“The starting point and the main idea behind the collection is the exquisite corpse,” explained Walter Van Beirendonck, referring to the surrealist writer and artist's invention that allowed for collaborative compositions. “That's how they were creating beautiful monsters.”
Van Beirendonck freed his mind to create his own exquisite monsters, with Yeti and Frankenstein as references. These were dressed in bold, contrasting silhouettes made of finely crafted fabrics, such as rich velvets, lamé, wool felt, checks and embroidery, mixed and matched to achieve an elegant effect.
This season was less about sportswear and much more about fine tailoring, always with an extreme edge. to the Van Beirendonck's turn.
An example: “I worked with the muscular shape in jackets,” he explained, pointing to a plaid jacket with puffed sleeves below the shoulders and paired with Hawaiian flower-print pants.
A long jacket was adorned with yellow, orange, black and white wool fringes.
The designer introduced tubes in some garments, such as a long coat, and ribbed holes in knitwear, with an otherworldly effect. Knotted rubber and leather boots winked into the shapes of sea mines.
Creating another visual shock, Van Beirendonck revisited the look (hair, makeup and accessories) she designed for W.&L.T. parades from 30 years ago, including Stephen Jones hats.
The models entered the intimate rooms one by one. Some spoke (“I come from space”) and others made gestures with their hands, like a sign of peace.
“Banana Wink Boom!” was the name Van Beirendonck chose for this collection. “I wanted to use three words that say nothing, and everything,” he said.
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