德赖斯·范诺顿

We designers started as couturiers with dreams, with intuitions and with feelings. We started with, ‘What do women want? What do women need? What can I do for women to make their lives better and easier? How can I make a woman more beautiful?’ That is what we used to do. Then we became creative directors, so we have to create, but mostly direct. And now we have to become image-makers, making sure it looks good in the pictures. The screen has to scream baby — that’s the rule. And loudness is the new thing. Loudness is the new cool, and not only in fashion. I prefer whispering. I think it goes deeper and lasts longer.

这是Alber Elbaz 在2015 Fashion Group International Night Of Stars Gala 获奖时的致辞，当时，Raf Simons已宣布离开Dior，一周后，Alber 也离开了Lanvin。

想来，时装行业的崩坏，应该是他们的离职开启的——两年后，Phoebe Philo离开Céline。

还好，Dries Van Noten还在，流畅的剪裁，利落的廓形，平衡有趣的色彩把控，每季千变万化的，唯有刺绣、印花与提花。

刺绣支撑着印度团队的生存，而印花与提花，则是家族传承。

Consuelo Castiglioni执掌Marni时，印花也是一个主题。Miuccia Prada也常用印花。前者，是有趣而文艺的日常着装；后者，是有哲学思考的求新和出人意料。

只有在Dries的手中，印花与提花才变得充满了情感。秀场上的模特，有时是吟游诗人，有时是歌剧名伶，大多数时候是成熟丰富、潇洒落拓的知识分子，融汇在秀场音乐里，充满了诗意。

每个喜欢Dries 衣服的女性，都从他的设计中看到自己或者向往的自己。

喜欢Dries的眉眼，笑盈盈或沉静的样子，这么多年，看着他挥手致意时的潇洒，渐渐有了些许疲惫。或是年长的缘故，设计偶然也在潇洒与老气之间徘徊。但不变的，还是恰到好处的沉静与浪漫，一如他打理的新古典主义花园，怡人而诗意。

去安特卫普吧，为了Rubens，还有Dries。