DRIES VAN NOTEN

DRIES VAN NOTEN

來自安特衛普的問候
2022 年春夏男裝系列——安特衛普的藝術拼貼

以情感澎湃而親切的方式,向這座城市無拘無束、歡樂自由的生活致敬。

對回歸狂歡、慵懶夏日、頹廢和自由時光的主張。 發自內心的力量,表達和回應對被困於安特衛普的沮喪與束縛。捉緊未來,並將 之帶到當下。

生活可以誘人、優雅而自在,寫意而緊湊,大膽而私密,無畏而謹慎。

 

來自世界各地的 Dries Van Noten 設計工作室成員,手機內儲存了許多疫情前的私人、隨意或刻意拍攝的照片,展現這座城市千變萬化的文化面貌。部分精心挑選的照片以完整或拼貼的方式印在服裝上(向藝術家 Isa Genzken  及 Robert Rauschenberg 開創先河的作品致敬),使美好的回憶變成記錄「當下」的明信片。

安特衛普的遊客

安特衛普的過去、現在與未來。
以藝術大師 Rubens 和 Breughel 的版畫,以及安特衛普於 1970 年代設計的「A」 字市徽表達「過去」。 透過捕捉安特衛普現況的明信片、建築物的不同面貌,包括好、壞和醜陋的一面, 從而刻劃「現在」。 透過在實地演繹系列的創新意念表達「未來」,展現對疫情過去後對安特衛普生 活的憧憬。

剪裁

系列剪裁鬆身而自信,舒適而自由。男裝主打風褸以至經典乾濕褸,西裝(甚至燕 尾服)的線條更柔和,並注入現代及未來氣息。 特長的衣袖及褲管展現我行我素的態度,迷彩服飾採用鐳射切割,經典褲款、七 分褲及工裝褲也加上圍裙裝飾。部分服飾的背面則採用類似挖空的高背設計。

顏色

系列用色豐富,涵蓋柔和淺色以至奪目鮮色,包括淡雅粉色、軍服色調、粉紅色、 迷彩色、螢光和淺淡的色調、青綠色、淺啡色、藏紅色、灰綠色、灰藍色、天藍 色、淺紫色、橙色、淺黃色、淺黃褐色、黑色、水藍色、橄欖綠色、藍綠色、橙 紅色、桃紅色和橄欖綠色。

印花、圖案與裝飾

手機內的私人照片和安特衛普的城市夜景,變成單獨或拼貼的照片印花。 獲安特衛普普朗坦-莫雷圖斯博物館獨家許可使用的蝕刻版畫檔案。
Peter Paul Rubens 的版畫《獵獅》(1642 年作)、《狩獵河馬和鱷魚》(1644 年作)及 《渡溪的馬車》(1638 年作)。Peter Breughel 的《聖安東尼的誘惑》(1556 年作)。 大英博物館館藏的中世紀安特衛普地圖(約 1747 年)。由 J van den Bouwhuysen 於 1970 年為安特衛普市設計的「A」字市徽變奏成幾何印花。

所用的照片主題:大教堂及聖安娜隧道等安特衛普的地標建築、海港裝卸碼頭的 吊機、市內主要廣場的雕塑、深夜在夜店拍攝的影像、安特衛普夜景、港口的摩 天輪、從 Dries Van Noten 工作室拍攝的日夜街景、辦公大樓,以及 Dries Van Noten 設計團隊的朋友彈結他、打鼓或在池畔的照片。

黏合在布料上的幻彩金屬及塑膠窩釘拼出不同圖案。經典男裝白襯衫等服飾配上

男裝的各種布料,包括強靭、精緻、簡樸、誘人、西裝以至工作服的布料。另外 還有套染棉布、精緻的半透明絲料、高級西裝布料、貼身衣物用的真絲、人造絲、 斜紋布、鐳射切割聚酯纖維、套染緞料。系列亦採用全反光迷彩布等軍用高科技 布料,以及印花牛仔布、運動網布、經典襯衫府綢和亮澤真絲。

配飾

特大的手挽袋以皮革或人造牛皮紙製造,採用奪目淨色或印上 Rubens 的版畫。 鞋履種類繁多,包括新款方頭運動鞋、滑板鞋、膨脹效果凉鞋、集涼鞋與木屐於 一體的鞋款、軟麂皮休閒鞋、卡其色便鞋及帆船鞋。漆面帶扣與皮帶相襯,而幼 鏈或耳環亦以色彩奪目的粉色琺瑯圓珠點綴。另外還有配上類似窩夫厚鞋底的經 典鞋款,以及猫眼型太陽眼鏡。

時裝展

時裝展以安特衛普的明信片為概念,以動態方式展示這座城市及系列。團隊在三 天內遊走安特衛普的 56 個地標,以照片和影片記錄穿上新造型的男女模特兒融 入四周的環境之中。照片由 Sofie & Maarten 拍攝。

配樂

影片以 Primal Scream 的經典歌曲《Loaded》作為背景音樂,而 Weatherall 亦在 歌曲開首加入電影《The Wild Angels》中 Frank Maxwell 及 Peter Fonda 的音頻樣 本。

DRIES VAN NOTEN 的話

「封城令所有人也非常難熬,特別是當我與團隊要開始設計這個系列時,感到處 處受阻,令人沮喪。我們都很懷念從前自由自在的生活,我們的情緒幾近崩潰, 不斷翻看手機內的照片,藉此回味生活和社交不受限制的時光。因此,我得出這 個構思……透過穿上系列的服飾,重現這些美好時光……現在歌頌美好的過去, 從而一同期待我們能再次重聚的未來!」

「我很享受在安特衛普的生活,也很慶幸決定在此設立公司的總部。我在這裡的 工作,讓我能與來到安特衛普的各地同事一起生活及共事,從而再次重溫這個城 市的美好。在這個系列中,我們透過各地的人和設計團隊成員的雙眼和私人照片, 再度欣賞安特衛普。了解他們感興趣的事物,以及他們對這座城市的印象,實在 很有趣。」

Dries Van Noten

 

DRIES VAN NOTEN GREETINGS FROM ANTWERP

MEN SS 22 COLLECTION — A COLLAGE OF ANTWERP

An emotionally charged and intimate homage to a life of carefree fun and freedom in the city.

An insistence on a return to revelry, lazy summer vibes, decadence, and freedom.
A visceral outburst of energy, an expression of and response to the frustration and limitations of being stuck in Antwerp. A future life grasped and brought into the present.

A life that can be sensual, suave, and carefree. Chill yet intense, bold yet intimate and personal, audacious yet discreet.

The culturally kaleidoscopic view of one city disclosed through many intimate, rough & ready, pre-pandemic images stored in the phones of the international members of the Dries Van Noten design studio. A curated selection of these images is printed on garments as either full images or within collages (a nod to the seminal work of artists Isa Genzken and Robert Rauschenberg). Nice moments in memory become postcards of the ‘Now”.

ANTWERP TOURIST

Antwerp of the past, the now and the future.
The past expressed using prints by Rubens and Breughel and the A logo for the city in the 1970s.
The ‘now’ expressed through the post postcards taken of the city today, a love of the city’s architecture in all its facets, the good, the bad and the ugly.
The future through the creative vision of the collection worn in situ and that expresses a vision on what life in the city will look like once the pandemic has passed.

FORM

Relaxed yet confident volumes. Ease and freedom. The linchpins of a Man’s wardrobe, from the Parka to the traditional trench, suiting (even a tuxedo) in softer forms and all with a twist for today and tomorrow. Nonchalance is underpinned by extra elongated sleeves and trouser legs. Garments in camouflage are laser cut. Aprons are superimposed on classic and 3⁄4 leg pants. Cargo pant aprons. The backs of some garments are high and seem scooped out.

COLOUR

A spectrum from tender and muted to bold tones. Powdery pastels. Military Drab. Pinks, camouflage, acid to alkaline, lime, mocha, saffron, sage, slate, sky, lilac, orange, custard, fawn. Ink. aqua, olive, turquoise, salmon, peach, olive.

PRINT, PATTERNS & EMBELLISHMENT

Photo prints of personal photos from phones, used alone or as collages, images of nightlife of city nightscape. Archival etchings used with the exclusive permission of the Plantin-Moretus Museum in Antwerp.

Prints by Peter Paul Rubens: “The Lion Hunt” from 1642, “The Hippopotamus and Crocodile Hunt” from 1644 and “A Waggon Fording a Stream” from 1638. Peter Breughel, “The temptation of Saint Anthony” from 1556. A medieval map of Antwerp, from the British Museum circa 1747. The “A”, a logo from the city of Antwerp from 1970 designed by J van den Bouwhuysen, becomes a geometric print.

Subjects of photos used: Ionic Antwerp cityscapes such as the cathedral and the Sint- Anna tunnel. Cranes in the loading docks of the harbour, statues in the city’s main square’s, images caught in late night clubs late at night, city nightscapes, the Ferris wheel at the harbour, views of outside captured from the Dries Van Noten atelier during day and night, office buildings, friends of the Dries Van Noten design team playing guitar or drums, relaxing by the pool.

Iridescent studs in foil and plastic, bonded to fabrics, create patterns. Scarves attached to existing garments such as a classic man’s white shirt, disrupt their allure and intent. Tropical prints and classic intarsia in knits.

FABRIC

A full spectrum of all fabric qualities and types of a Man’s wardrobe from the robust to the fragile, the sensible to the slinky, tailoring to workwear. Overdyed cotton’s, fragile and translucent silks, suave luxury suiting fabrics silk lingerie viscose twill laser cut polyester overdyed satins. Military grade technical fabrics such as fully reflective camouflage. Printed denim, sports mesh, classic shirting poplins, sheer silk

ACCESSORIES

Extra big carrier bags in leather or faux brown paper are in strong solid colours or printed with Ruben’s prints. Footwear ranges from a new square nose sneaker, sliders, and “puffy” sandals to a hybrid of a sandal and clog, moccasins in soft suede a khaki loafer and the boat shoe. Belt buckles are lacquered to match the belt’s leather, and enamel ‘pearls’ in strong pastel colours hang on fine chains or as earrings. Classic shoes are mounted on deep waffle like soles. Big cat eye sunglasses.

PRESENTATION

Postcards of the city. A look book in movement across the town and collection. Over three days a podium was carried to 56 iconic places around the city of Antwerp where looks of the collection were shot, as still and moving images, on men and women and in unison with their surroundings. Photography by Sofie & Maarten.

MUSIC

The video plays to the sound of Primal Scream’s iconic “Loaded”. At the start of the song, Weatherall added an audio sample of Frank Maxwell and Peter Fonda from the film The Wild Angels.

QUOTES FROM DRIES VAN NOTEN

“Lock down was hard on all of us and especially when I started to design this collection with my team as it was very restrictive and frustrating. We all yearned for a time when our lives were more free. We found ourselves almost bursting out and going through photos on our phones, needing to relive memories of moments when life was carefree and sociability possible. And so the idea was born…. Bring these moments to life again though wearing them… Anticipate the future we will all certainly enjoy together again by celebrating such moments already lived now!”

“I have always loved my life in Antwerp and enjoyed my choice to base my company in this city. Through my work here I have had the pleasure of reliving Antwerp over again through the lives of the International members of my team who have come to live here with us. With this collection we see Antwerp through the eyes and photographs of international residents of the city, members of my design team. It is always interesting to see what captivates their attention and how the city we know speaks to them.”

Dries Van Noten