In a presentation that dissolved the boundary between runway and performance art, RVDK designer Ronald van der Kemp hosted an intimate showing at Studio Astre, a space closely tied to fashion photography. Van der Kemp stepped into the photographer’s role himself, capturing the models as they moved through the room one by one, like a live photoshoot, occasionally stopping to speak with them or explain the story behind a dress.

One model played the oboe, as if auditioning, while others struck poses with a theatrical edge. The gestures heightened the performative mood and drew attention to the garments’ movement and texture.

The pared-back setup added another layer of creativity, creating a personal, atelier-style atmosphere that is often missing from large-scale fashion shows.

The collection itself was grounded in sustainability and inventive reuse, crafted largely from existing materials. Surplus couture fabrics, leftover shearling, and discarded alligator skins from a “mega-luxury handbag” brand were transformed into structured skirts, jackets, minidresses, and corseted gowns.

Van der Kemp also unveiled his first costume jewelry, including earrings and accessories made from 3D-printed recycled plastics, then hand-painted, lacquered, and adorned with surplus beads and crystals. Even the remnants from the printing process were reused, reshaped into belts and decorative elements woven into the looks.

No resource was left unexplored.

Each piece was entirely one of a kind, with silhouettes and constructions shifting dramatically from look to look. Sleek two-piece sets appeared alongside balloon skirts with exaggerated New Look proportions. Peplums were assembled from old zippers, while sheer layers and hand-beading combined with 3D-printed components gave light gowns an unexpected weight, underscoring the precision of the craftsmanship. With very little black or white, the collection unfolded in an eclectic explosion of color.