The audience at Walter Van Beirendonck’s show received plastic bags containing earplugs, hinting at an expectedly loud event. Initially, the atmosphere was serene, marked by soft tom-tom beats, merely a prelude. Soon, a white curtain unveiled a wild ensemble of fantastical creatures sporting hay-stuffed square bodies, ghastly faces, and countless horns. They fervently and charmingly banged on tin drums fashioned from old car parts.
This eclectic group, known as Seidae Pass, transforms into stylish rockers when they shed their costumes. Originating from Tyrol in Austria, they’ve been celebrating a local tradition called Percht since 1999, a winter procession aimed at scaring away evil spirits. Van Beirendonck discovered them through a viral video, reminiscent of Rick Owens’ encounter with the energetic Estonian band Winny Puuh.
The performance, blending folkloric mysticism with boldness, harmonized perfectly with Van Beirendonck’s aesthetic, setting an ideal stage for his most wearable collection yet. But make no mistake; Walter’s designs are far from ordinary. The collection featured numerous sleek suits, but with exaggerated elements like giant, cartoonish gloves. Models wore baseball caps and bejeweled scarves, evoking a Balmoral look, complemented by an autumnal palette of greens and browns.
The most playful pieces were straightforward garments, like pants and jumpsuits, embellished with whimsical drawings of a wild animal sticking its red tongue out, often accompanied by a miniature version of the famously bearded designer. The show concluded with a standout outerwear statement: capes-cum-jackets, folded and secured with leather belts, providing ventilation.
The show’s mix of neo-classicism, scarves, and bourgeois touches occasionally evoked thoughts of an edgy Hermès. Inspired by shamanism, Van Beirendonck named the collection “Zwart,” Dutch for black, reflecting on the world’s current state. Despite this, he aimed for a positive vibe, which resonated well with the audience.