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post #16 of 29
Originally Posted by Fuuma View Post

Yawn, Dries is good in stores but I'm almost never enthousiatic about his runway shows, too much print madness when you pile it all up. Harness and shape of coats is A+ though.

I disagree. Great use of embroidery, prints, and colors, imo.  Makes me think of some bandit from Prussia or something like that.  Very romantic.  I really liked FW13, which had this very louche feeling, like some party in the 70s.  This is less modern and more romantic than was that, and I like it.  Lots of what looks like ye old athletic gear as well...





Okay, just read the notes.  Nureyev. Makes sense, with the ballet slipper shoes and the unitard.  

post #17 of 29
Idk, it seems pretty restrained in terms of prints this time.. The shows are getting get longer and longer though, feels like you could lose a good 10-15 looks in the middle without much harm to the show.

Harnesses + long coats are definitely the high point for me.

Also like the way the singlet tops + waistbands and layered tshirts evoke dance uniforms
When you see dance costumes,” Dries explained, “it’s often one small element, which gives a hint of a costume. It’s about giving just that hint of a garment instead of the full-on thing.”

Nureyev knew one thing or two about prints

post #18 of 29
Thread Starter 





The lither bodies of male dancers, and the clothing they wear both on and off the stage, was where designer Dries Van Noten began this season’s sartorial conversation. A collection expressly focused on exploring or encouraging movement.

But as celebratory as this show was of a form of artistic expression, that is often fraught with emotion, this line up with its scooped necked tops, ribbed knitted waistband trousers, and feather light shirts, was actually rather restrained. Especially coming from a designer who is known for his masterful work with prints, color mélanges, and daring embellishments.

Van Noten’s choice to pull back, regroup, and push out into unchartered territory is somewhat understandable. After all the designer spent the last year trolling through his creative past and delving into self analysis to produce the exceptional retrospective of his work that is currently on display in Paris at Musée des Arts Décoratifs.

This collection felt very much like a clear break from all that has come before it. Bare chested models took to the designer’s catwalk in sensual (not a word usually associated with Van Noten) dressing gown coats, fluid garments cut in an illustration print of nude male dancers and tricky harness like vests- with only one shoulder being covered in a swath of fabric- strapped to the body.

post #19 of 29

looks great!  i love the printed suits.


(that nowfashion article has way too many grammatical errors!) 

post #20 of 29
cool backpacks
post #21 of 29
some nice details

post #22 of 29

less wearable than past collections, but no shortage of inspiration. jackets are standouts
post #23 of 29
Originally Posted by pickpackpockpuck View Post

I think there's something vaguely sinister about this show that I really love. It's sensual, based on ballet, but it's still got an edge. Beneath the overt ballet references there's kind of a gangster subtext I get at times—the harnesses look like holsters, the long jackets like trenches, more black than usual for Dries. Sounds a little crazy, but that's what I get. Think it's awesome.

Not crazy at all. I'd say it sums up Dries himself. Looks like a history teacher but turns out to be cooler than everyone you know.
post #24 of 29
So Parker posted the show video in the DVN thread and
Originally Posted by Parker View Post

Somewhat relevant, the music used in the show was composed by Thierry De Mey and Peter Vermeersch as soundtrack to Anne Teresa de Keersmaeker's dance piece Rosas Danst Rosas first performed in 1983. It's the inaugural work of her dance company Rosas founded the same year and for which Dries Van Noten has been a frequent costume designer over the years (Drumming, 1998; Rain, 2001; Raga for the Rainy Season / A Love Supreme, 2005)

1983 saw Anne Teresa De Keersmaeker’s international breakthrough with the piece called Rosas danst Rosas. This production opened at the Kaaitheater Festival in Brussels and at the same time signalled the official inauguration of the Rosas company. The four female dancers who originally formed Rosas were all ex-students of Mudra: Anne Teresa De Keersmaeker and Michèle Anne De Mey were joined by Fumiyo Ikeda and Adriana Borriello. The music for Rosas danst Rosas, composed by Thierry De Mey and Peter Vermeersch, came into being in parallel with the choreography. The performance is composed of five parts, and both the dance and the music are based on repetitive, minimalist principles.

The drive in this body machine is tempered by a series of ‘very familiar, everyday movements’: the abstraction then changes into a series of small, concrete emotional narratives which the spectator recognises and is moved by.

A performance of Rosas Danst Rosas was put to film by Thierry De Mey in 1997, it's much shorter than the orginal piece which is about 110min long. Here's most of it, it's worth a watch if you have 1/2 hour to kill (or jump to part 2 if you're in a hurry) and are not allergic to contemporary dance.

post #25 of 29
I don't know shit about designer clothing. Where exactly should I look to find these pieces for sale? Have all the stockists already moved on?
post #26 of 29
???? dries stockists don't move on... many stores would immolate themselves to carry dries.

you can find dries men's in nyc at barney's, jeffrey, opening ceremony, if and after next saturday at totokaelo. guys am I forgetting any?
post #27 of 29
MAC in San Francisco carries Dries, but you'll have to call in orders. Haven't stopped in for a while, so not sure what their buy looked like.
post #28 of 29
Sorry, I meant from this SS15 collection.
post #29 of 29
We just listed a bunch of stockists. Call/e-mail and ask?
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