Julian Klausner’s recent presentation of his inaugural men’s show, following his appointment as creative director of Dries Van Noten last December, is underscored by significant endorsement from the Belgian founder, who retired from the runway in the summer.
During a preview, Klausner elaborated on his profound respect for “the traditional masculine wardrobe,” as well as his enthusiasm for prints, vibrant colors, embroideries, and “a touch of fantasy.”
His enthusiasm for the latter elements—likely reinforced through his six years of experience designing womenswear in collaboration with Van Noten—somewhat eclipsed the former in his spring collection, which examined both formal and sporty archetypes.
“Approaching this collection, I had in mind the Dries Van Noten wardrobe I always loved. Traditional yet daring. The different layers of dressing up. A man in love, on a stroll at the beach at dawn, after a party. Shirt unbuttoned, sleeves rolled up, the silhouette takes on a new life.” -Julian Klausner
The presentation took place in a stark, utilitarian concrete venue, with Lou Reed’s haunting rendition of “Perfect Day” playing in the background as models gracefully paraded in an eclectic combination of opera coats, biker shorts, boatneck tops, elegant dinner jackets, and pointelle thermals. At the heart of the ensemble were a plethora of cummerbunds, crafted from both modest and luxurious fabrics, serving as a hallmark of formal attire that enriched Klausner’s narrative.
“I envisioned an elegant evening, akin to a wedding reception or a prom, where gentlemen often appear more distinguished at the conclusion than at the onset, with their sleeves rolled up, ties loosened, and hair slightly tousled,” he remarked. “I picture this romantic figure accompanied by his circle of friends as they journey to the beach to witness the sunrise.”
The gray jersey, fitted shorts, and suede plimsolls suggested the appearance of an off-duty ballet dancer, while the psychedelic floral patterns and heavily sequined shorts conveyed an energetic rave aesthetic.
Certainly, here is the revised paragraph in a more formal tone: To be certain, Klausner’s adept romantic storytelling — coupled with evident design proficiency — produced a number of commendable concepts: the inclusion of covered buttons imparting a distinctive, elegant element to overcoats and double-breasted jackets; jockey stripes introducing an invigorating flair to silky shirts and plain blousons; and a trompe-l’œil vest adding a notable accent when affixed to the front of a classic white shirt.
Another fascinating chapter in the annals of fashion history!