentino, following his successful reign at Gucci, brought with him much of his recognizable style. Yet there was a distinctive evolution in his vision — less overtly ostentatious, but still unmistakably eclectic.

Feathers floated on hats, soft and playful. Lingerie peeked through delicate layers. Flowers, fortune tellers’ hats, sparkling embellishments — all coalesced into an eclectic wardrobe that carried a vintage feel. Michele, it seemed, was teasing apart the DNA of both houses he knows intimately: the exuberance of Gucci and the ethereal heritage of Valentino.

Some of the pieces felt familiar to longtime Valentino admirers: the feminine nipped-waist dress, the floppy floral gown with its tiered skirt, and the iconic Valentino red that made its dramatic entrance. Yet in Michele’s hands, these classics were playfully twisted — feathers replaced fur on a billowing stole, and the result was a softer, more modern take that eschewed excessive luxury.

Jared Leto was among the VIPs who sat in the front row, a testament to Michele’s continued draw among Hollywood’s elite. The designer, who had risen to international recognition by infusing Gucci with his beloved “Geek-Chic” aesthetic, seemed to bring a similar ethos to Valentino, though filtered through a more graceful, couture lens.

Throughout his tenure at Gucci, Michele was celebrated for prioritizing his personal vision over the often suffocating codes of heritage houses, and Sunday’s show echoed that defiant spirit.

McGirr's sophomore outing

The opening tailored suit, its lapels rolled as if to ward off an unexpected London downpour, seemed a pointed metaphor — perhaps a shield against the relentless skepticism that followed his first runway outing. This season, McGirr turned to a reference steeped in both his heritage and McQueen’s early days: the dark romance of the “Banshee” show. In doing so, he anchored his own identity more deeply in the label’s legacy, embracing a Gothic allure that was more commercially viable this time around.

It was a collection of contrasts. The precise tailoring echoed McQueen’s subversion of British suiting, twisting and clutching fabric in ways that seemed as though it had been caught in a sudden gust. However, this wasn’t always effective. One such example — a jagged, off-white tuxedo — felt more like a costume of restraint. This overly simplistic take on tailoring lacked the subtle layering and tension that distinguished Sarah Burton’s previous work for the house.

Where McGirr truly shone, however, was in his eveningwear — an area that has become increasingly vital in the era of celebrity-driven fashion. The shimmering embroideries and featherlight silks, frayed and distressed in lilac georgette, signaled his understanding of red carpet glamour. The brushed white chiffon minidress, paired with a gold beaded and sequined jacket, made a convincing case for the designer’s growing confidence. And when the silver chains traced the body’s lines, their intricate embroidery brought a level of audacity that was finally worthy of McQueen.

The night’s high point was a look of pure excess: an extreme gown embroidered with glistening silver chains that seemed to catch every glimmer of light in the venue. It was an ensemble that Daphne Guinness herself — who watched approvingly from the front row — might have worn in a heartbeat.

Despite his strides, McGirr’s sophomore effort still carried the weight of a designer learning the ropes of a storied brand.

Akris: Where utility meets minimalism

Akris’ Sunday collection had the audience leaning in, not for any over-the-top spectacle, but for the luxurious subtleties that Albert Kriemler so masterfully crafts. The designer, true to form, took the trench coat idea — a staple of the wardrobe — and transformed it into something distinctly Akris. With utilitarian detailing threaded through every seam, this was an exercise in functional luxury, the kind that Kriemler has long perfected. His designs don’t shout; they whisper.

The collection opened with takes on trenches, each reimagined to fuse practicality with fashion-forward flair. Minimalism, too, reigned supreme, with looks that kept embellishments at bay to let the craftsmanship shine. A flat, clean-cut fabric top paired with culottes nodded to the timeless Akris aesthetic — unfussy, luxurious, and quietly powerful. This was minimalism of the highest quality, a testament to Kriemler’s commitment to making clothes that defy the viral trend, focusing instead on timeless appeal.