What if deconstruction could still feel romantic?
For Spring Summer 2027, Dries Van Noten turns the familiar into something slightly undone. Floral prints – one of the house’s most instinctive languages – are no longer simply placed on clothes. They seem to break through them, dissolve them, collide with them. Beauty is there, but never perfectly composed.
THE ART OF UNDOING
This is deconstruction without aggression. Seams, layers, proportions and volumes appear to have been shifted just enough to make the clothes feel alive. Nothing looks overly engineered; everything feels as if it has found its shape by accident.
There is a certain nonchalance to the construction; the kind of effortless sophistication that has always made Dries Van Noten feel less like fashion and more like a personal way of dressing.
FLOWERS, SLIGHTLY WILD
Then come the florals.
Not pretty, not polite, not nostalgic. They are lush, blown-up, disrupted; moving across the body rather than simply decorating it. A flower becomes a fragment, a colour becomes a gesture, a print becomes almost architectural.
The romance is there, but it has been loosened.
LUXURY, WITHOUT THE PERFORMANCE
Perhaps this is where Julian Klausner’s Dries Van Noten becomes increasingly compelling. There is no need for spectacle when the clothes already possess an attitude.
Luxury here is felt rather than announced: in the richness of the surfaces, in the unexpected combinations, in the precision hidden beneath apparent ease.
It is dressed-up nonchalance: sophisticated, instinctive, slightly undone.
And perhaps that is the most Dries thing of all: taking something beautiful, pulling it apart, and discovering that it becomes even more beautiful in the process.