Kris Van Assche’s collection for Dior Homme was entirely in blue, the metal buttons and white/blue striped sweaters aside. Van Assche, in his methodical way, set out to present what he called “a complete wardrobe.”
Van Assche knows how to turn an idea over and over, tweaking it: showing a blazer, then shearing its sleeves, then removing its back. But the concept became skin when Van Assche rendered a few jackets and coats in nylon mesh, the better to show the construction inside.
For fall Van Assche said his primary mission was to combine good tailoring with sportswear. He chose a strong theme to bring those two world together: the army.
Military-inspired looks in army green opened the show. Pleated pants with neat suit jackets, long powerful coats, subtle turtlenecks, a long hooded sweater and some leather jackets looked impressive.
Though the theme could have easily gone darker, Van Assche added white to his fall color scheme and later on some metallic/light grey. Towards the end he even introduced a dove (peace) print, making clear that an army (war) inspired collection doesn’t at all need to look heavy and aggressive.
There was not a look in sight, which you’d hit the gym in. But those officer dress codes did get a refreshing more modern and sportive touch. So in the end the tailoring and the sportswear did meet up, somewhere in the middle.
Kris van Assche continued to celebrate the art of tailoring at the Dior Homme-collection. The ss2012 collection looked plain & minimal but oh so luxurious.
Shirts and tapered trousers came in natural linen and were trimmed in lambskin. Trenches appeared in powdery silk taffeta. Jackets were the stars of this precise and youthful collection, from handsome double-breasted numbers to roomy shirt-like and tunic styles, often closed at the throat and flaring open. The black hats. shoes and leather wristbands were the only contrasting details.
Kris van Assche seems capable of letting his severe, sartorial look go en soften it with lightweight and youthful tailoring. ‘Simplicity is the true luxury’, according to the designer. And so he presented sleeveless trenchcoats, lightweight linen parkas and paper-light jackets. Black, gray and sandywhite were his main colors. Low-slung trousers were tucked into sandals.
To add a different touch to his simplicity Van Assche used samurai references, like Mao-collars or V-shaped necklines similar to kimonos. Some tops reminded of Hedi Slimane’s first collection for Dior, with the sleeveless faux-wrap shirts. Those were wonderful and new and they still seem appropriate in their renewed version.
Sisters of Mercy’s ‘Temple of Love’ reverberated through the dark, cavernous hall where the Dior Homme-show took place. The set was spread with chunks of coal — a reminder of the kind of warm, smoldering color designer Kris van Assche had in mind while designing the collection.
Floor sweeping trenchcoats, hooded robes and cropped suits with boots dominated the collection. Innovative variations on the classic suit, which van Assche slashed and distorted, giving it new proportions and a faux Amish Country silhouette. Luxury, creativity and comfort were the guiding principles of this fall-winter 2010 menswear collection.
Working in a reduced palette of black, charcoal and oatmeal, the Belgian designer served up oversized jackets with long, fluttering front panels that tapered into dangly V-shapes, pairing them with generously cut cropped pants. Some of the jackets were fitted with trompe l’oeil flaps on one side, while others had lapels that morphed into scarves.
You’ll never see this at a runway-picture, but this is the setting of most of the catwalkshows. For example, Dior Homme.
Kris van Assche sent out a sensual, ultralight layered collection for Dior Homme. Tailored but very comfortable, with blazers als sheer as possible. There were also gym-influenced pieces like mesh tops under a sheer cardigan, or ultralight knits.