“Evolution, it’s always continuing,” said Glenn Martens, who continued to build, in this standout dandy-looking collection, on his knack for spinning — through draping and volumes — an old world elegance on regular garments; creating richness with common everyday ingredients.
To his playful construction-led repertoire, he added “infinity squares” where the collar flips open at the shoulder point, and “penguin” constructions, where the sleeves hang down — “depending on how you wear it, it becomes extra boxy or drapey.”
The allure of a striped shirt with twisting volumes spiraling around the body was echoed on more simple looks through graphics, like the tops and pants in colored diagonal monogram stripes.
A range of plays on asymmetry included a long simple tailored black pant and white shirt with one side cut bigger, creating a romantic effect on the collar and a flap effect at the waist. A military workwear vibe came through in the baggy pants with patches and zipped pockets, worn with oversize draped sweatshirts.
The women’s was more sexy in attitude, like the sheer tulle bodysuits worked with graphic, colored lines evoking hosiery, and the long fitted dresses in boldly colored stripes with a subtle mermaid shape.
Among the outerwear highlights was a green, hooded Windbreaker with a super draped volume gathering at the neck, like an 18th-century shirt, which was worn under an asymmetric bomber.
The hand-painted denim pieces, decorated in traditional Polish motifs used on wedding boxes, were stunning.
The dandy attitude held strong right to the finale, with Martens demonstrating his weird taste in fabric on a black suit in a shimmering crinkled fabric worn under a navy coat.