A complicated soundscape, made up of sound bites and snippets of music featuring Bowie, Warhol, and many more artistic heroes made up the soundtrack to the show, which in itself, couldn’t have been less complicated. The focus here was on perfect clothes, and what a focus.
With or without the soundtrack it was dizzyingly poetic. Nods to the artist’s atelier, psychedelia, and luxurious leisure, all treated with a tailor’s eye. It was the strongest case for the new focus on tailoring that has been high on the agenda this men’s calendar. These were the clothes we wanted to wear, and be seen in if we felt like it (raincoats were reversible, with patterned linings).
The tie-dye prints were not all organic handprints as they first appeared. The perfect symmetry and pattern placement in the tailoring was engineered to provide perfect placement. For softer applications on cotton and knit they were traditionally hand-dyed: a subtle yet fittingly elegant nuance from Van Noten.
The show closed with a wonderfully formed tuxedo — a strict new body with a soft pant, worn with a white cotton shirt with matching white cotton tie, and a padded blanket casually thrown over the arm. It was the strongest case for daytime formality that we’ve ever seen. Just perfection.