I can't even begin to explain how much of a fan i've become of Dries Van Noten as a label and the man as a designer. This collection, though, certainly explains why. Aswirl in prints (prints that were reminiscent, to me at least, of Tisci-era Givenchy), the collection masterfully mixed fabrics multiple fabrics, often in one look. The message was clear: everything matches.
His dazzling patchwork-potpourri of colour, print, texture, exotic skins and fabrics was perfectly in tune with the opulent gilded and frescoed interiors of the Paris' historic 17th-18th century Hotel de Ville where the show was staged. The mix-and-don't-match effect of the collection extended to the shoes and ankle-boots which came in a collage of coloured leather and python-skin, with heels in wood and even metal.Peasant-dresses in blocks of up to six colours, had slightly raised waists, full sleeves, a square bodice, and a dirndl-style skirt; or in the Cossack-look tunics, with beaded sleeves or inserts of velvet.
Inspired by the Ballets Russes and the idea of meeting David Bowie, Van Noten combined up to five different silk patterns in one dress, applying a gilded finish to ornamental snakeskin appliqués, mixing three or four different coloured tweeds in a zippered bomber-jacket and and adding black sequined sleeves to gold brocade coats.
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