Dries Van Noten: Richly embroidered, unabashedly romantic and, at times, nostalgic, Dries Van Noten distilled his trademarks into a fine collection. Over the years, this Belgian has stuck to his own aesthetic. And while some may have believed that his well-deserved ethnic label would ultimately run into a cul-de-sac, he has evolved it boldly. Recently, the results have been more assured and more beautiful. Fall was a case in point. Opulent embellishment came with a nod to Venice, Istanbul and Peking — plus a dash of the Twenties and Bloomsbury. This meant lavish Chinese embroidered jackets paired with loose silk pajama trousers and chiffon dresses printed with giant pansies. They were the feminine side of the equation. But, inspiration also came from tailoring, with tweed overcoats, suits with cropped pants and bulky sweaters with geometric motifs. Fur made it into Van Noten’s vocabulary for the first time. But he did it like an old pro, with coats in bold colors fashioned with giant flowers.

Hussein Chalayan: Miss Marple might have better luck pinpointing Hussein Chalayan’s message, which neither his show nor his clothes seemed able to transmit. The collection’s title, “Anthropology of Solitude,” didn’t offer any clues. So let’s start with the facts: In the beginning, his clothes projected an aura of restrained cool. Chalayan crossed an elongated black baseball jacket with a classic toggle coat to create a chic new hybrid. His artfully sweet peplumed jackets buttoned onto matching deconstructed sailor pants or simple skirts. He showed shearlings with high fleece collars and drapy sundresses in soothing cocoa-and-cream prints. Well done!

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