Why did you move from furniture design to fashion?
Fashion has been something I always considered. When I finished high school at 18, I didn’t really feel ready. I researched fashion schools in London and Antwerp, but Antwerp felt more suitable for me because of practical reasons. I’m Belgian, so it’s not the most complex situation to study here and still have contact with your family. I also knew this school was tough. I didn’t feel ready yet at 18. I love both fields.
When I was looking at your installation, I was reminded of Raf Simons’s background in industrial design and his working relationship with Kvadrat. Do you see yourself developing your collections alongside furniture pieces?
For now, I’m concentrating on fashion to see where it takes me.
I’ve heard that you want to focus on accessories. Why is that?
I feel very comfortable with accessories. It might be because of my background in furniture. Accessories are 3-D objects that are easily comprehendible. It can stand on its own without a person wearing it. It doesn’t need as much context as a garment.
You’ve been awarded a couple of prizes so far, right?
I was awarded a shoe prize last year. This year, I received an award from Knack Weekend, which is a Belgian lifestyle magazine. I also received another award for the most creative installation, which was from the Fashion Department.
I spoke to Jop from Fantastic Man. He studied in Amsterdam, where students’ work is distilled to the purest form in a minimalistic way. He noted that it’s the opposite in Antwerp, but he acknowledged your collection as the most focussed one. Why do you think that is?
I love the school, but I realised last year that I have a very different aesthetic and point of view. It is a focus on process. If it doesn’t need to be there, I remove it. The students here are more like painters. It’s beautiful to watch. They add and layer things on their garments that don’t actually do anything. It’s not something I can do, and it is not the way I work.