We miss Kris Van Assche From Dior Homme to Berluti, one of the first designers to combine haute couture and youth culture
When it comes to menswear, there are not many designers who can truly be referenced for the incisiveness of their work’s impact and the influence that followed. Kris Van Assche is, in all likelihood, one of the few who belong to this narrow circle, both thanks to his eponymous brand and to his years as creative director of Dior Homme, and more recently at Berluti. His career began in the early Nineties, when he became Hedi Slimane’s first assistant for the Rive Gauche Homme line at Yves Saint Laurent; this crucial collaboration continued when Slimane moved to the creative direction of Dior Homme and lasted until 2004.
From the following year, Van Assche launched his own brand, KRISVANASSCHE, following statements such as: «I left my job as first assistant at Dior because I was creatively frustrated. I wasn’t working on my own vision, but on someone else’s. That’s why I created my own label». This marked the beginning of the definition of his aesthetic which, as has often been the case for Belgian designers, is closely connected to youth culture and its powerful stylistic influences.
Van Assche’s era at Dior Homme
Van Assche’s style has always been characterized by tailoring cuts, often strict and linear, yet infused with elements drawn from Youth Culture, which cannot be simplistically defined as streetwear alone. Although distributed in 130 multi-brand stores across more than 30 countries worldwide, the Belgian designer’s label survived only until 2015, when it was forced to close due to the difficulties of sustaining an independent reality. His stylistic signature, however, continued to develop and evolve during his tenure as creative director of Dior Homme, a role he held from 2007 to 2018, allowing him to define with great elegance a fundamental period for the French Maison.
The fusion of traditional tailoring and subcultural influences became increasingly pronounced, particularly those derived from the skate world, with openings toward hip-hop, also evidenced by the involvement of figures such as ASAP Rocky, who starred in a renowned campaign for the brand in 2016, as well as sport more broadly, always elevated without falling into banality or cliché. One of the most iconic looks of his “Dior period” is the wide-leg tailored suit, which, although now ubiquitous on runways and in street style, was a clear break from convention a decade ago, without overlooking Raf Simons as a forerunner of this “expanded” tailoring.
Then came the move to Berluti
His ability to create innovative hybrids was also demonstrated when Van Assche took the helm at Berluti in 2018. A historic and deeply classic brand, primarily dedicated to high-end treatments of leather creations, represented no easy challenge, especially given an exceptional predecessor like Haider Ackermann.
Yet once again, the Belgian creative proved how tailoring and cultural influences, including artistic ones, can modernize even the most canonical traditions. His interpretation of the iconic “patina” of the French brand remains among the most compelling aspects of Berluti à la Van Assche, refined and strikingly contemporary even today, as does his use of contrasting saturated colors across coats, jackets, and trousers.
Kris Van Assche today
After leaving Berluti in 2021, the Belgian designer gradually loosened his grip on the fashion system, choosing to step away from the spotlight to focus on independent projects. In 2023, Van Assche published 55 Collections, a photographic book retracing his career, from his eponymous brand to his years at Dior and his experience at Berluti. Last spring, he also unveiled his first collaboration with Serax, a family-run company specializing in contemporary homeware, for which he designed a collection of glass vases and decorative objects.
In November 2025, the announcement of his return to the fashion ecosystem finally arrived, in a somewhat unexpected way, through a collaboration with the Chinese brand Anta Sports. The hope is therefore to see him back at work soon, with curiosity surrounding how his vision of contemporaneity may have evolved after these years away.
