-
Share with us... Your Best & Worst Collections of Haute Couture F/W 2025.26
Antwerp Six: Belgium Avant Garde
- Thread starter travolta
- Start date
birdofparadise
Member
- Joined
- Jan 20, 2005
- Messages
- 878
- Reaction score
- 7
You did what?
Perhaps,we shoud find some articles on the "Six"...together or individual profiles and such.
I'd like to see if anybody can dig up some info on Marina Yee....she's rarely mentioned in the same bated breath as the other's and is often confused with Margiela as being part of the group,which he wasn't,of course. Hmmm....let's see I'll give a few tidbits about her.
I know she's got two lines--one called M.Y. Workshop(which is her most recent label)and a line for curvier women called Lena Lena. I saw some of her Lena Lena stuff,and it looks really good. She's based in Brussels. She also collaborates each year with final year students at Royal Academy for a t'shirt design project called "Fashion for Van Dyck".
I'd like to see if anybody can dig up some info on Marina Yee....she's rarely mentioned in the same bated breath as the other's and is often confused with Margiela as being part of the group,which he wasn't,of course. Hmmm....let's see I'll give a few tidbits about her.
I know she's got two lines--one called M.Y. Workshop(which is her most recent label)and a line for curvier women called Lena Lena. I saw some of her Lena Lena stuff,and it looks really good. She's based in Brussels. She also collaborates each year with final year students at Royal Academy for a t'shirt design project called "Fashion for Van Dyck".
D
Deleted member 7575
Guest
Out the Antwerp Six Anne Demuelmeester is my favorite with Walter Van Beirendonck as a close second.
Belgians in general, I am partial to Bernhard Willhelm, Haider Ackermann, and Raf Simons
Belgians in general, I am partial to Bernhard Willhelm, Haider Ackermann, and Raf Simons
D
Deleted member 7575
Guest
2 books
These are two excellent books on 'belgian' fashion (if such thing exists
) from a couple of years ago. Both should still be available on amazon. The first one is the most comprehensive and concentrates on the 'first' generation; the second one only covers six of the new kids on the block (well, new at the time of publication! Veronique / X Delcour / Vandevorst etc...).
And that Raf pic on the first one still makes me drool
!
These are two excellent books on 'belgian' fashion (if such thing exists
) from a couple of years ago. Both should still be available on amazon. The first one is the most comprehensive and concentrates on the 'first' generation; the second one only covers six of the new kids on the block (well, new at the time of publication! Veronique / X Delcour / Vandevorst etc...). And that Raf pic on the first one still makes me drool
!
Last edited by a moderator:
This is a superb book about the avant-garde in fashion , whether it be the Belgians , the Japanese , or even the British .
[font=arial,helvetica,sans-serif]When the catwalk meets Das Kapital[/font]
[font=arial,helvetica,sans-serif]Caroline Evans stirs together a rich brew of cultural theory and dazzling photos in Fashion at the Edge[/font]
[font=Geneva,Arial,sans-serif]Liz Hoggard
Sunday January 18, 2004
The Observer
[/font]
[font=Geneva,Arial,sans-serif]Buy Fashion at the Edge at Amazon.co.uk
[/font][font=Geneva,Arial,sans-serif]Fashion at the Edge: Spectacle, Modernity and Deathliness
by Caroline Evans
Yale £30, pp326
Remember those extraordinary adverts that Jurgen Teller shot for Jigsaw menswear of a man falling to his death from a high building? Or Hussein Chalayan's chairs and tables that folded up into dresses, highlighting the way refugees squirrel away their possessions in times of war?
In her sumptuous new book, Fashion at the Edge, Caroline Evans argues that late-1990s fashion, with its preoccupation with death, trauma and exile, actually embodied many of our own anxieties about Western consumer culture. To speak in psychoanalytic terms, it represented the return of the repressed. We may regard Martin Margiela's deconstructed mouldy garments or Alexander McQueen's dresses made from two thousand glass microscope slides or razor shells as unwearable. But for Evans they show fashion as both spectral and commercial.
The most interesting practitioners go close to the edge. Think of Andrew Groves's 1998-9 collection based on the Troubles in Northern Ireland. Or Alexander McQueen's Highland r*pe collection, which far from violating women, highlighted the 'genocide' of the Clearances. Fashion has always played a leading role in constructing images and meanings during periods of rapid social, economic and technological change. It can act out instability or loss, or it can stake out the territory of new social and sexual identities. For Evans, fashion is a kind of historical scavenging. So we see how Galliano's Sphinx collection borrowed from Aubrey Beardsley and Gustave Moreau, while the Versace Medusa is both Judith and Salomé. And who would have thought Millais's Ophelia was the first watery supermodel?
Although Fashion at the Edge celebrates fashion, this is no backslapping hagiography. Evans expects you to know your cultural references as well as your hemlines (her sources include Marx, TS Eliot, Freud, Foucault). In no particular order, she explores the development of European mercantile capitalism, commodity fetishism, and the politics of production (the way fashion emphasises consumption at the expense of production, making the latter classically invisible in Marxist fashion).
It's a rich brew, but if you get weighed down by the cultural theory, there are the dazzling photos. Evans can be a demanding writer, but she is not immune to showstopping excess. For her, fashion is about masquerade. And she likes a bit of camp. The chapter on Glamour is an exploration of fashion's motif of 'women for sale' - but there are great visuals of Julien Macdonald's near-naked showgirls and Donatella's sapphic Eurotrash. And who says fashion hasn't got a sense of humour? In the late 1990s, a cash-strapped Victor and Rolf flyposted Paris declaring: 'Victor & Rolf on strike'; while Russell Sage constructed a dress made from £50 notes. Best of all is Diesel's 'Stay Young/Save Yourself' campaign, where models had silicone masks for heads, satirising our obsession with Botoxed perfection.[/font]
[font=arial,helvetica,sans-serif]When the catwalk meets Das Kapital[/font]
[font=arial,helvetica,sans-serif]Caroline Evans stirs together a rich brew of cultural theory and dazzling photos in Fashion at the Edge[/font]
[font=Geneva,Arial,sans-serif]Liz Hoggard
Sunday January 18, 2004
The Observer
[/font]
[font=Geneva,Arial,sans-serif]Buy Fashion at the Edge at Amazon.co.uk
[/font][font=Geneva,Arial,sans-serif]Fashion at the Edge: Spectacle, Modernity and Deathliness
by Caroline Evans
Yale £30, pp326
Remember those extraordinary adverts that Jurgen Teller shot for Jigsaw menswear of a man falling to his death from a high building? Or Hussein Chalayan's chairs and tables that folded up into dresses, highlighting the way refugees squirrel away their possessions in times of war?
In her sumptuous new book, Fashion at the Edge, Caroline Evans argues that late-1990s fashion, with its preoccupation with death, trauma and exile, actually embodied many of our own anxieties about Western consumer culture. To speak in psychoanalytic terms, it represented the return of the repressed. We may regard Martin Margiela's deconstructed mouldy garments or Alexander McQueen's dresses made from two thousand glass microscope slides or razor shells as unwearable. But for Evans they show fashion as both spectral and commercial.
The most interesting practitioners go close to the edge. Think of Andrew Groves's 1998-9 collection based on the Troubles in Northern Ireland. Or Alexander McQueen's Highland r*pe collection, which far from violating women, highlighted the 'genocide' of the Clearances. Fashion has always played a leading role in constructing images and meanings during periods of rapid social, economic and technological change. It can act out instability or loss, or it can stake out the territory of new social and sexual identities. For Evans, fashion is a kind of historical scavenging. So we see how Galliano's Sphinx collection borrowed from Aubrey Beardsley and Gustave Moreau, while the Versace Medusa is both Judith and Salomé. And who would have thought Millais's Ophelia was the first watery supermodel?
Although Fashion at the Edge celebrates fashion, this is no backslapping hagiography. Evans expects you to know your cultural references as well as your hemlines (her sources include Marx, TS Eliot, Freud, Foucault). In no particular order, she explores the development of European mercantile capitalism, commodity fetishism, and the politics of production (the way fashion emphasises consumption at the expense of production, making the latter classically invisible in Marxist fashion).
It's a rich brew, but if you get weighed down by the cultural theory, there are the dazzling photos. Evans can be a demanding writer, but she is not immune to showstopping excess. For her, fashion is about masquerade. And she likes a bit of camp. The chapter on Glamour is an exploration of fashion's motif of 'women for sale' - but there are great visuals of Julien Macdonald's near-naked showgirls and Donatella's sapphic Eurotrash. And who says fashion hasn't got a sense of humour? In the late 1990s, a cash-strapped Victor and Rolf flyposted Paris declaring: 'Victor & Rolf on strike'; while Russell Sage constructed a dress made from £50 notes. Best of all is Diesel's 'Stay Young/Save Yourself' campaign, where models had silicone masks for heads, satirising our obsession with Botoxed perfection.[/font]
Last edited by a moderator:
Lena said:great topic, super photos
wasnt Dries Van Noten also in the belgian 5 group?
anyone knows?
Yes
, only there were 6: Ann Demeulemeester, Dirk Bikkembergs, Dirk van Saene, Dries van Noten, Walter van Beirondonck, Marina Yeelotta van's...
thanks droogist
i guess my current fave from the bunch is Dries Van Noten
but really i love each and everyone, they are so different in essence and they developed keeping true to their own signature, maybe thats what made their 'group' work so well, distinctive styles.. own voices, freshness
i guess my current fave from the bunch is Dries Van Noten
but really i love each and everyone, they are so different in essence and they developed keeping true to their own signature, maybe thats what made their 'group' work so well, distinctive styles.. own voices, freshness
droogist said:Yes
lotta van's...
funny, ive only been hardcore into fashion for a couple years, and i've heard of Dries and Ann, but the others are first-timers for me. are they still all designing for the catwalk?
I don't know when they last did runway shows, but they're all working.
Dirk Bikkembergs is the most commercial of the lot, he produces both mens- and womenswear and has a fairly successful sportswear line. The look is uninteresting bordering on repulsive. He has a website: www.bikkembergs.com
Walter van Beirondonck used to have a line called Wild and Lethal Trash, or W<, which for a time was big with the shiny-object-loving cyberpunk crowd. The look was repulsive bordering on interesting. He sold the label several years ago and started a sportswear line called aestheticterrorists (t-shirts, mostly), as well as a small collection under his own name, which he mostly sells only out of his own shop in Antwerp. Incidently, he co-owns the shop and is the significant other of...
Dirk Van Saene, who imo is an incredible talent, but commercially has turned out to be pretty hopeless. It's hard to describe his work, because his collections usually bear little or no resemblance to each other from one season to the next. That may just be a testament to his creativity, but it probably also makes it hard for him to maintain a steady clientele, which would explain why you never see his stuff anywhere. He also produces a small line under his own name and, like Walter, mostly sells out of the shop in Antwerp.
Marina Yee was discussed earlier in this thread. I don't know much about her.
Dirk Bikkembergs is the most commercial of the lot, he produces both mens- and womenswear and has a fairly successful sportswear line. The look is uninteresting bordering on repulsive. He has a website: www.bikkembergs.com
Walter van Beirondonck used to have a line called Wild and Lethal Trash, or W<, which for a time was big with the shiny-object-loving cyberpunk crowd. The look was repulsive bordering on interesting. He sold the label several years ago and started a sportswear line called aestheticterrorists (t-shirts, mostly), as well as a small collection under his own name, which he mostly sells only out of his own shop in Antwerp. Incidently, he co-owns the shop and is the significant other of...
Dirk Van Saene, who imo is an incredible talent, but commercially has turned out to be pretty hopeless. It's hard to describe his work, because his collections usually bear little or no resemblance to each other from one season to the next. That may just be a testament to his creativity, but it probably also makes it hard for him to maintain a steady clientele, which would explain why you never see his stuff anywhere. He also produces a small line under his own name and, like Walter, mostly sells out of the shop in Antwerp.
Marina Yee was discussed earlier in this thread. I don't know much about her.
Last edited by a moderator:
Similar Threads
