Fashion week (or month, as it really should be called) has become quite the overwhelming spectacle. More designers are showing than ever, street style outside the shows has become a frenzied spectacle to rival the shows themselves, and those not at fashion week are demanding immediate access to show photos online. At the end of it all you’re left with a lot of content to sift through and determining what’s even worth looking at can be exhausting.
If there’s ever a beacon of clarity amongst the tangled darkness that can become of fashion month, it’s Dries van Noten. For spring/summer 2015, Dries sent woodland nymph beauties down the runway in airy, crepe-like silks and Arts and Crafts-style metallic jacquard prints. While the craftsmanship was painstakingly exquisite (the multi- patterned jacquard pieces were woven in one piece of fabric, rather than the simpler method of using two panels) the mood was one of serenity and calm, like a Dries interpretation of Waterhouse’s painting “The Lady of Shallot.” An immediate sense of tranquility washes over you as you watch the girls hazily float across the runway. The artisanal craftsmanship does not end with the hands of Dries. For his runway, Dries commissioned a mossy patchwork rug handwoven by artist Alexandra Kehayoglou of Buenos Aires. At the end of the show the girls gently seated themselves laguidly on the runway amongst the moss and succulents Picnic at Hanging Rock style. It was perhaps the most tranquil and relaxing finale fashion has yet seen. After a month long fashion frenzy, there seems no better place to decamp and recuperate than in the calm splendor of Dries van Noten’s moss-covered fairytale Shangri-La.
John WIlliam Waterhouse, "The Lady of Shalott," 1888, oil on canvas.
(R) Picnic at Hanging Rock, 1975.