Belgium's quiet fashion revolution: inside the antwerp six's legacy
Forty years ago, a group of rebellious Antwerp Academy students shook the foundations of the fashion world. Now, a landmark exhibition at MoMu celebrates their enduring impact – and reveals why Belgium continues to be a global fashion powerhouse.
A reunion of titans
Last Friday’s opening of “The Antwerp Six” exhibition wasn’t just a retrospective; it was a vibrant reunion. Ann Demeulemeester, Dries Van Noten, Walter Van Beirendonck – names synonymous with avant-garde design – were present, discussing their installations with a palpable energy. Pieter Mulier, recently returned to Antwerp before taking the helm at Versace, found himself reminiscing with Dirk Bikkembergs, recalling childhood memories of his signature boots. Even Raf Simons, embracing Linda Loppa, the influential educator who nurtured generations of Belgian designers, underscored the deep-rooted camaraderie that defines this creative collective.
From guerilla shows to global recognition
The story of how these indie students forged a formidable reputation for their small nation is almost mythical. In 1987, armed with a truckload of their creations and a fierce determination, they descended upon London. Their audacious off-schedule guerilla show at Westway film studios, resulting in a swift ejection from London Fashion Week, only amplified their notoriety. The exhibition meticulously documents this era, showcasing editorial cuttings, videos, and the precociously packaged image catalogues that each designer produced.
“There’s always been a kind of competition between us—a constructive one,” Dries Van Noten recalled. “We wanted to have fun, but also to create our own collections and worlds, and to succeed.” Their early mastery of self-branding, a rarity for student newcomers at the time, gave them a significant edge. “We weren’t taught that,” Van Noten explained. “Everyone had their own photographer we found in school. We formed those teams together back then.”
The demeulemeester magic
Ann Demeulemeester's contribution to the exhibition—a darkened room filled with tall, attenuated silhouettes on smoky mirrored platforms—crystallized her passionate career. “I wanted an atmosphere like you are in the night, and the silhouettes are standing on water,” she described, her designs reflecting a cold moonlight. It's a testament to her brand's integrity and the unique world she built before stepping away to pursue her art.
Walter's vision: hope and engagement
Walter Van Beirendonck, a year ahead of the others at the Academy and a classmate of Martin Margiela, emphasized the importance of being true to oneself. His collections, a vibrant celebration of queer pride and a powerful statement against dark times, remain as relevant today as they were in the late 1980s. His exhibition space featured a digital