In a Paris season characterized by arcaneinspirations, Kris van Assche found his in leshommes-fleurs, a tribe of Arabian warriors whounabashedly adorn themselves with flowers. He wasequally turned on by photos of elegant old Van Asschesfrom the Belle Epoque. So the central idea was thatthere are different ways for men to be masculine.
Unfortunately, the show itself didn"t serve thisnotion as well as it might have. Michael Nyman"ssoundtrack for The Cook, the Thief, his Wife andher Lover provided a musical underlay so insistentit would have induced madness had the show lastedanother ten minutes. And a storm of windblown rosepetals midway through proved equally distracting (amannequin made his way through the blizzard with histrench held over his head).
We already know Van Assche is both rigorous andromantic, so the formal lines of the Belle Epoque didin fact agree with him. There was something of thenight in his tailoring: the dark blue suit with asheen, the double-breasted coat with a little halfbelt, even the tweed coat piped in black. His indigojeans were silk, not denim, the kind of dressy touchthat is practically a signature.
But once the hommes-fleurs invaded the catwalk,the tone toughened and the clothes roughened, notnecessarily for the better. A leather blouson waspaired with sweats, a serape was slung round a baretorso. And then, of course, there were those floraladornments. A different way to be masculine? Not thereyet.
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