Julian Klausner did not stage quiet luxury at Dries Van Noten on Wednesday in Paris. According to WWD’s Samantha Conti, publishing her Spring 2027 review on 30 September 2026, the creative director chased spontaneous glamour — Hollywood actresses in their downtime, dashing out of the studio in glittering jewelry, mannish cardigans, sensible shoes, and a flash of heel. Models walked quickly around a vast white show space as if late for appointments, scored to Italian film composer Piero Umiliani’s fusion of street horns and orchestral sweep. For Cover Issue’s runway desk on Thursday 1 October IST, Dries Van Noten SS27 is the season’s clearest argument that a brooch, a tight belt, or a Technicolor invented movie poster can glamorize an everyday wardrobe without waiting for a red carpet.
Glamour as an in-between feeling
Conti quotes Klausner on origins of glamour: maybe the feeling of a tight belt, or putting on a sparkly brooch, or a tight glove, or even a flashy color. ELLE’s Matthew Velasco, filing the same day, hears the show notes’ actress-after-set thesis and finds beauty in wardrobe oddities — a slinky cocktail dress over a rugby shirt, a red lip worn through the day, mismatched jewelry that looks borrowed from a film set. Velasco places the collection inside a broader SS27 appetite for dressing with abandon, citing Tory Burch’s “joy of getting dressed” in New York and color-rich chapters at Dior and Bottega Veneta. Klausner’s own line, per ELLE, stays innocent: the desire to feel done up simply because you want to, and how charming that is. So long, Conti writes, quiet luxury.
What walked: brooches, sheer layers, film posters
WWD’s look list is tactile and specific. Wool V-neck cardigans secured with sparkly swallow or flower brooches layered over sheer skirts. Colorful pins on thick straps of satin tops; tiny adornments like fishing flies glittering on tailored jackets and shorter bombers. Leopard spots — Hollywood diva uniform — on coats with sheer overlays. Stars, kisses, flamingo, and martini-glass prints spilling over pussy-bow blouses, pencil skirts, and olive military jackets. The opening khaki utilitarian coat wore rolled sleeves and layers of colored beads. Shoes stayed walkable: classic pumps, color-blocked peep toes, and a new moccasin with a little block heel, because Klausner wanted her to have “a good foot on the ground.” Then the spotlight mode: colorful vintage movie-poster prints in Technicolor blue, pink, and red for silky dresses and belted satin coats; an embellished gold coat that shone like the sun; a dark blue jacket dusted with white star embellishment.
ELLE’s offbeat stacking notes
Velasco zooms in on how the clothes were shown as much as what they were. Casual button-ups under sequined blouses. A plunge-front silk dress stacked over a graphic tee. A colorful enamel brooch pinning a sweatshirt-like piece above a flouncy semi-sheer skirt and one hot-pink racing glove. Embroidered opera jackets and jacquard blazers pinned with baubles that looked collected over time. Spray prints on skirts and bias-cut evening dresses carrying motifs from films that exist only in Klausner’s imagination — printmaxxing when paired, or worn alone with something extra like a cowl top dripping in paillettes and fringe. Hypebae’s Paris Fashion Week runway recap in the same window compresses the thesis for searchers: cinematic glamour you can pin onto clothes you already own.
How to wear Dries Van Noten SS27 glamour on a Tuesday
Readers searching Dries Van Noten SS27 do not need a Carreau du Temple seat. Translate Klausner into a practical watch list. One: buy or dig out one statement brooch — swallow, enamel flower, fishing-fly sparkle — and pin it to the most boring cardigan or blazer you own. Two: layer sheer over opaque or sequin over cotton so the outfit looks mid-dash, not costume-complete. Three: try one invented-print moment — stars, kisses, flamingo, martini glass, or a poster-scale graphic — on a blouse or slip, then ground it with a khaki coat or military jacket. Four: keep shoes sensible with a heel flash — block-heel moccasin, peep toe, classic pump — so the glamour reads spontaneous rather than red-carpet locked. Five: if you add a racing glove or mismatched beads, stop at one loud accessory so the stack stays charming.
Where this sits beside Courrèges and Saint Laurent
Batch 25’s Courrèges color debut and Batch 24’s Saint Laurent gold night bookend different kinds of Paris maximalism. Dries Van Noten SS27 is the wearable middle: joy you can pin and layer without melting an entire wardrobe into one metal. Cross-link those files in “Paris Fashion Week SS27” clusters, but keep Klausner’s brooch-and-poster chapter distinct. Do not invent celebrity seat gossip Conti and Velasco did not name. Do not invent box-office numbers for films that exist only in the print studio. Credit WWD, ELLE, and Hypebae for the silhouette and soundtrack facts that hold this piece.
Search language for the desk
Primary: Dries Van Noten SS27. Secondary: Julian Klausner glamour, invented film posters Dries, brooch styling Paris Fashion Week, Carreau du Temple SS27, spontaneous Hollywood glamour. The cover photograph is a real WWD runway still of the film-poster slip under a camel trench — full-bleed 16:9 — because a cinematic collection deserves a photographic poster moment, never clipart.
Closing note on charm without camp
Klausner told Conti he wanted a sweet, light, not-too-serious way to look at glamour that makes people want to dress up and play — the deep-down wish to feel like a star even subtly. When packaging this file for 1 October IST, lead with the brooch-as-glamour thesis and the Technicolor invented posters, then secondary-link the Umiliani street-orchestra soundtrack as staging color. That keeps Cover Issue inside fashion craft rather than celebrity fantasy. Readers who already logged MaXhosa, Hodakova, and Weinsanto this week will recognize another Paris house choosing joy on purpose.