The show’s defining theme was fragmentation and reconstruction, as heritage elements of the brand were broken down and reformed into innovative, subversive garments. Archival Dior florals were employed in monochromatic tailoring, whilst fair-isle knits were revitalised in fresh cuts and paired with voluminous skater pants. The classic men’s suit was repeatedly rejuvenated: one in loose black leather, another in a jagged striped pattern. Creative director Kris Van Assche described the ethos behind the collection thus: “Traces of memory and tradition can still exist, but these happen without nostalgia: this is the hybridisation of now.” The notion of disjointedness was further reflected in the venue design, which featured fragmented LED screens playing an exclusive film by Willy Vanderperre, starring the show’s models.
Black, White and Red…
…and nary another colour in sight. Monochromatic florals topped more monochromatic florals, red edging set off black tailoring, whilst the black and red buffalo plaid appearing throughout was directly co-signed by Van Assche, who wore the print under a sharp black suit. The set, too, was starkly hued and lit in red neon. (We will concede we spied a few camel duffels, but let’s not be pedantic).
In the collection’s outerwear, lustrous textures ruled. On the catwalk: an oversized black puffer jacket with white fur; a black waxy duffel; a red leather biker jacket that we’d sell a distant relative for. A standout vinyl look burgundy blazer (it’s a shade of red, so it still counts, pedants) neatly encapsulated the show’s concept, melding classic shapes with modern fabrics and techniques.