Every editor is still highly impressed with Dries Van Noten‘s last season, staged in Palais Garnier opera house. Filled with these jaw-dropping, embellished coats. It’s a rare thing in fashion industry, when a show has such a long-lasting impact and still makes a ‘WOW’ afterwards. I guess that was the top collection of men’s autumn-winter 2016. But, can anybody keep up with such success for longer? Let’s ask each other an honest question – is it possible, to make two, consecutive collections, both just as good as the first one? I really, really doubt. There’s always this “gap” collection, where the genius seems to reflect and save creative energy for the next season.
Spring-summer 2017 wasn’t a ground-breaking moment for Dries’ career, and I’m pretty sure he agrees with that. But this doesn’t mean the collection was bad – oh, no. It surely scored a place on the podium of season’s best, with his “new take on arts and crafts“. While designing the collection, Van Noten wanted to take a rest from embroideries and his old, good colour palettes, searching for inspiration in fabric art and textile artists who were present in the 60s and 70s. The effect? A wide variety of texture and textiles, visible in amazingly great pieces. Silk print coats and jackets were patched together from Enlightment-era botanicals, while arty sweaters looked raw and dilapidated thanks to lovely, yarn finishings. The camouflage print in khaki appeared multiple times, contrasting with peacefully light trench coats and pants. The designer didn’t rest on his laurels, that’s for sure. And the anticipation for the next collection, coming in six month, is already reaching the peak point.