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Suit v street at Dior Homme
"I'm Belgian, we like things a bit dark", said Kris Van Assche backstage after showing his AW17 collection for Dior Homme, flanked by the face of the new campaign, Boy George. If that nod to subcultural music references didn't tease out the designer's thought process for his collection then the thundering Depeche Mode soundtrack and models in narrow black suits and swamping tech fabric coats certainly did; a youth centric stomp through all things New Wave and Nu Rave. This was a night in Dior's warehouse; the flooring criss crossed with tape that read "Hardior".
The designer riffed on a black and red motif that's become his signature, with nipped in, lean proportions on the suit worn with clomping great boots, ortrainers covered in straps. This tailoring was then small van cleef necklace imitation treated to van cleef and arpels turquoise alhambra necklace imitation a degree of "trashing"; hardware dotting the chest, contrasting top stitching, a tangle of multicoloured threads across a jacket, the ends left trailing. "Everybody saystailoring is over and that nobody wants towear it any more and I feel like maybe we just haven'tgiven young guys the van cleef and arpels long necklace imitation righttailoring yet. I want to express a cool vibe whilegiving them a tailored jacket. It's a search for modern tailoring", said the designer.
Away from the crisp modernity of the suits from the Dior Homme ateliers, the outerwear sentthe Dior man out of the salon and onto the streets; ice white puffa coats, shaggy fur bombers inginger and turquoise, slabs of traffic cone orange on a sleeveless coat and rip cords and toggles acrosscoats and jackets. There was gloss and refinement to the cantaloupe shadedpony skin jacket and trench, butthis collectionpushed Dior Homme further into experimental,subversive territory the photographerDan Witz's images of mosh pit crowds on capes, jackets and suits were as far from the polite environs of Rue Francois, where Dior Homme'sflagship is based, as can be. This was ashowcase of Kris Van Assche's dark materials.
"I'm Belgian, we like things a bit dark", said Kris Van Assche backstage after showing his AW17 collection for Dior Homme, flanked by the face of the new campaign, Boy George. If that nod to subcultural music references didn't tease out the designer's thought process for his collection then the thundering Depeche Mode soundtrack and models in narrow black suits and swamping tech fabric coats certainly did; a youth centric stomp through all things New Wave and Nu Rave. This was a night in Dior's warehouse; the flooring criss crossed with tape that read "Hardior".
The designer riffed on a black and red motif that's become his signature, with nipped in, lean proportions on the suit worn with clomping great boots, ortrainers covered in straps. This tailoring was then small van cleef necklace imitation treated to van cleef and arpels turquoise alhambra necklace imitation a degree of "trashing"; hardware dotting the chest, contrasting top stitching, a tangle of multicoloured threads across a jacket, the ends left trailing. "Everybody saystailoring is over and that nobody wants towear it any more and I feel like maybe we just haven'tgiven young guys the van cleef and arpels long necklace imitation righttailoring yet. I want to express a cool vibe whilegiving them a tailored jacket. It's a search for modern tailoring", said the designer.
Away from the crisp modernity of the suits from the Dior Homme ateliers, the outerwear sentthe Dior man out of the salon and onto the streets; ice white puffa coats, shaggy fur bombers inginger and turquoise, slabs of traffic cone orange on a sleeveless coat and rip cords and toggles acrosscoats and jackets. There was gloss and refinement to the cantaloupe shadedpony skin jacket and trench, butthis collectionpushed Dior Homme further into experimental,subversive territory the photographerDan Witz's images of mosh pit crowds on capes, jackets and suits were as far from the polite environs of Rue Francois, where Dior Homme'sflagship is based, as can be. This was ashowcase of Kris Van Assche's dark materials.
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