Walter Van Beirendonck

Walter Van Beirendonck, Ann Demeulemeester, Dries Van Noten: three designers who have left a significant mark on fashion history, one single academy: Antwerp, Belgium. Their story begins in the 1980s, when they were all students at the Royal Academy of Fine Arts. It was a particularly complex time: the fashion industry had yet to fully embrace digitalization - consider that what was seen on the runway was only seen in boutiques six months later - and therefore offered fewer opportunities to emerge, especially for those not born in fashion capitals like Milan, London, or Paris. Being a Belgian designer was a real challenge - being talented was not enough. However, this struggle fostered a deep sense of solidarity among colleagues. A significant bond was formed among the designers in the halls of the Royal Academy: a synergistic group in which each maintained their own identity, which Walter Van Beirendonck still defines as "fascinating": "We all came from different parts of Belgium, each with our own background. It was interesting to combine different styles and tastes, or perhaps do the complete opposite and generate confrontation. Our group formed very spontaneously." And it was Walter Van Beirendonck who drove Paris crazy in January with the runway presentation of FW24. Surrealism was born between the world wars, quickly asserting itself in clothing. Elsa Schiaparelli's work in the 1930s, with her humorous redefinitions of objects as fashion statements and collaborations with Salvador Dali, was perhaps the most emblematic. Walter Van Beirendonck is one of the most renowned designers of our century, known for his contemporary take on surrealism, expression of his inner demons. As an artist, the designer uses proportions, tailoring, and designs (later reproduced on the garments) as a means to explore and elaborate on his own fears, anxieties, and personal frustrations. Surrealism thus becomes a way for Van Beirendonck to give shape and meaning to his troubles, transforming them into visual works of art that can be interpreted and appreciated by a broader audience. His latest collection features his typical surrealist motifs - both in patterns and silhouettes - and comes in the form of clashing shapes and cuts, to create a collage of different stories. In his notes, he wrote: "My process of creating this brand-new collection was different. Weirder. I played a Frankensteinian art game with my own mind." In a world marked by international political uncertainty and social and economic disparities reaching absurd heights, surrealism serves as a humorous yet critical tool for Van Beirendonck to unmask hypocrisies, criticize conventional social norms, and challenge the expectations of the audience. In 2015, in the aftermath of the Charlie Hebdo shooting that left twelve dead, Beirendonck sent models down the Paris catwalk wearing plastic vests embroidered with slogans condemning terrorism.

Backstage at Walter Van Beirendonck AW15 / Photography Marie-Amélie Tondu

One year later, the designer emerged as one of the major activists in the fashion world, giving his AW16 show the name WOEST (ed. furious) and showing all of his rage through garments. “I really wanted a very strong name for the collection which is expressing how I feel today,” he explained backstage. “I’m angry, furious about what’s going wrong in the world.” That collection served as a direct response to the tumultuous state of the world, reflecting his anger and frustration. It represented Van Beirendonck's attempt to create his own gang in a world where politicized youth fashion subcultures still seem to be an increasing rarity: “Initially, I didn't want to make statements, but when you see what is happening in the world, you must react.” The provocative FW24 show was juxtaposed with an intimate setting. Walter produced an outpour of beauty in language and craft, with whimsical aesthetic treats and strong appliqués protesting: “STOP WAR” and “PEACE”. And as humans stomped down the catwalk, adorned with hats and beautiful necklaces, we were reminded that beauty comes in all forms. And embracing them all is one step towards a better day. His 3D printed jewelry, as well as accessories in general, have always depicted absurd subjects that, however, convey strong messages critiquing the excessive banality of fashion, the superficiality of contemporary society, or narrate to us – just by looking at them - about the search for individual identity in an increasingly homogeneous world (the use of masks has indeed been frequent, objects that by definition cover the face depriving humans of their personality and their self). In this sense, accessories for Van Beirendonck become a tool through which the designer expresses his opinions and stimulates reflection in the audience. Both kitsch and camp, the collection is filled with eye-catching silhouettes that contrast one another, yet work perfectly well when combined into one. From matching rich velvets with felted wools, checks, and embroidery, Van Beirendonck does what he does best — mixing and matching to bring together fine tailoring and surrealism. From lengthy jackets and oversized knits to a plush snake scarf, garments had an otherworldly effect.

Courtesy of Walter Van Beirendonck

In conclusion, this runway showcased a unique blend of madness and softness, with a soft critique of what surrounds us interlaced within. A safe haven for minds that seek to escape the daily psychological terrorism imposed by the mass media, using their own imagination.