Colour is Dries Van Noten’s language –the Belgian designer is known for his ability to synthesise pigment and pattern. It’s this talent that saw him ascend to the highest heights in fashion, having only just retired from his eponymous House in March, after 30 years, 120 shows and countless accolades. Not long before, Van Noten collaborated with Puig to expand the DVN universe into beauty. The collection launched in 2022, composed of fragrance, accessories and lipstick. Like his fashion, Dries Van Noten Beauty is a meticulous expression of the vivid world he built with bare hands: unthinkable scent combinations, precious packaging, big colours and tactile textures. Despite the resignation, he still advises on its direction today.
Inspired largely by the intersections of fashion and beauty, as well as the natural world around him (Van Noten is an avid gardener), Dries Van Noten Beauty is both unusual and unbelievable. The scents are largely genderless, each composed by a different perfumer. Flowers are a common theme – many of which can be found in Van Noten’s rambling Antwerp estate – but there’s nothing pedestrian about the way notes are paired and played with. And then there are the lipsticks. Painstakingly formulated to resemble the tactility of textiles (soft, sheer, fuzzy, powdery), each shade pushes the boundaries of colour. They’re very wearable, comfortable – thanks to a nourishing ingredient profile – and bold. Each is subtly scented and comes wrapped in an incongruous DVN bullet (refillable, of course).
To mark the Australian launch into MECCA, Van Noten spoke exclusively to RUSSH about his thoughts on beauty, lipstick design and the emotiveness of it all.
Let’s start with fashion. What was your early relationship with clothing like?
My family had been involved in fashion and the garment business for generations. My Father created one of Belgium’s most innovative retailers, ‘Prêt-à-Porter’, and my Grandfather was a tailor. I inherited my love for garment making, along with its traditions and rituals, from these men and my Mother.
My family was very supportive and encouraged me to continue this fashion legacy. I regularly accompanied my parents on their buying trips to Paris and Milan for collections. They envisioned me taking over the retail business; my desire to become a fashion designer actually came as a great surprise.
You studied at the Antwerp Royal Academy of Fine Arts, a place known for nurturing world-class creatives. How did it shape your approach to design?
The city of Antwerp is imbued with a unique creative tension, and Belgium, as a whole, reflects this spirit of experimentation rooted in its historical and geographical context. I draw from this duality in my creations, and living in Belgium has provided me with a distinct perspective on many aspects of design.
Once I complete a collection, returning to Antwerp allows me to view the fashion scene from a healthy distance, as well. The Belgian ethos of experimentation, combined with a strong artistic foundation, encourages us to see clothing not merely as objects but as attitudes and expressions. The Royal Academy instilled this mindset in us, empowering us to break from tradition. We emerged from the academy filled with energy and a desire to forge our own paths, often without financial backers. This independence was a defining characteristic in my journey.
You recently stepped away from your eponymous label after 120 shows, much to industry heartbreak… How are you feeling about it all now?
I’m very happy. It was the right decision, even though it came with emotional ups and downs. I’m spending more time at our house in Italy. I’ve also decided to focus on reading. Throughout my life, I’ve accumulated a large library of books, but I’ve never had the time to read most of them. Now, I plan to dedicate myself to that, if I can find some extra time, as I’m still connected with the company. I’m not completely closing the door; I still have an advisory role with beauty and a few other projects.
On beauty, tell me about translating your fashion brand into that universe; what was the creative approach?
Having done more than 120 fashion shows and photoshoots, beauty is something I’ve worked with for a long time. I discuss beauty at least four times a year for our shows, so I understand its power – whether it’s the lips, the eyes, or the entire look. It has always been a crucial part of my overall vision. Signing with Puig gave me an exciting opportunity to create perfumes and expand into makeup. However, I was very conscious of the need to introduce something distinctive in an already saturated beauty market. The question was – what could I innovate beyond what was already available?
For the perfumes, I wanted to create a clash of unexpected ingredients. When I met with the perfumers, I asked them to forget everything they knew about traditional perfumery. Sometimes, to create something truly new, you need to step back and approach it from a different perspective. It was essential that they dared to combine ingredients in unconventional ways, just as I often combine colours, prints, or atmospheres in fashion that seemingly have nothing in common –like sportswear with couture.
For the lipsticks, the goal was to find wearable shades – not strange or avant-garde colours – but rather familiar shades with added intensity. I focused on enhancing these colours, making them a bit brighter or more powdery, it was a fascinating process. This approach reflected my creative vision in fashion: eclectic, with inspiration coming from many angles.
The scents are very unique. What was the dialogue like with the perfumers you collaborated with?
Just as I don’t design my collections for one individual, but for a variety of people of different ages, sizes, genders, and styles, I approached the perfumes with the same logic. I didn’t want to impose a single scent, just as I don’t impose a specific silhouette. I wanted to create a broad olfactory spectrum where everyone could find something that resonates with them. When I met with the noses, I asked them to be daring. The entire process, from concept to craftsmanship and manufacturing, took nearly four years to develop. I am very happy with the final result. The packaging is incredible and a beautiful reflection of DVN House codes… We explored unexpected juxtapositions of materials, patterns, and textures to celebrate both craftsmanship and industrial innovation. Each bottle combines two elements and reflects the fragrance it contains. The tops are made of opaque or transparent glass, while the bases feature a range of materials, including metal, ceramic, hand-painted porcelain, and even wood.
What DVN scent do you connect to the most intimately?
I’m not the type of person to stick to just one scent; it really depends on where I am and whether it’s summer or winter. At the moment, I really like Crazy Basil, although before that, my favourite was Mystic Moss. I also enjoy combining perfumes or layering them with EDTs (the lighter ones) to create a stronger effect. Some of my favorite combinations are Bitter Splash with Mystic Moss, Bitter Splash with Crazy Basil, and Crazy Basil with Jardin de Orangeries, which adds more contrast to the basil.
I love experimenting. To me, there are no rules – you can discover for yourself what you like to mix.
You’ve spoken about lipstick and how the way you approached it was comparable to how you work with fabric. Tell me more about this…
Colour is my passion. It’s how I express my perspective and creativity, so it was exciting to push the boundaries with lipstick shades. First, we focused on perfecting the textures and ensuring the lipstick felt right on the lips. The scent was equally important – we used organic Rosehip Oil and organic Shea Butter, not just for their nourishing qualities, but also for the subtle, natural fragrance they provide. Once we had the texture and scent in place, we experimented with bold colours like tomato red and plastic pink, seeing how far we could push each idea.
What is your earliest beauty-related memory?
My earliest memories of beauty are tied to many different experiences. I use all my senses to observe the world and experience life. As a child, I loved running around the garden, inhaling the scent of flowers, and exploring the kitchen to catch the aromas of whatever was cooking in the oven. However, my first specific memory of fragrance is of my Mother coming down the stairs wearing Shalimar. That scent signaled that she was going out, whether to the opera or the theatre. The house often smelled of Shalimar; it will stay with me forever.
What surprised you the most about beauty?
Of course, I understand how fashion works, but creating makeup and perfume was a very different experience. The input from the perfumers was fascinating and incredibly educational. It felt like a creative ‘ping-pong’, as I like to call it. What I enjoyed most was the ability to exchange ideas and dreams, to explore the craziest concepts, and to ask ourselves, ‘why not?’ ‘let’s try it,’ and ‘let’s see what happens’. It has been a fantastic journey.
What is inspiring you right now?
The most exciting aspect of the current state of fashion and beauty is the growing emphasis on sustainability and individuality. There’s a movement toward eco-friendly materials and ethical production practices that is positively reshaping the industry. Preserving craftsmanship and prioritising respect for the planet and its people are vital to me. That’s why I create items designed to last – collectible and timeless pieces meant to be passed down through generations. In fashion, we are fully engaged with the evolution of our times, striving to be as sustainable and mindful as possible.
Dries Van Noten Beauty is now available online and in-stores at MECCA in Australia and New Zealand.
