Dries Van Noten
MANILA, Philippines - The setting was, firstly, a work in progress where artists were painting on the wall. It was a very large canvas with words, mandalas and trees in soothing colors. One listened to music and poetry that had a psychedelic feel, meant to enhance the atmosphere: light, pretty, trippy. The clothes, on the other hand, were grounded in reality, with the kind of tailoring and proportions that could make any man look very today, even two years from now. A gray coat with a repetitive black print complemented the background; an olive coat that would look perfect inside the Dries Van Noten shop on Quai Malaquais — decorated like the study of a cultured, stylish individual who likes his things just so — in both its single-breasted and double-breasted versions, would work well in any setting, artificially-induced or not. A panel in a white shirt opening to reveal a necktie and a nubby dark moss sweater added character to this wardrobe that felt like luxury reined in.
Henrik Vibskov
Wool sweaters and printed knits were the main attractions on Henrik Vibskov’s runway. The sweaters had more than one color — white flecks woven into green, white with black, and dizzying patterns if one stared too long. Paired with Vibskov’s pant shapes — leggings for men, a bit of a tighter fit at the shin — the look suggested the wardrobe of an almost-but not-quite-artist, down to boots that looked like slip-on sandals from afar. Ponchos, button-down and belted, or swingy and single breasted, had an experimental devil-may-care attitude.
Kriss Van Assche
The dossier de presse said “Work.” This, apparently, was a collection that was inspired by blue-collar and white-collar workers, where “the protective elements that are characteristic of each uniform must strengthen other urban outfits, assaulted by economic violence.” One then, was given the designer’s interpretations of what this blend could mean.
Buckles are used to tighten suits; carpenters’ overalls “protect” a buttondown shirt-jacket. The blue collar workers’ blue is brightened, shortened, and styled with a jacket more traditionally used in the office — cut, of course, to Van Assche proportions. A quilted jacket with a Mandarin-inspired collar and dark blue sleeves could cover a suit, or overalls, or nothing: it was a modern blend.
Boris Bidjan Saberi
Boris Bidjan Saberi’s presentation this season included an army green motif and sporty-looking parkas. Its tight-fitting leather version in a faded purplish-brown would fit in a woman’s wardrobe, as did the cozy-looking knits for layering. A beige version looked like it had been worn for decades, giving it a well-loved aspect. The collection was all about the jacket — in a gray curved-front version, it literally wrapped the body.
Julius
The collection was entirely in black, but there was a fluidity seen throughout. The first few looks had small waists, with hips and shoulders flaring out slightly. Remaining coats had a slight A-line cut, giving a soft swing and softening the blacks and grays. His collection for the spring, out in stores now, feels young, while the season before felt like a darker persona. It’s a mature change for the coming fall.