This season, it would seem Dries Van Noten had Bernie Boston’s famous 1967 Flower Power image of a student placing carnations into the barrel of soldiers’ rifles on his mood board, or at least in the back of his mind. He re-imagined the graphic qualities of camouflage, taking it back to its peaceful roots as foliage and undergrowth, and then took it further. Alongside earthier, greener tones sat bright canary, oranges, and electric blues.

Reinforcing this non-aggressive notion of camouflage, prints extended from the top garments to cover the bottoms, making it hard to distinguish where the top ended and the bottom began, often only distinguishable by the weights of the different fabrics.

This repurposing of a print used in guerilla warfare was played against fencing details, enabling Van Noten to bring white paneling and technical details into the mix. This worked well with a beat-heavy extended remix of Drop It Like It’s Hot played throughout.

The complicated balance of contradictions gave us an astounding collection of impeccable garments, with each look reinforcing the last, leaving most men in the audience proclaiming they’d be happy to wear only Dries next season.