A dark, brooding mood is always present in Ann Demeulemeester’s work, and for fall she captured the spirit again, from her languid silhouettes to the bowler hats — adorned with a curved wire that extended like a quill pen into a single black or white feather — worn by each model.

The designer stuck to her favored black-and-white palette, often layering pieces with a sense of control that was lovely to watch. An early 19th century vibe was evident in the opening exit, a flowing white dress that resembled a nightgown, as well as a tailored waistcoat with a soft paneled fabric hanging below the waist. It gave the look a sense of movement, as did several high slits on a coat.

Some of Demeulemeester’s clothes read monastic, like the clean, floor-length knit dress, while the black-and-white fringe on many of the exits added a bohemian touch.

The overall effect was poetic and at times melancholic — a beautiful combination that Demeulemeester knows well.

A dark, brooding mood is always present in Ann Demeulemeester’s work, and for fall she captured the spirit again, from her languid silhouettes to the bowler hats — adorned with a curved wire that extended like a quill pen into a single black or white feather — worn by each model.


The designer stuck to her favored black-and-white palette, often layering pieces with a sense of control that was lovely to watch. An early 19th century vibe was evident in the opening exit, a flowing white dress that resembled a nightgown, as well as a tailored waistcoat with a soft paneled fabric hanging below the waist. It gave the look a sense of movement, as did several high slits on a coat.

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