If there’s one thing Duran Lantink does well, it’s leading headlines. And if his ballooning silhouettes were once the subject of countless articles, this season, he has plunged into far more treacherous waters. In a Severance-like office space—cubes filled with operatic singers—the rubber torso that opened the show wasn’t necessarily shocking (or at least not compared to what was to come). The designer’s growing mark on the industry is one of boundary-pushing. Lantink’s world isn’t about refinement but about redefining the limits of what we think clothes should be.
Patterns clashed with reckless intent, extreme prints battling for dominance within the same look, as if mocking the very idea of harmony. There was no concern for convention, only the thrill of disruption—Leon Dame striding down the runway in nothing but a speedo, boots, and body paint was thrilling, to say the least. But Lantink’s work isn’t just a visual riot—it’s a manifesto against the rigidity of aesthetic hierarchies. Silhouettes warped and redefined themselves, rejecting tradition in favor of pure, unfiltered experimentation.
In a world consumed by the curation of taste, Lantink doesn’t just disrupt—he dismantles. His designs don’t whisper; they scream, provoke, and force us to question our own instincts. And perhaps questioning was precisely the intent behind the final look, where a model walked the runway with a pair of rubber breasts. Was it satire? Was it subversion? Was it a senseless provocation? The point is, we’ll never know—but we’re all talking about it. A conversation has begun, and in Lantink’s world, that’s the only certainty that matters.
Words by Pedro Vasconcelos
