【本篇杂谈是之前与某位在英国念书的板友所分享的东西。 她问小的关於DVN设计的看法，原本打算直接全部写英文， 怎奈程度太差，且时间有限，所以变成底下的mix-match， 由於小的生性懒散，加上之前答应巴版主要分享，所以就没 全部改成汉文或是英文再呈上，伤害大家的眼睛与头脑请见谅。 还请大家多多分享与对实质面的指正，因为对DVN其实不甚了解。 谨以此篇奇怪的文字组合作为2006年Brand版的小贺礼。谢谢】 Romantic Pragmatist: Dries Van Noten The followings are my opinions about the DVN's ideas/styles of designing in recent years, principally for men's r-t-w. Dries Van Noten (hereinafter DVN) was born in a three-generations-old family of tailors in Antwerp in 1958. He was running DVN's Antwerp boutique in August, 1989. In 1991, his men's r-t-w was first displayed on the Paris stage, and then the show turned a new page in his remarkable career. Although DVN is one of the famous Antwerp Six, he doesn't follow the pioneer - Martin Margiela - obviously. Belgium, comparably a small state in Europe, is geographically located at the influx of various languages and cultures, which has resulted in the sources of DVN's designing. Perhaps this is why DVN insists on placing his site in Belgium instead of Italy, France or New York and so on. Accordingly, DVN is melting the followings into his designing: French romantic, nobly fancy mode, German simply pragmatic style, English gracefully gentle urban trend and the colors, black and white, well-known used by Antwerp Six. This is what I called DVN as "Romantic Pragmatism". DVN's success is resulted from the very clearance of the premise of designing. Keeping the faith, he also adds enough varieties and a little progressiveness to his works. Therefore, all his efforts make his style differ from others, especially the recent embroidery accessories. For example, 精细刺绣镶嵌珍珠亮片大披巾与围巾，民俗风的侧背包与皮带， 吸引目光却不强调奢华感的亮色系高跟鞋。 （男装也有很民俗风的围巾与手套、帽子等） 且不同於一般的「二手使用感」，DVN利用些微磨损或不断色染等处理手法 的「古董质感」皮质包包与相类配件，营造出他心中不断向往的中世纪 (或是浪漫主义时期?)欧洲古堡典雅生活感， 此亦可从各地DVN boutique的设计陈设得到部分映证。(此点至少在台湾相当地明确) DVN的服装设计中规中矩，并不特别刻意地迎合市场，也不过分地前卫 而孤芳自赏、曲高和寡；其也不曾停滞不前或是掌握不住自己心中所要的时尚。 稳健与明确的设计主轴之外，DVN特殊之处在於： 秋冬偶用鲜艳色彩带来浪漫的冲突，却也依旧实穿； 亦常用石洗、作旧感，故意抓皱、弄松的手法， 将大部分秋冬出现的颓废感主轴拉到春夏，仍保有春夏的轻松写意氛围。 加上看似朴实却又隐含贵族华丽宫廷风的设计， 形成和谐中的冲突─特别是配件的设计部份，金银亮色系的采用等，就是DVN的风格。 另一个设计的重点就是花朵(几乎每季都会出现)，不同於其他男装的花朵运用： Versace vitally blooming luxurious shirt, DG's Cecilia passionate flora shirt, 总是以超过五种花态样组合的Kenzo东洋风花衬衫， Paul Smith出奇不意或是高贵雅痞缤纷花朵设计； DVN的花朵运用显得内敛与恰到好处。看似不起眼，但穿着之後便会发现 花的主题性非常明确。(例如本季的主题就是花朵的运用，印象强烈却不夸大) DVN服装在巧思之外，多半强调实用性，让男性可以表达出时尚感却又 不须选定特别时间场合才能穿着，urban middle-ground style可正式可休闲。 DVN另一特色就是剪裁/版型(cutting)。 喜用松垮无肩线/宽松版型来设计T、毛衣与休闲裤， (但是衬衫多较为合身，且领片细节处的设计十分讲究) 却又不似Comme des Garcons或是Margiela那样， 多运用立裁手法或是刻意制造的men must "fit" to the garment， In contrast, "floppy but fit somehow". It's quite tricky, as mentioned above. However, that is the very characteristic what DVN's design is. 当然，每个品牌都有所谓的经典、基本款，或是畅销热卖的单品。 DVN男装部分系其深色系直纹西装与牛津鞋。 大地色系的牛津鞋稳重而典雅，鞋头雕花设计与配上银亮色系的牛津鞋， 更是DVN urban trendy的「注册商标」之一。 Absolutely, it really counts that pros and cons are what we have to consider when people evaluate the designer or brand. The under-standarded texture/material is the obvious flaw DVN's garments presented. Accordingly, some of his dresses could not be qualified with the hi-standard requirements which are defined as the most famous brand or designer's masterpiece. For example, almost all T-shirt s and some sweaters' quality (please define the quality as broadly as you can) might be not so good enough to fit people's expectation. Especially, the focus of the shirt he addresses are often the cutting and detailed design releasing his convention and creation i nstead of excellent texture as Jil Sander or Dolce & Gabbana. What is mentioned above is the pity I hope DVN can improve some day. Concludingly, Dries Van Noten is a romantic pragmatist standing out on the runway. -- 潇潇风雨急如霜 --

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