VICTOR POLSTER DE STER VAN ‘GIRL’

VICTOR POLSTER DE STER VAN ‘GIRL’

31/10/2018
Sweet sixteen  Als de ster van ‘Girl’ niet – alwéér – op een rode loper staat, danst hij de ziel...
Anna Luyten in Gioia Seghers

Anna Luyten in Gioia Seghers

30/10/2018
BOEK EN TOREN  De Boekenbeurs is de jaarlijkse hoogmis voor boekenwurmen en handtekeningenjagers....
Men window

Men window

03/10/2018
Stephan Schneider AW18

Stephan Schneider AW18

02/10/2018
Raf Simons   Y/project AW18

Raf Simons Y/project AW18

01/10/2018
Counter

Counter

30/09/2018
Walter van Beirendonck AW18

Walter van Beirendonck AW18

29/09/2018
Dries van Noten AW18

Dries van Noten AW18

28/09/2018
Women window

Women window

28/09/2018
Dries van Noten women AW18

Dries van Noten women AW18

27/09/2018
Long view

Long view

26/09/2018
Ann Demeulemeester AW18

Ann Demeulemeester AW18

25/09/2018
How the modern-day master reinvented the Flemish tapestry.

How the modern-day master reinvented the Flemish tapestry.

11/03/2017


Dries Van Noten’s menswear collection was a prelude to those hot summer nights we’re all aching for. The models walked against a wall of car lights, wearing light cotton trenches and silver tees, quickly followed by a blooming array of khakis and leafy prints, only to fade out with a few black laqué pieces and midnight blue ensembles. The sun was setting on a wild garden, and Dries invited us to enjoy the greenery from the shadows.

Though the designer looked at the English Arts and Crafts movement as a starting point for the construction, the inspiration for the prints was found closer to home – Dries dived into the art of Flemish tapestries. A perfect fit for the designer who loves to play with craftsmanship and tradition; and an opportunity for us to have a closer look at the heritage of our region.

Centred around Brussels, where almost a quarter of the entire population was employed in manufacturing, Flemish tapestries gained international recognition in the 15th and 16th Century. Most works from this period have remained anonymous, yet are still considered today the highest art of the tapestry, as they did not yet seek to imitate paintings.

The ‘mobile frescos of the north’ were highly coveted by the great princes of European courts, religious leaders and nobility. Symbols of status and wealth, their value can be compared to that of a jetfighter today. It is this period of creative wealth that Dries has sought to bring back to life through his SS17 collection.

Dries took particular interest in the Millefleurs, a specific subgenre that was most popular around 1400-1550. Decorated with an overflow of flowers, plants and branches, sprinkled over a dark blue background, Millefleurs feel more abstract than their figurative counterparts. The flora and fauna come together to form a mesmerising and surrealistic verdure.

Our modern-day master twisted and transformed the images. Scattered over various menswear staples – a practical raincoat, a sturdy vest or a silk shirt – the intricate drawings become abstract designs. From afar, the prints can be mistaken for a camouflage. Coming closer, the garments reveal a trompe l’oeil effect. Dries chose to preserve the texture of the original tapestry in the print. The result is a game of touch, each fabric carries an imprint of that medieval textile.

Dries chose to stay true to the colours of the tapestries as they exist today. Even the best preserved specimens have not been saved from the ultraviolet rays of sunlight, which transformed the original colours. What remains is a shadow of the original vividness, and green colours have turned blueish, giving the winter gardens a mystical aura.

Over 500 years ago, the Millefleurs tapestries were designed to offer a garden-view on dead-cold winter nights. This summer, they’ll serve as fitting company to long and hot terrace-evenings, whether it’s a Brussels maple or a Miami palm tree we rest our eyes upon.