There’s transparency in the collection, even when it comes to trousers. He also uses, for the first time, the Japanese technique suminagashi (literally, “ink floating”), an ancient printing skill that ensures every piece is unique; as well as a newly developed, recycled shredded cashmere wool for coat waddings.
The collection is inspired by Belgian contemporary artist Edith Dekyndt. “She works a lot with transparencies, uses lots of materials that capture memories, fabrics that are worn out,” he says. He describes the collection as “casual elegant… You have floppy fabrics, combined with a little bit more crisp.” He’s edited down 70 looks to a slightly tighter 65.
A final show to savour
I’m invited to return on the eve of the show during the fittings. Van Noten is very focused, adjusting a printed jacket on model Paul Ohunyon. Also present are Patrick Vangheluwe, his partner and the brand’s creative director, and Jan Vanhoof, head of image, who has been working with him for 20 years. He puts his final touch on model Finn Collins, who is wearing organza pants made of recycled polyester and a transparent jacket with military pockets.
The casting is a mix of models, many of whom have been walking his shows for years: Alain Gossuin, Stefano Tartini, Kirsten Owen, Hannelore Knuts, plus a few new faces. “It’s a kind of a family atmosphere having them all together here,” the designer says.