
Bohemian / Hippie · 2010s · Belgian
Designer
Dries Van Noten
Production
ready-to-wear
Material
printed silk
Culture
Belgian
Movement
Japonisme
Influences
Japanese kimono construction · 1970s maxi dress silhouette
A floor-length dress with dramatic kimono-inspired sleeves and deep V-neckline, constructed from lightweight printed silk. The garment features a complex Japanese-influenced print combining geometric patterns, floral motifs, and abstract designs in warm earth tones against black. The silhouette is loose and flowing with wide, draped sleeves that extend beyond the hands. A black elastic belt cinches the waist, creating definition in the otherwise fluid form. The dress appears to be constructed with minimal seaming to preserve the print's continuity, typical of Van Noten's approach to textile-focused design that bridges Eastern and Western aesthetics.


Both garments drink from the same well of Japanese influence, but centuries apart: the fin de siècle tea gown borrows the kimono's languid drape and ceremonial weight in golden brocade, while the 1970s dress lifts its wide sleeves and graphic sensibility, translating traditional motifs into psychedelic swirls across black silk.
Follow this garment wherever the graph leads
Both garments drink from the same well of Japanese influence, but centuries apart: the fin de siècle tea gown borrows the kimono's languid drape and ceremonial weight in golden brocade, while the 1970s dress lifts its wide sleeves and graphic sensibility, translating traditional motifs into psychedelic swirls across black silk.
Both garments reveal how Japan's aesthetic infiltrated Western fashion through entirely different cultural moments—the 1950s evening jacket channels postwar America's fascination with Oriental luxury through its kimono-inspired silhouette and chrysanthemum brocade, while the Belgian maxi dress represents the 1970s hippie movement's wholesale embrace of Eastern spirituality, borrowing the kimono's flowing sleeves and wrap construction.
The flowing black kimono dress with its bold orange florals and the purple silk obi with its undulating dragon motif are separated by nearly a century, yet both spring from the West's enduring fascination with Japanese aesthetics.


Both garments reveal how Japan's aesthetic infiltrated Western fashion through entirely different cultural moments—the 1950s evening jacket channels postwar America's fascination with Oriental luxury through its kimono-inspired silhouette and chrysanthemum brocade, while the Belgian maxi dress represents the 1970s hippie movement's wholesale embrace of Eastern spirituality, borrowing the kimono's flowing sleeves and wrap construction.