Christian Wijnants’ Persian nomad was well equipped for fall, prepped for the great outdoors with a selection of scarves that doubled up as pillows, blanket-coats and outsize down jackets.

Continuing his eastern theme of several seasons, the Belgian designer pumped up the volumes with his shapes and toned down the print-on-print with the integration of more color-blocking, his color palette autumnal in camel, russet, bronze and khaki, peppered with pops of bright blue.

As ever, the layering was key, although Wijnants’ pants were wider this season, his skirts less close to the body, making the feel of the collection less ethnic, more ethereal, and at the same time more contemporary.

A floral motif — difficult to distinguish whether it was magnolia or rose — with a magnified Art Nouveau look pervaded much of the lineup, done all over in long, loose dresses with matching voluminous scarves or in striking jacquard or intarsia knit ensembles.

These were contrasted, however, with plain looks like a blouse and skirt made with starchy white broderie anglaise, and with smatterings of slim stripes and checks that were a graphic contrast with the earthy whimsy of the florals.

By  on March 2, 2018

Christian Wijnants’ Persian nomad was well equipped for fall, prepped for the great outdoors with a selection of scarves that doubled up as pillows, blanket-coats and outsize down jackets.

Continuing his eastern theme of several seasons, the Belgian designer pumped up the volumes with his shapes and toned down the print-on-print with the integration of more color-blocking, his color palette autumnal in camel, russet, bronze and khaki, peppered with pops of bright blue.

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