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Dries Van Noten Spring 2015 RTW

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There seems to be nothing wrong to take a quick Midsummer’s Night trip down the woods in the midst of a busy Parisian metropolitan, right? In gratitude of a catwalk composed of spongy fern colored moss, Dries Van Noten’s Spring/Summer 2015 collection did. John Everett Millais’ Ophelia brought in this dreamy setting, a pre-Raphaelite painting originating from 1852 that created a million hippie dreamy fantasies. Shakespeare appeared too – the lightness of fabrics given to be a romantic fairy-tale element, in reference to A Midsummers Night’s Dream. Van Noten’s feminine representation through this collection was nothing but “a girl who loves festivals – and she loves nature and she doesn’t follow rules, she puts on clothes that she wants” – a free-spirited bohemian sub-culture, and seen through the fluidity of silhouettes that floats around the body as it pleases.

Dries Van Noten is not one to exceptionally follow any fashion rules, perpetually molding an impressive assortment of rich, incandescent textiles and prints. There were molds of shimmering brocades, swirling in contrasting prints under the lights across asymmetrical skirts, front-wrapped dhoti pants and minimal slip dresses. Raw denim jackets, sleeveless knee-length rainbow layered vest and devoré silk jackets layered in slim bandeaus of oriental silk were Van Noten’s trademark injections of the free love era. Colors were deep and rich, illuminating under the sheer sunlight filtered through trees, a dreamy effect that would not have been fleeting without dresses from tiers of thin straps of chiffon. A more masculine trace was the delicate silk neckties and pajama patterns in frail fabrics. This was not a collection with tangible exceptional one-on-one pieces, yet amongst the visually fantasizing lineup, a jacket tarnished in gold at the shoulders turned transparent on the base, with a delicate adorned silver leaf motif that looked so much as though it was 3-D. As every piece appeared on the runway, it seemed more and more dreamy than the previous.

And to think the show could not get any more of a daydream – Van Noten’s ladies was untraditional in finishing off the finale walk, by languidly laying on the mossy carpet, arranging a tableau off reference, Ophelia. The idealistic vision of this collection was nevertheless a touch of romanticism to the fashion week, and Van Noten is not one to hold back. What perfect collective romanticism showcased in capital of romance. (Text Nadilla Sari Ratman)

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