Antwerp six: the rebel designers who redefined belgian cool
Forty years ago, a caravan packed with audacious designs rolled into London, carrying the hopes of six young Antwerp graduates who would forever alter the landscape of European Fashion. Dubbed the Antwerp Six, this collective—Dirk Bikkembergs, Ann Demeulemeester, Walter Van Beirendonck, Dries Van Noten, Dirk Van Saene, and Marina Yee, alongside the elusive Martin Margiela—didn’t just launch careers; they birthed a national identity for Belgian Fashion.
A legacy of independence and diy spirit
Now, the MoMu (Museum Mode Els De Wilde) in Antwerp is celebrating this pivotal moment with a sprawling exhibition, a tribute not only to their groundbreaking designs but also to a philosophy that feels increasingly rare in today’s corporatized Fashion world. The Antwerp Six championed a fiercely independent, DIY ethos—a stark contrast to the established houses of Paris and Milan.
The exhibition is cleverly divided, charting the group's ascent with the crucial support of retailer Geert Bruloot and early governmental backing. Each designer was given a dedicated space to curate, offering a glimpse into their individual worlds. Ann Demeulemeester’s contribution is particularly compelling, showcasing her signature blend of melancholic poetry and gender-bending silhouettes.
From portraits to patternmaking: ann demeulemeester's journey
Demeulemeester, in a revealing interview with Vogue.com, traces her path from artistic fascination to Fashion innovation. “I first studied art for three years, and what I liked best was to draw portraits,” she explains. This early focus on capturing the essence of a face—specifically, the enigmatic visage of Rimbaud—led her to an understanding of the connection between identity and attire. “When you draw a portrait of a person, automatically you draw clothing too, and I was interested in who was wearing what and why.”
Her time at the Royal Academy of Fine Arts in Antwerp proved transformative. “I was a bit different than the others because I didn’t know anything about Fashion,” she recalls, “I just came in and I loved drawing, so I jumped on the pattern making and the whole thing of translating my two dimensional drawing into a three dimensional thing that became like a sculpture around the body.” The competitive, yet collaborative atmosphere of the Academy, alongside fellow innovators like Margiela, fostered a unique creative energy.
The advantage of 'nowhere': building a brand from scratch
Demeulemeester emphasizes the liberating effect of Belgium’s lack of established fashion identity. “There was no Belgian fashion,” she states, “If you are born in Milan or in Paris, people expect something from you—a certain style, or . . . but in fact I felt really free because I didn’t have a backpack on my shoulders.” This freedom allowed her to invent her own aesthetic, unburdened by tradition or expectation.
From humble beginnings—working for a raincoat manufacturer and later securing funding through the Golden Spindle prize—Demeulemeester and her photographer husband, Patrick Robyn, built their brand through sheer determination. Robyn’s unwavering support proved instrumental, sacrificing his own photography career to become her dedicated image-maker. “We were a strong duo, and I also couldn’t have done the same things alone that I did with him,” she reflects.
Beyond the six: a lasting impact
The Antwerp Six's initial London showing in 1986 was a pivotal moment, securing early orders from Barneys and establishing their presence on the international stage. Demeulemeester’s enduring success and commitment to her artistic vision serve as a powerful reminder of the value of independence and unwavering self-belief. As she puts it,