| Dries Van Noten Spring 2027 was designed by Julian Klausner and presented during Paris Fashion Week. The collection centered on an imagined actress returning home after a day on a film set. Looks combined sportswear, evening pieces, prints, embroidery, jewelry and oversized accessories. |
For Dries Van Noten Spring 2027, Julian Klausner looked at glamour without treating it as something reserved for formal events. His starting point was more ordinary: the pleasure of getting dressed carefully even when there is no important occasion ahead.
Presented during Paris Fashion Week, the collection imagined an actress leaving a film set and returning to everyday life. That idea allowed Klausner to mix clothes that normally belong to different moments of the day. Evening dresses appeared with casual tops. Decorative blouses were placed over straightforward shirts. A low-cut silk dress was worn with a graphic t-shirt.
The combinations rarely followed conventional ideas about what belongs together. A relaxed sweatshirt-like piece could sit beside a semi-sheer skirt, a bright brooch and a single pink driving glove. Wide accessories and oversized handbags added another practical-looking element to otherwise elaborate outfits.
Film references were present without relying on familiar titles. Klausner and his team invented fictional movies and designed posters for them. Those images were then transferred onto polo shirts and fluid dresses. Some prints were layered until several pictures appeared to occupy the same surface.
Other motifs included flamingos, martini glasses and star patterns. Spray effects appeared across skirts and bias-cut dresses, while transparent fabrics softened heavier combinations. The color range moved from washed neutrals to acid yellow and vivid turquoise, with metallic details appearing throughout.
Craft remained important. Embroidered jackets and jacquard tailoring provided a more structured counterpoint to the collection’s casual layers. Sequins, fringe and small decorative elements were used selectively, often beside pieces that would normally be considered everyday clothing.
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Jewelry played an unusually visible role. Glass beads, costume pieces, brooches and charms were accumulated across garments and shoes rather than kept to a few conventional positions. The effect suggested a wardrobe assembled gradually, with objects gathered from different places instead of purchased as a coordinated set.
That approach also appeared in the construction of individual outfits. Some seemed to combine elements from several separate wardrobes. Rugby shirts, cocktail dresses, embellished tops and practical separates were treated as equally useful parts of the same look.
Klausner described his interest as an innocent desire to feel dressed up simply because one wants to. That idea gives Dries Van Noten Spring 2027 its clearest direction. The collection does not propose a return to strict occasion dressing. Instead, it treats personal styling as permission to combine formal clothes, familiar basics and decorative objects without waiting for an invitation.
