All is not as it seems: heritage herringbone is warped into a blown up print, wool surfaces become vinyl, and herringbone shapes zip across suits like galactic comets.
Van Assche cited the work of American conceptual artist John Baldessari as inspiration, whose work combines found black and white photography with graphic colour blur. His influence was notable in the pops of colour appliquéd onto tailoring – herringbone weave deconstructed into individual arrowheads in blue, red and white, outlined in silver.
Stand out look:
The herringbone coats and jackets, where a classic grey weave was in fact an oversized print. A claret red suit created colour punctuation in a collection of grey, navy and beige, as did an expedition-worthy sky blue puffa coat. The final speckled knitwear saw the refined graphic motifs morph into a craze of dots, like that in Ishihara colour blindness tests.
How they wore it:
Straight cut, unfitted vests in a crinkly taffeta-like material were worn over shirts and suits. Shrunken wool and herringbone print jackets were shrunk to fit just atop the hips, while another was cut to the shape of a biker leather jacket. Hybrid sneaker boots in black and brown had brogue-like fringing over the toe.
On coats and outdoor jackets, the herringbone print came under a subtle sheen of vinyl. Grey vinyl vests became a vinyl, collared pullover, like a rain mac.