Dries Van Noten S/S 2015

The inherent duality of dance is such that it is sport dedicated to appearance, perfection and grace through control. It must however remain seemingly effortless, and Dries Van Noten's spring collection captured that conceit with aplomb. Last night he showed ideas of fluidity caught and released, with billowing silk peignoirs and cotton trenches strapped into ornate zardosi harnesses, or crisp loose shirts tucked into ribbed cummerbunds and dancers bodysuits. Pinstripe and pattern abounded in ensembles of nude, navy and forest green, with those shirts evolving into silk sports jerseys emblazoned with '71' and 'R', both shout-outs to Rudolf Nureyev whose spirit was felt from the models tousled crops to the strapped training shoes on foot. Graphic interest was scattered throughout thanks to fine, dancing illustrations by Richard Haines on silky separates, and a passage of vermillion red silk towards the finale was a passionate albeit welcome jolt of colour.

Photography: Jason Lloyd-Evans

The inherent duality of dance is such that it is sport dedicated to appearance, perfection and grace through control. It must however remain seemingly effortless, and Dries Van Noten's spring collection captured that conceit with aplomb. Last night he showed ideas of fluidity caught and released, with billowing silk peignoirs and cotton trenches strapped into ornate zardosi harnesses, or crisp loose shirts tucked into ribbed cummerbunds and dancers bodysuits. Pinstripe and pattern abounded in ensembles of nude, navy and forest green, with those shirts evolving into silk sports jerseys emblazoned with '71' and 'R', both shout-outs to Rudolf Nureyev whose spirit was felt from the models tousled crops to the strapped training shoes on foot. Graphic interest was scattered throughout thanks to fine, dancing illustrations by Richard Haines on silky separates, and a passage of vermillion red silk towards the finale was a passionate albeit welcome jolt of colour.

Photography: Jason Lloyd-Evans

The inherent duality of dance is such that it is sport dedicated to appearance, perfection and grace through control. It must however remain seemingly effortless, and Dries Van Noten's spring collection captured that conceit with aplomb. Last night he showed ideas of fluidity caught and released, with billowing silk peignoirs and cotton trenches strapped into ornate zardosi harnesses, or crisp loose shirts tucked into ribbed cummerbunds and dancers bodysuits. Pinstripe and pattern abounded in ensembles of nude, navy and forest green, with those shirts evolving into silk sports jerseys emblazoned with '71' and 'R', both shout-outs to Rudolf Nureyev whose spirit was felt from the models tousled crops to the strapped training shoes on foot. Graphic interest was scattered throughout thanks to fine, dancing illustrations by Richard Haines on silky separates, and a passage of vermillion red silk towards the finale was a passionate albeit welcome jolt of colour.

Photography: Jason Lloyd-Evans

The inherent duality of dance is such that it is sport dedicated to appearance, perfection and grace through control. It must however remain seemingly effortless, and Dries Van Noten's spring collection captured that conceit with aplomb. Last night he showed ideas of fluidity caught and released, with billowing silk peignoirs and cotton trenches strapped into ornate zardosi harnesses, or crisp loose shirts tucked into ribbed cummerbunds and dancers bodysuits. Pinstripe and pattern abounded in ensembles of nude, navy and forest green, with those shirts evolving into silk sports jerseys emblazoned with '71' and 'R', both shout-outs to Rudolf Nureyev whose spirit was felt from the models tousled crops to the strapped training shoes on foot. Graphic interest was scattered throughout thanks to fine, dancing illustrations by Richard Haines on silky separates, and a passage of vermillion red silk towards the finale was a passionate albeit welcome jolt of colour.

Photography: Jason Lloyd-Evans