At the end of the milk of a strong and skillful show, a look was worn by a male model – both the female and the men’swear are in the form of a black TEE, whose cap sleeves were pushed into a fabric version of the thorny wire, and a pair of black pants, a pair of black pants, was a pair of black pants; It was both comfortable and ineffective. Nevertheless, it really stood out: Emblazon was legend beyond T, I demand poetry“We need poetry in fashion, as it has recently been forgotten,” Nico Verhegen said, which makes lime milk along with fellow Julia Bollert. “We find that a lot of Diva-God, and very ironic, when the need in our industry actually needs is honesty. Ironically,” he has gone to add, “is” finished. “
Verhagen (she is Belgium) and Balladt (she is German) first met when they were studying at the Royal Academy in Antwerp, and in this collection there was certainly something about the raw and disintegrated flemish romanticism of the city, especially the reasons for the 90s. The third outing milk of the lime – all more impressive tender years of the given Verhegane and Balladt – a sinful silhouette of jackets, billing shirts, long skirts, and soft, wide -pants based on a soft, wide -pant, which embraced both construction and disruptions, and it was blessed with a wistful, approximately consequent charm.
The collection was built around a crowd of jackets, which was close to the body, with defined shoulders. Some were crumpled, some were frightening, some were pied together, as they were built, then rebuilt. (I really liked those who had rows of buttons moving from cuff to elbow.) “A large part of the refined roughness is the poem,” said Verhegen. “A blazer may be completely finished, but we have cut it down, have been cut, it has opened, it is cut again together. The jacket cut is the same, but each one is different because we have used the materials used.”
Many of those clothing are from, coincidentally, from dedstock supply, and the milk of new life brings them to them, lie down on the other one may involve lie down, such as building a series of veils; It was specifically developed when used for their followed panel skirts, putting lace with chiffon with a silk and linen jacquard. Their color palette was mostly black in all its innumerable diversity, which Balladt said, “Non-colored … was mixed with them … they have an uncertain quality for them. We had this idea of a layer of mist on them.”
