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29-02-2012
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WWD Review
Quote:
Dries Van Noten has a well-established love of exotica, typically expressed via his innovative use of prints. He is also among the increasingly few designers who give their runways over primarily to daywear — real, unapologetic daywear that could, aside from the editorial flourish or two, make a speedy segue from runway to street. In the collection he showed on Wednesday, Van Noten again fused those two core elements to ultrachic effect.

The designer has a particular gift for functioning flamboyance. Back in October, he started scouring the Victoria & Albert Museum for historical Chinese, Japanese and Korean costumes. He then photographed the actual garments — robes, coats, skirts — for large-scale prints that he cut into various pieces to create graphic blocks on the clothes. The side of a lavishly patterned oriental coat became the decorative motif for a skirt; parts of an Eastern skirt, the pattern on a blouse. Sometimes one big, bold graphic made the case, while at others, it was an interesting patchwork.

The technique worked beautifully for silk skirts and dresses. Its daring transfer to coats and jackets transported mannish tailoring from sensible to sensational. Van Noten took respites from the prints to detail some pieces with grand embroideries of cranes and a phoenix, and continued the men’s wear mood with a rugged parka in plasticized velvet. Rather than jar, the visual bravado radiated womanly self-assurance.

If one cared to nitpick (and why not?), the show went on too long. Or maybe Bon Iver’s downer delivery of “Woods” on the soundtrack just made it feel that way. Then again, perhaps Van Noten considered it a happy indulgence “to slow down the time” after he pushed his V&A contacts to hasten their pace. “Museums think in centuries,” he said in a preview. “They’d say, ‘When do you want this, January?’ Fashion designers think, ‘This afternoon. We need it now.’”

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29-02-2012
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I agree. Beautiful collection. I can never understand what other people seem to expect from Dries. He has a very personal esthetic which he seems to stick to in every collection...and he always does a fantastic job.

For those who criticize...I'd love to know exactly what they DO expect..or if they also possess the talent and imagination that Dries has.

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29-02-2012
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I agree on your last part, margielamike, on building expectations out of research and knowledge of the work of a designer, but I disagree on the part of having equal talent and imagination in order to emit criticism. I think people should have information and develop an opinion based on it even if they don't possess the skills and means to conceive a collection on the level of someone as experienced and trained as Dries (or any other designer) is.

Apologies if I misunderstood your comment by the way. I know it was brief and casual but just wanted to make a point on it because it's not the first time I've seen it as an argument to discredit criticism.

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29-02-2012
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Originally Posted by HeatherAnne View Post
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Thank you HeatherAnne. What Cathy Horyn has to say is always of interest. But on this basis I understand not much beyond the level of what I understand of Jason Wu's offering this season. And I'm sort of thinking Dries has a status as perhaps a more cerebral voice than that. So, Asian prints..and...

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29-02-2012
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HQs
Vogue.it only features the first 34 looks of the collection. From look #35 on, the images are slightly smaller and from vogue.co.uk.






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29-02-2012
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29-02-2012
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29-02-2012
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29-02-2012
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first I was thinking about some Netherlands inspiration, then the Bushido dress pops out that I realize it's about Japan. so... good play on the elements, they look very well-done embedded in the collection.


Last edited by Pricciao; 29-02-2012 at 03:03 PM.
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29-02-2012
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Considering I love bright colors and busy patterns...Dries is definitely one of the reasons why I always investigate his collections every season. I do like black...but too much black seems to be TOO easy for my personal taste. Within the patterns..I also like the geometry where the prints disappear..or make an abrupt exit.

I would definitely wear many of the sportcoats from this collection. Considering I am a man..I look to see what is being shown for menswear...but it always seems to be too straight-forward and conservative. Several designer show patterns for men...but not as busy..or as bright as Dries presents in his women's collections.

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29-02-2012
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Quote:
Originally Posted by Tentacl Ventricl View Post
Thank you HeatherAnne. What Cathy Horyn has to say is always of interest. But on this basis I understand not much beyond the level of what I understand of Jason Wu's offering this season. And I'm sort of thinking Dries has a status as perhaps a more cerebral voice than that. So, Asian prints..and...
To quote liberty33r1b again:

WWD Review:

He then photographed the actual garments — robes, coats, skirts — for large-scale prints that he cut into various pieces to create graphic blocks on the clothes. The side of a lavishly patterned oriental coat became the decorative motif for a skirt; parts of an Eastern skirt, the pattern on a blouse. Sometimes one big, bold graphic made the case, while at others, it was an interesting patchwork.


It's not simply Asian prints. It's prints of actual historical East Asian garments, whose true aesthetic value did not rely so much on cut but on print. So we have this tradition juxtaposed against Western ideas of clothing, an almost self-reflexive meditation on print from someone who specializes in print.

Really, one doesn't have to be able to understand the vision of every designer out there. No one is the perfect critic. It's either you get someone's aesthetic, or you don't. I have never been able to comprehend the appeal of Ghesquiere, even back then before the execution of his ideas started to become sloppy, but I will never deny the man his talent or his genius. It's just that he is simply beyond my ken. Like John Ashbery.


Last edited by Uemarasan; 29-02-2012 at 03:22 PM.
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29-02-2012
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Thanks Uemarasan and liberty33r1b

You see this is what I'd like to understand with Dries. I kinda have this thing in my mind with him being part of the Antwerp Six that therefore he might be leftfield, radical, conceptual. His name sort of has that cache. I guess by didn't of association with the Antwerp Six.

Then there's his work. As far as I can tell it's essentially a business formula. Codes about the ethnic and reverance for nature. Isn't he now just a good businessman with a following who enjoys gardening? So essentially, in fact, rather conservative?

I'm not trying to be facetious but hoping someone might lead me to an appreciation of what's edgy and/or interesting about Dries's work these days?...

All that's really been said above is that he mashes east and west. So what?


Last edited by Tentacl Ventricl; 29-02-2012 at 03:57 PM.
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29-02-2012
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Artistic, exotic, antique and elegant. Quite hard to pull off but definitely successful!

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29-02-2012
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Whoops sorry - late edit - my post above should have read by dint of association. With the Antwerp Six

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29-02-2012
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Quote:
Originally Posted by Tentacl Ventricl View Post
I'm not trying to be facetious but hoping someone might lead me to an appreciation of what's edgy and/or interesting about Dries's work these days?...
That definitely sounded facetious and condescending, but it's already been mentioned above. Aside from being correctly informed about his methods, you have to have a particularly solid understanding of how print actually works in the context of designing and cutting clothes to be able to effectively "read" Dries's work. Also, some knowledge of the principles of graphic design helps. No one here can tell you, you have to do the research on your own. Personally, I think that Dries's aesthetic is simply not for everyone to understand. Thanks.


Last edited by Uemarasan; 29-02-2012 at 04:12 PM.
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