There is all the exuberance of Lacroix in the collection made for four hands by Dries Van Noten . The Belgian designer called the famous couturier, filtering his inspiration with the cerebral sensitivity that distinguishes him. They dot polka dots on long waltz dresses, ruffles, matador jackets, maxi sleeves, silks intertwined with luminescent floral embroidery, jungle and animalier prints, balloon skirts, duchesse satin and gros-grain - embroidered, printed and fluttering - like never before in a show by Dries Van Noten, volume hoods in shiny gold. &quot;I was thinking of Lady Honoria Lyndon [a character played by Marisa Berenson in Kubrick&#39;s masterpiece, Barry Lyndon],&quot; says Dries. &quot;Normally, we would have maybe one or two floral jacquards in a collection. This time we have more special pieces than ever. &quot;The garments in question were woven on looms that date back to the period in which that film was set and clearly refer to Berenson&#39;s spectacular wardrobe. The vocabulary of Dries Van Noten merges with that of Mr. Christian Lacroix in all: the jacquards taken from the 18th and early 19th century drawings were scanned and appear as prints on cotton and organza; light polyesters, made with recycled plastic bottles and coated papers rustling next to precious French silks; feathers appear that decorate the hair but also the chinoiserie silk dresses and jackets. 
If the meeting of two of these minds is surprising, there are many characteristics that unite them: both have designed costumes for ballet, opera and theater. Their work is based on the search for cultural references and draws on the world of fine arts. Dries and Christian love collage, tensions, apparent contrasts, historical references combined effortlessly into a single look or even garment. They prefer color and apparently dystonic but paradoxically harmonious chromatic juxtapositions, they are masters in mixing prints that clash, outlining a thin line between good and bad taste, which is undoubtedly a winning hybrid. The contribution of Monsieur Lacroix has pushed Dries in a more evening and decidedly couture direction, investigating an unexplored territory of enriching rather than measuring.

Dries Van Noten meets Christian Lacroix

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