“The starting point and the main idea behind the collection is the cadavre exquis,” explained Walter Van Beirendonck, referring to the Surrealist writer and artist invention allowing for collaborative compositions. “Like that they were creating beautiful monsters.”
Van Beirendonck freed his mind to create his own exquisite monsters — with Yeti and Frankenstein as references. These were clad in eye-catching, contrasting silhouettes made of finely worked fabrics — such as rich velvets, lamé, felted wool, checks and embroidery — mixed and matched to elegant effect.
This season was less about sportswear and much more about fine tailoring, always with an extreme à la Van Beirendonck twist.
An example: “I worked with the muscle shape on jackets,” he explained, pointing to a plaid blazer with sleeves padded below the shoulders and paired with Hawaiian flower printed trousers.
A long jacket came spangled in yellow, orange, black and white woolen fringes.
The designer poked tubes into some garments like a maxi coat and ribbed holes into knitwear, to otherworldly effect. Knobby boots in rubber and leather winked to sea-mine shapes.
Creating another visual clash, Van Beirendonck revisted the styling — hair, makeup and accessories — he crafted for the W.&L.T. shows 30 years ago, including hats by Stephen Jones.
Models wandered into rooms of the intimate setting one by one. Some talked (“I come from space”) with others making hand gestures, like a peace sign.
“Banana Wink Boom!” was the name Van Beirendonck chose for this collection. “I wanted to use three words which are saying nothing — and everything,” he said.
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