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post #256 of 371
The reactions to SS16 make me think - not for the first time - that there is a bigger difference between American and European fashion sensibilities than we tend to think or anyway than globalised fashion marketing and distribution tries to make us believe. Is the use of images of American icons like Marilyn and Elvis on clothing seen as tacky in the US? Because honestly in Europe I don't think it is, and certainly not if done well by somebody like DVN with undoubted design credentials. I don't know it's sth I would wear myself but I believe in Europe you could wear an all-over Marilyn-print T-shirt and not be looked on as a douchebag. I get the impression in the US it's different? But maybe I'm mistaken, don't know.
post #257 of 371
Not tacky, but passé. Well, Elvis might be a little tacky. They are sex icons for good reason, but done to death.
post #258 of 371

That, and the fact that I think (in general) a lot of us expected a lot more from Dries. It's not just that it was a departure from the norm, it was just that it ended up being kind of tacky overall. 

post #259 of 371
Thread Starter 

These trousers looks pretty great. I like Totokaelo's styling overall. When they first started their site, I thought the styling was too "basic" -- making every designer look a bit too much the same, but now I like it.

 

 

 

 

I agree the Marilyn graphics are kinda tacky but I find them charmingly nostalgic. I'd rather see a big Marilyn than some stupid hockey-jersey graphic or Givenchy horror-baroque applique. Still I prefer when Dries goes more in the exotic/travel direction.

post #260 of 371

http://www.nytimes.com/2016/03/03/fashion/dries-van-noten-paris-fashion-week.html?_r=0

 

Video of the studio and interview with DVN

Full interview (Click to show)

In a new video for season four of the “In the Studio” series, Dries Van Noten, from his office in Antwerp, Belgium, talked about being a control freak, the relationship between making fashion and food, and finding a mummified man in his building. And that’s the conversation that ended up on the cutting room floor. (This interview had been edited and condensed.)

Q. What was this building used for originally?

A. It was built to store wines and strong spirits. Then, in the Second World War, first the building was used by the Germans and after by the English. You can still find traces of the old occupations on the walls of the building. From the 1950s on, it was used as a warehouse for old museums. It was completely crammed full of stuff. There was a 13th-century mummified man, a 1950s hairdresser salon, big paintings made completely in postage stamps. We came here in the 2000s and had to empty the space.

Q. Did you like the fact that the building had all this history attached to it?

A. I like it always. The house where Patrick, my partner, and I live in is an old house with a lot of history. Good and bad things happened in the house. A lot of the furniture also has a history. The table and the chairs are coming from the courthouse here in Antwerp. They sold the whole lot just the moment that we came to this building, they kicked all their oak furniture out and took everything into plastic and ugly materials, so the cupboards and everything just came from the courthouse. The rug in my office is from a friend. In the 1980s, I was quite well known for my knitwear, and a lot of inspiration came from carpets, where I found ways to use structures and colors and depth of colors. Sometimes, the fastest way to explain to my manufacturer here in Belgium how I wanted it to look was not saying, “O.K., one roll of this and stitched like this and the yarn like that.” It was just showing the carpets. And that carpet was one of the sweaters.

Q. Is it important to you to be near the harbor?

A. I think the light, the view of the water, the way you really can look far down from here, is always important. To get quiet, I need a view. Sounds maybe kind of like a spoiled guy but I — I need it.

Q. What is the key quality in an office?

A. Our office before was in a house that had 82 rooms. It was very charming but it was impossible to find somebody. So we wanted to have an open office with everything visible, because it was like a fresh start. We don’t have a heavy company structure, but I’m kind of a control freak. I wanted to have a good view on what everybody’s doing.

Q. Does your house look like your office?

A. My office looks very empty compared with my house. The house is completely crammed full with things that Patrick and I love. It’s very eclectic. There are things that have no value but which we like. We have a lot of Belgian painters; we have international painters. We have nice things; we have ugly things. I don’t want that things are predictable. I think it’s clear in my collections. It’s also clear in the house and everywhere where we live. But for me, it’s important to have all those things around me. It’s something that, I think it gives me strength. I think it gives me ... energy.

Q. Do you always have flowers?

A. Always. I bring from the house, from the garden. The garden is my second profession. It’s 22 hectares, which is a big garden. I really need it, going from the flower garden, the shrubs and the trees, the vegetable garden, all these things. I want to share them also with people, so when the peonies are in full flower, it’s really fantastic that you can come here every three, four days with your arms full of peonies and just put all the offices full. It’s impossible for me to say, “O.K., this is my office life, my creative office life, and that is my creative garden life.” For me, it’s one big thing. I think in the same way when I’m cooking, when I’m gardening, when I’m choosing fabrics. It’s a way of living.

post #261 of 371
Thread Starter 

Nice thanks for the link. So many bolts of fabric!

 

It's great that Dries still seems to have a lot of enthusiasm for design. 

post #262 of 371
post #263 of 371

Does anyone have these pants from SS2014 who may be interested in selling? 

 

post #264 of 371
Hello guys ! Nice to meet you all, I'm very new to Dries and I'm on the verge to buy my first piece.
But I wanted your advice on the size, I don't know how it goes.
This jacket I'd like to buy is marked as 48, what would that be ?
I usually wear S pieces. Here are some pictures.

5521035ee91071928b313c785e73fdee.jpg719cc95ff9e4161033102fd6accd3192.jpg054527c2ee80f54662bfbf42f85c946d.jpg62aebf22c827f4ec293583ac89f0c33a.jpg

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post #265 of 371
No idea about that piece, but most of his outerwear is TTS, which means that would be a medium.
post #266 of 371
Quote:
Originally Posted by Caveat View Post

No idea about that piece, but most of his outerwear is TTS, which means that would be a medium.
Thanks for the answer ! Should be good for some layering then.


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post #267 of 371
Quote:

 

Saw this on grailed the other day, seems someone scooped it up for resale. 

post #268 of 371
Thread Starter 

60-second interview with Dries Van Noten

 

CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 90

 

Negroni jello shot anyone?

post #269 of 371

I remain convinced that Dries is one of the coolest guys ever

post #270 of 371
I find it funny he says strong perfume is bad on men yet his signature men's scent is extremely overpowering (that being said I love it in small doses)
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