'Lacroix – who left fashion in 2009 and now designs costumes and interiors – gave his audience what he does best: the best of Lacroix, through the lens of DriesVanNoten.'
f fashion collaborations have become a bit of a circus, what with sportswear and accessories brands constantly linking up with big fashion houses, this one may have changed the game: Dries Van Noten and Christian Lacroix, for one afternoon only. You couldn’t have found a more secretive place to bring back one of our time’s greatest couturiers than a concrete bunker in the Opera Bastille.
In a taped conversation between the two designers, who asked to do interviews the day after the show, instead of immediately backstage, they talked about their worlds as two contrasts. But, frankly, it’s not as if Dries Van Noten's hyper-minimal world was being punctured by Lacroix's overwhelming couture maximalism, throwing feathers and gilded embroideries around. Van Noten may have taken a turn for the more subdued in recent years, but this designer is no minimalist.
What did transpire was Lacroix’s larger-than-life approach to fashion versus Van Noten’s pragmatism. Whenever the latter has covered his collections in colours, plumes, embroideries and sequins, he’s retained an astute eye for retail in a way Lacroix famously never did. In this collection, that sensibility was applied to Lacroix’s majestic couture principles in a compromise that seemed perfectly agreeable to both parties.
“My motto when I was a teenager was, ‘Too much is never enough’,” Lacroix quipped, in the filmed conversation. Talking about his collaborator’s finesse for couture details, Van Noten reflected: “Maybe in trying to be very contemporary and modern and fashionable we lost that a little bit.
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