LESS IS MORE: March 2012

Balancing a nostalgic historical sense with radical modernism", Kris Van Assche is a designer who represents the modern era with a defining aesthetic of nonchalant elegance. The Belgian born designer has seen his abilities grow and grow since starting his own label in 2005, culminating in him being appointed artistic director for Dior Homme in 2007. Impelled by a vision of the man who takes the time to "dress up", Kris Van Assche has embarked on an esthetic quest, pursuing a new masculinity infused with poetry and authenticity. Along with getting a behind the scenes look at the presentation of the Kris Van Assche Spring/Summer 2012 Collection from the presentation in Paris, I was able to discuss the many elements that define Kris Van Assche.

James Oliver: Why did you want to become a designer?

Kris Van Assche: I sincerely thought I would be good at nothing else.

JO: You studied at the illustrious Royal Academy of Fine Arts in Antwerp, how did this define your perception on fashion?

KVA: It was a huge influence, of course. I was very young, only 18 when I got there. Those 4 years at the Academy helped me define a personal style. One of the main things I learned there is to make the difference between “real fashion” and “costume design”, be that historical, ethnical, theatrical.

JO: How important was your time at Yves Saint Laurent and Dior Homme before starting your own label?

KVA: Those six years of being an assistant were a real reality-check. I mean, I loved my time at the Academy, but they don’t teach you how to deal with producers, delays, budgets…When I actually did start my label, I knew my collection wasn’t finished once I received the prototypes; I knew I would also be needing hangers to send the produced clothes to the buyers. All that “business stuff” you just need to learn while doing it.

JO: What was the best advice you ever received?

KVA: Do yourself what you are best at, and surround yourself with people who know how to do what you don’t.

JO: What was the initial vision for your label when starting it in 2005? What direction did you want to take the label?

KVA: It really all started with a personal desire; me being my own first client. I couldn’t find what to wear within the fashion of that time that I considered being either too basic or too eccentric. It was also very much related to a vision of the man/men I wished to approach. Back then, it was all about being super skinny or being massively muscled…I did not fit into those clichés. I wanted real creative clothes for real (healthy) guys.

JO: Has everything gone to plan? How has the label evolved since day one?

KVA: Of course, things haven’t all gone to plan…Things have been pretty tough at certain moments, but we are still around, alive and kicking! So that part of the plan certainly went well.

JO: In your own words, how would you explain your aesthetic?

KVA: You cannot explain my aesthetic in a precise definition. It is a balance, a mixture of many different things that form an ideal in my head. It is both street wear and tailoring, both casual and smart. It is neither teenager, nor totally grown up. It is about the best of all worlds. I like to think that you can go wherever, whenever in my clothes. I like to think of them as “rugged elegant”.

JO: Can you please tell me your perception on combining conceptual and functional design?

KVA:Many designers have a different approach to this so would like to hear your thoughts. A lot of my inspiration comes from what I see in the street. The street is often a starting point, and it is also the final destination of my work. I never lose that from sight. I strongly believe that the concept should make the function more desirable.

JO: Can you talk us through the Spring/Summer 2012 and Autumn/Winter 2012 collection in a bit of detail?

KVA: For Spring Summer, I had this young man in my head, living in LA, going through life on his BMX bike. He might be going to work, might be going anywhere, so his suit is fluid and he changed his shirt for a polo (jersey) one. I like the idea that people in LA dress no matter how for any job. I mean, in Paris you can almost tell what one does according to what one is wearing. In LA, you can be a banker and still be covered with tattoos. There are no rules, no boxes, and that fits well with my clothes.

For Winter, I re-worked a theme that has always been more or less present within my collections: work wear. I tossed around with the contrasts and similarities between “white collars” and “blue collars”. The first ones used to sit nicely in their (clean) office, no immediate danger, while the second group used to do the dirty work with their hands. They needed protection gear. Only, lately, bankers seem to need the protection gear…That is where I started mixing both universes.

JO: Since 2007 you balanced work between your own label and being the artistic director at Dior Homme. Can you tell me a bit about how you divide your approach between the two and how each position effects the other?

KVA: I have found a good balance in my approach to both brands. It has become a personal challenge to be “very KVA” at my own brand, and very much “Dior” at Dior Homme. I am fortunate that both offices are only 30 minutes drive away from each other, which allows me to divide my time the way it fits best. On a creative matter, I have grown an instinct which helps me to decide which idea goes where. Also, the working conditions at both labels are so hugely different that they also influence the working process and the final results.

JO: What direction do you want to take the label from this point?

KVA: There is definitely room for a young independent label that focuses equally on creativity and quality. Room for a label that provides elegant sportswear and comfortable tailoring. I just need to get the message out there, more and more.

JO: Finally, what’s the best thing about where you live?

KVA: The people I love.

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By James Oliver

Photographer - Gaëtan Bernard