Reinterpreting a fashion house’s codes, student-style

Alongside design development, students were challenged to define their own creative language – drawing from literature, cinema, painting, photography, and sound. Each produced two looks merging their individual identity with the spirit of Ann Demeulemeester, documented through sketches, fabric manipulations, 3D samples, and collaborative photoshoots staged across different arrondissements of Paris.

To close the project, students turned their curiosity back toward Gallici himself, posing a series of questions about process, authorship, and what it means to engage with a legacy without simply replicating it. Their conversation is included at the end of this feature.

Chandler Burke

My collection for Ann Demeulemeester, entitled “Runaway Kids,” draws inspiration from the film The Outsiders, exploring the life of a runaway greaser. The concept follows an abrupt departure from home, where he layers himself with classic archetypes, cinching his ill-fitting pants with a dog leash as he lunges for the door. Mary Ellen Mark’s poignant photographs of 1980s runaways allowed me to weave symbols from The Outsiders – such as the shrunken hoodie, oversized trucker jacket, and ribbed crewneck – into the lived reality of actual ’80s runaways. The development of the collection involved sewing over sixty toiles with precise patternmaking to achieve a perfected visually ill-fitting yet comfortable fit, aligning with Ann Demeulemeester’s genius of layering. The garments are intentionally overdyed, washed one too many times, shrunken, stained, and stretched, while maintaining the integrity and craftsmanship of the original archetype. This calculated material manipulation reflects the courageous act of youthful defiance and the harsh reality of escape. 

Esme Yu

My inspiration comes from Dürrüşehvar Sultan, the last Ottoman princess. Her unique blend of tradition and modernity intrigued me. I imagined her stepping into the Blitz Club dressed like Adam Ant – regal yet rebellious. My collection combines Ottoman tailoring with dandyism and New Romanticism, blending history with a modern twist. The structured silhouettes are inspired by imperial styles, while relaxed draping brings fluidity. Fabrics are layered and distressed, existing between decadence and decay. This reflects my design philosophy – melding historical references with a modern, gender-neutral approach, challenging conventions of form and identity. Ann Demeulemeester’s balance of structure and freedom inspired my process. Her focus on breaking norms aligns with my vision of fluidity and boldness. This collection brings together her influence and my own style – timeless, daring, and beyond traditional gender boundaries.

Jin Tang

For this project with Ann Demeulemeester, I was inspired by the brand’s ability to blend hard elements like punk music, gothic dress, and classical influences in its designs. Drawing from 1980s fashion archetypes, I incorporated the leather harness as a subculture element, a symbol of rebellion against societal norms and of sexual liberation, merging hardness with softness. The gray tones in the collection, inspired by black-and-white harness images, help soften the strong contrasts, making the design feel balanced. This reflects Ann’s neutral yet strong style, which I aimed to capture by blending opposites into something cohesive.

Keni Zhao

In this chapter of my life, where every choice feels like a crossroads, I find myself drawn to the quiet strength of Ann Demeulemeester’s designs – how she sculpted the silhouette of an independent woman. My muse, Nico, an artist who moved through the world on her own terms, mirrors this spirit. She reminds me of the power to be found in standing apart. My archetype, the British military cape, is a garment that creates a space of empowerment and safety, wrapping the wearer in a sense of purpose and resolve. It’s structured yet fluid, disciplined yet rebellious, much like the woman I aspire to be. Through my work, I want to explore this duality, crafting pieces that celebrate the strength it takes to navigate life’s uncertainties while staying true to oneself. 

Kuass Lei

I drew inspiration from military elements in Ann Demeulemeester’s Spring/Summer 2002 collection, which served as the foundation for my garment research. Starting with an antique leather jacket, I imitated her iconic use of stripes in 1997 and developed the entire collection. Additionally, I found inspiration in the painting Madonna Surrounded by Seraphim and Cherubim and the imagery of the Jinwu (a crow standing in the red sun), depicted in a painting from Mawangdui, in China. Confronted by the harsh wars in today’s world, war and peace, death and redemption, reality and prayer are intricately intertwined in my mind. Then, I tried to tell an anti-war story, titled Answers.

Logan Monroe Goff

Nick Cave kicked the motorcycle to life, the engine growling beneath him like some restless beast. Rowland Howard adjusted his cuffs, slouched in the sidecar with a cigarette dangling from his lips, the smoke curling into the cold night air. The road stretched ahead, slick with rain, reflecting the dim glow of streetlights. Draped over Rowland’s shoulders was a Swedish military coat, its heavy wool swallowing his frame, the high collar cutting against the wind. Nick, ever the contradiction, wore a suit – sharp, angular, yet somehow disheveled, like he’d slept in it for days but still looked immaculate. The fabric caught the light in flashes, moving with the rhythm of the ride, as if the night itself had tailored it to fit his spectral presence. Their destination? A half-forgotten club on the city’s edge, where the air reeked of whiskey, leather, and lost time. The motorcycle roared forward, cutting through the dark, the sidecar rattling against the pavement. The military man and the musician, the poet and the outlaw – stitched together in cloth and chaos, bound for a stage where ghosts still hummed between the amplifiers.

Ranze Zhang

For this Ann Demeulemeester project, I drew inspiration from three women, each a legend in her own right – Patti Smith, a rock poet, her words like quiet thunder, soft yet shattering; Nina Simone, a jazz siren, where rebellion lingers beneath velvet melodies; Louise Bourgeois, a sculptor of memory, weaving time into form, turning pain into art. Across different eras, they carved their own definitions of beauty – never needing pristine silks or opulent gowns. An old scarf, a rusted keychain – touched by time, worn by life – became emblems of their existence, marks of their freedom. Aged and weathered does not mean forgotten. It means lived-in; it means remembered. And so, I wish to write a different kind of poem – one that is quiet, yet impossible to forget.

Ruosi Ni

My project merges the raw energy of Berlin’s late ’80s punk scene with Ann Demeulemeester’s poetic rebellion. I fused punk motorcycle gear’s toughness, fencing uniforms’ precision, chainmail’s protective structure, and knitwear’s fluidity to explore contrasts – strength and fragility, armor and softness. Distressed leather, heavy hardware, and layered metallic details evoke defiance, while deconstructed knitwear adds an intimate, undone feel. I aim to push the boundaries between protection and vulnerability, discipline and chaos, creating pieces that embody both defiance and elegance.

Siling Chen

My collection for Ann Demeulemeester envisions a dreamlike journey where Robert Mapplethorpe sets off on a motorcycle road trip to Tibet with Anne-France Dautheville. As they traverse vast, poetic landscapes, they surrender to the rhythm of Tibetan culture – its art, its spirit, its craft. Mapplethorpe captures fleeting moments through his lens, while Tibet etches itself into their beings. A quiet exchange unfolds: local fashion imprints upon their dress, staining it with Tibetan colors, prints, and textures, like a whispered story. Biker wear merges with square-cut Tibetan silhouettes, interwoven with plant-based dyeing and macramé, tracing a dialogue between rebellion and tradition.

Thit Bøeghave

My collection for Ann Demeulemeester looks back to her Spring 1994 collection, revisiting her take on femininity, which I feel is still relevant today. It’s about strength, but with a vulnerability that makes it even more powerful. I wanted to capture this and let it speak to a new femininity, one that belongs to this moment, and to me. My inspiration comes from the layered silhouettes of the Regency era, mixed with the raw energy of Patti Smith on stage in the 1970s. It thrives on contrast – delicate yet strong, structured yet undone, rebellious yet romantic. Function and material shift: corsets are reimagined in leather as supportive bras. Streetwear, like sweaters and tank tops, becomes a fragile second skin – something you can’t hide behind. The past is not quoted, but reimagined – as a language for the present and an expression of what I think femininity needs today.

Wenyi Cai

Ann Demeulemeester’s designs always balance effortlessness and elegance, carrying an underlying sense of strength. This distinctive aesthetic deeply resonates with me, which is why I chose Keith Richards as the muse for this project. His style has been described as “elegant waste” – a nonchalant yet refined attitude that perfectly embodies the essence I wish to convey. To represent this unique spirit, I have chosen the iris flower, a symbol of freedom and mystery, mirroring the romantic rebellion that defines him. Keith Richards is often seen in striped suits, accompanied by a scarf that seems to drift with him wherever he goes. These signature pieces serve as the archetype for my designs, allowing me to translate his effortless sophistication, untamed energy, and inherent strength into my work.

Xinyue Zhu

When I think of Ann Demeulemeester, the first thing that comes to mind is her iconic style of romance, punk, and poetry. My muse, Siouxsie Sioux, also inspired me with her strong and rebellious style. The overall design continues the smooth drape of Ann’s own creations, while also adding some of Siouxsie’s most representative elements. Broken lace and gorgeous beads bloom from the black tone, like thorny flowers in the dark night. The irregular tassels bring a sense of layering, which lends a stronger visual impact and creates a more uninhibited style. The whole collection envisions clothing as a song, composing romantic and poetic punk rock. 

You Wu

My inspiration comes from Ann Demeulemeester’s runway shows, which evoke an ethereal and flowing mood. I was particularly drawn to the movement of wind, the fluidity of water, and the ripple effects of light and shadow on glass. I began by exploring archetypal garments like trench coats and raincoats – designed to shield the wearer from wind and rain – aligning with Ann’s approach to archetypes in her designs. To further develop this concept, I created textiles that capture the organic movement of nature. I incorporated voluminous silhouettes, allowing the garments to shift beautifully with motion, as if guided by the wind itself.

Yumu Li

In this collection, I was captivated by Ann’s masterful deconstruction techniques, which I categorized into four approaches: Expanding (enlarging garments and retying them with cords), Extending (elongating specific sections, often the front placket and collar), Enveloping (utilizing rectangular patterns and one-piece cutting), and Excessing (repetition and double layers). Simultaneously, I infused elements of piercing culture, paying homage to the punk spirit of the 1980s and ’90s, as embodied by Blixa Bargeld and Nick Cave. Inspired by double-breasted men’s suits and punk-favored leather jackets, I deconstructed, twisted, and reassembled these familiar garments – transforming their silhouettes to evoke a sense of both familiarity and strangeness.

Yuzi Zhang

It is all about love…This is the story of a vampire and a soldier – a love doomed from the start, yet burning with an intensity that defies time. Inspired by the white looks of Ann Demeulemeester’s 2002 collection, I became entranced by white’s fleeting, ghostly presence – the way it flows, dissolves, and lingers like a memory. White is never pure; it carries the weight of absence, of longing, of things left unsaid.  This collection is an exploration of metamorphosis, a dialogue between destruction and creation. Soft tailoring dissolves the weight of history; chiffon, silk, and supple leather reimagine the past with movement, fluidity, and vulnerability. My muse, a lovesick vampire, rips apart her soldier’s jackets, weaving them with remnants of Regency-era lingerie. From ruin, she births a wedding dress – pure, white, otherworldly. As the dresses billow like spirits, my heroine clasps her lover’s hand. Burning themselves into the fire. A letter drifts through the air: “I am red in love…”

To close the project, students turned the tables and directed their curiosity back toward Stefano Gallici. The fifteen questions that follow reflect their wide-ranging interests – from practical design process to philosophical underpinnings.

In today’s fashion landscape, what do you think is the most unique and irreplaceable aspect of Ann Demeulemeester? 

The most unique and irreplaceable aspect of Ann Demeulemeester is its ability to capture the intangible – a dream-like quality that allows fashion to transcend mere garments and become a manifestation of emotional depth, individuality, and rawness. Ann’s work has always been about challenging norms, embracing complexity, and celebrating the beauty in imperfection. It’s a brand for dreamers, for those who dare to dream beyond what is immediately visible. The ability to create something that feels both intellectual and poetic, while deeply connected to the human experience, sets Ann apart. In a landscape where fashion can often feel rushed and superficial, Ann Demeulemeester remains a beacon for those who believe in the power of dreams and self-expression.

Can you explain the steps between your transition from graduating at IAUV Venice to Ann Demeulemeester? 

After graduating from IAUV in Venice, I knew I wanted to merge my passion for art with the narrative power of fashion. What initially drew me into this world, though, was music – it was my first love and the lens through which I started to explore aesthetics, performance, and identity. Over time, I became fascinated by how fashion could amplify those same ideas visually. My path was a series of moments driven by learning and observing the intersections of culture, philosophy, and style. I worked on various projects, but it was when I met Ann and became part of the Maison that everything clicked. Joining Ann Demeulemeester was not just about design; it was about continuing a legacy that felt deeply connected to my own personal values around art, beauty, and rebellion. It’s been a long, organic journey, and I believe that the foundation I built in Venice, along with that initial spark from music, helped me understand the importance of creating art that communicates something beyond the surface.

In which ways do you see elements of your previous work shaping your current design philosophy at Ann Demeulemeester? 

My previous work has always centered around a sense of contradiction and tension – balancing the delicate with the rough, the dark with the light. This plays out in my current philosophy at Ann Demeulemeester. I draw on my past experiences in understanding not only materials and craftsmanship but also the way a garment can tell a story. I always approach each collection as a narrative, much like how I approached past works, but now with an understanding of the deep heritage and emotional undercurrent of Ann’s legacy. The work is always evolving, but it remains rooted in these explorations of contrasts. 

Which is your favourite memory related to music? And how does music inform your collections at Ann Demeulemeester? 

Music has always been an essential part of my creative process, as it was for Ann. But beyond that, it was actually my way into fashion. When I was a teenager playing in various bands, music wasn’t just something I listened to or performed – it became a whole world of references and self-expression. I started exploring my own way of dressing, creating an aesthetic that felt like an extension of the music I was making and the emotions I was living. That’s probably my most vivid memory related to music: that moment when sound, identity, and style all started to merge. At Ann Demeulemeester, music continues to play a central role. We often build collections around a musical reference, using it to shape not only the mood but also the structure and rhythm of the garments. The soundtracks of our shows aren’t just background – they’re part of the storytelling, as integral as the clothes themselves. 

As a creative director, how do you balance teamwork with your own creative vision? 

Balance is key, but for me, it always starts from a solitary place. Each season begins with a deep research phase where I work alone to shape the narrative, the emotional tone, and the conceptual core of the collection. This initial process is essential – it’s where I connect most intimately with the themes I want to explore. Only after this foundation is solid do I bring the team in. From there, collaboration begins: the designers, pattern makers, and artisans each contribute their own sensibility and expertise, enriching the vision with new layers and perspectives. I see the process as a kind of choreography – my role is to set the rhythm and intention, then let the team respond and build around it. The result is a collection that feels both deeply personal and collectively realized.

Ann Demeulemeester’s designs are often described as embodying both ‘intellectual’ and ‘rebellious’ qualities. How do you interpret this balance? 

To me, intellectuality in fashion doesn’t mean being overly serious or rigid. It means bringing depth to the work – whether that’s through a conceptual approach to form or using the materials in an unexpected way. Rebellion, on the other hand, is a challenge to the norm. Ann’s work was never about following trends – it was about forging your own path. The balance comes from respecting the traditions of fashion while constantly pushing against them, questioning the “rules,” and embracing the freedom of expression.

From your perspective as Creative Director, has there been a particular season or collection that felt deeply personal or transformative for you and what was the creative journey behind it? 

Every collection carries its own weight, but if I had to name one that truly captivated me – even before I became Creative Director – it would be the Spring/Summer 2000 season. While the entire heritage of Ann Demeulemeester has been a profound source of inspiration, that particular collection stands out as something transformative. The collaboration with Jim Dine, with all the aprons and tabards, brought a poetic tension between vulnerability and strength that left a deep mark on me. And of course, it marked one of the first collaborations with Patti Smith – the now-iconic Curious Wishes Feathered the Air was more than a title; it was a manifesto of sorts. That season embodied everything I admire about the Maison: intellectual depth, raw emotion, and a fearless dialogue between art and fashion. As Creative Director, I often return to that spirit when shaping a new collection. While I’m carving my own path, that moment reminds me of the power of authentic collaboration and of infusing garments with narrative and soul. 

Where do you see yourself in 20 years? 

In 20 years, I hope to still be creating, learning, and evolving. Fashion isn’t just a job; it’s a lifelong conversation with culture. I see myself continuing to shape the brand and the industry in a way that feels true to my artistic values – always searching for new ways to inspire others and young generations, whether it’s through fashion, art, or creative collaborations outside of the fashion sphere.

If you could magically change anything about the fashion industry, what would you change? 

If I could change anything, it would be to slow down the pace. Fashion has become incredibly fast, driven by cycles that leave little room for introspection or meaningful growth. I would love to see the industry embrace a more thoughtful, sustainable approach – where creativity can flourish without the pressure of constantly having to churn out new collections. Quality over quantity, always.

What advice would you give yourself if you could time travel to the day you graduated? 

I would tell myself to learn how to keep the pace you know you’re capable of – and to never waste time. That’s something I still remind myself of today. In this industry, there are no days off, no sabbaticals, no time to postpone what you feel you need to do. Every day spent hesitating is a day lost. Fashion moves fast, and you have to move with it – not out of pressure, but out of presence. I’d also say: you’re never too young to be relevant. If you show up with focus, discipline, and a clear point of view, the industry will notice. The key is to stay sharp, stay engaged, and never wait for the “right time” – the right time is always now.

If you didn’t have a career in fashion, what other career or avenue would you have liked to do instead and why? 

Honestly, there was never a plan B. I never imagined myself doing anything else – fashion was the only path I saw, and I’ve fought with everything I had to get where I am. Looking back, I don’t even want to think about what I would’ve done if it hadn’t worked out, because not making it was never an option I allowed myself to consider. That said, there are other passions that live in me, and one day I’d love to explore them more fully. Music, in particular, has always been a huge part of who I am. It’s something I had to set aside when I was completely swept up in the demands of this career, but it’s still there, waiting. I think eventually I’ll find a way to return to that world – not as a fallback, but as another chapter of expression.

In your opinion and throughout the years, how has the Ann Demeulemeester customer changed? 

It’s always difficult to answer this question, because the customer I visualize in my mind is often idealized – sometimes even romanticized. And the truth is, that image rarely aligns perfectly with the actual end customer. But I imagine that’s something most designers experience: we create with a certain person in mind, someone who embodies the spirit of the work more than just the demographic. For me, that imagined customer has always been someone deeply intellectual, passionate, and dream-driven. Someone involved in the world of art – in any of its many forms – who approaches fashion as an extension of thought, emotion, and expression. Of course, over the years, the real customer has evolved, becoming more conscious of sustainability and more focused on meaningful, lasting pieces. But in my creative process, I still hold onto that internal vision. It helps keep the work rooted in something poetic, something that aspires beyond trends.

How did you find your own muses for Ann Demeulemeester? And what role do they play in the process of designing a collection? 

To be honest, the whole idea of a “muse” feels a bit outdated to me. I’ve never really liked the notion, and I certainly wouldn’t want to be anyone’s muse myself – I want to be somebody, to express who I am on my own terms. That’s the mindset I bring into my work. I don’t build collections around muses in the traditional sense. If you want to call the people around me – my friends, collaborators, the ones I create with – my muses, that’s fine, but I don’t really see it that way. My friends are always involved in many forms of art – they’re musicians, painters, sculptors, visual artists – people I’ve known for years, and some I’ve just met, but they all share one thing: they’ve always been a constant source of inspiration. They’ve pushed me to create, just as I’ve tried to inspire them in return. It’s not about idealizing someone from a distance – it’s about being surrounded by a community of like-minded people, all feeding off each other’s energy. That dynamic is at the heart of my creative process.

From a fashion point of view, what is your favourite film? And has costume design ever interested you? 

It’s really difficult to pinpoint just one film, because cinema has been such an unconscious influence on me since I was young. I was deeply marked by the westerns of Sergio Leone that my grandfather would show me. Clint Eastwood, especially, became one of my first icons – he was a hero to me when I was a child, and to this day, he remains a powerful style icon. When I think about films like The Dollar Trilogy, that raw, timeless energy still resonates with me. Later, Dennis Hopper was introduced to me by my father – first as a director and later as an actor. His work, from Apocalypse Now to Easy Rider, immersed me in a world of freedom and the search for spiritual truth. These are just a few titles that come to mind, but I could go on for hours. As for costume design, it’s always been incredibly interesting to me. Costume design in films isn’t just about clothes – it’s about storytelling. It enhances the narrative of a character in much the same way fashion communicates identity. The intersection between cinema and fashion has always been a huge source of inspiration for me, whether in the form of characters, settings, or the way style reflects deeper emotional or cultural themes.

The fashion industry can be very demanding and tough. How do you take care of yourself and what type of things do you enjoy doing outside of work? 

This job often leads to extreme rhythms – always under pressure and constantly on the move. One day here, the next day there. It’s stimulating but also draining. For me, it’s simple, even though I’m still learning how to manage it. I’m not particularly drawn to the social scene or nightlife. I tend to go out very little, so I prioritize getting at least eight hours of sleep when I can, and maintaining a solid routine. I’ve realized I perform best in the early morning, often before the sun rises, and many times I’m the first to arrive at the office. This means I often end up going to bed early. Having decent meals is part of this routine too – keeping things simple. I try to carve out time each day to write my thoughts, to read, to watch a new film, or to listen to a new album. It’s important to go to bed knowing I’ve learned something new that day. I think in this industry, you don’t need to go out to make connections or get noticed. What you need is to work hard, and to do that, you need to have the energy to keep going. I always remind myself that behind the most powerful performances – whether on stage or in a show – there’s often a quiet night where the artist went to bed early. I’ve heard this from many musicians and artists around the world, especially within Ann Demeulemeester, and I try to live by that example.