The Antwerp Six: 40 Years of Belgian Fashion Influence

The MoMu fashion museum in Antwerp is currently hosting “The Antwerp Six,” a significant exhibition marking the 40th anniversary of the influential design collective. The opening night served as a powerful reunion, highlighting the deep bonds and distinct attitudes that define Belgian fashion’s ongoing global impact.

Attendees included key figures like Ann Demeulemeester, Dries Van Noten, and Walter Van Beirendonck, who were engaging with their installations. Pieter Mulier, soon to lead Versace, was present, as was Linda Loppa, the celebrated mentor of many avant-garde designers at the Antwerp Academy. Meryll Rogge of Marni admired Dirk Van Saene’s creative display, while Raf Simons greeted Loppa warmly.

Pioneering a Global Reputation

The origin story of how this group of independent students from the Antwerp Academy established a formidable reputation for their small nation is well-documented. In 1987, supported by retailer Geert Bruloot, they famously drove a truck to London to showcase their work, culminating in an off-schedule guerrilla show at Westway film studios.

The exhibition documents this history through original flyers, videos, and image catalogues. Dries Van Noten recalled that their journey began in classrooms where they defined their individual styles, often rebelling against traditional expectations while drawing inspiration from London’s punk DIY ethos.

“There’s always been kind of a competition between us, constructive competition. You’re a bunch of friends, yes, and we wanted to have fun, but on the other hand, we wanted to create our collections and our worlds, and to succeed,”

Van Noten stated.

Self-Initiated Branding and Collaboration

A key differentiator for the Antwerp Six upon arriving in London was their existing mastery of self-promotion. They had proactively organized their own branding imagery while still students.

“We weren’t taught that. Everybody had their own photographer we found in school,” Van Noten explained. Ann Demeulemeester benefited from the early collaboration with her then-boyfriend, Patrick Robyn, whose evocative photography features heavily in the exhibition and accompanying book. Their son, Victor Robyn, now serves as the exhibition’s graphic designer.

Creative Worlds on Display

Ann Demeulemeester described her darkened installation, featuring attenuated black silhouettes emerging from smoky mirrored platforms, as evoking a cold moonlight over water. This crystallized her career’s integrity, which continued until she stepped away from her brand in 2014 to focus on art and furniture.

Walter Van Beirendonck, who studied a year ahead of many others alongside Martin Margiela, emphasized the importance of individuality. His vibrant, playful collections have long championed queer pride, anti-racism, and safe sex, remaining highly relevant today.

“For me, it’s not just making clothes, it’s telling stories, but also showing engagement in the world.”

Van Beirendonck, who later succeeded Loppa as Professor of Fashion, stressed the need to push boundaries: “The best way to predict the future is to create it. So I keep pushing.”

The Secret Sauce: Education and Environment

The Antwerp Academy’s Unique Approach

The enduring success is often traced back to the Antwerp Academy. Walter Van Beirendonck noted that the school provides a unique platform, allowing students four years to focus intensely on developing their identity without distraction.

This environment fostered mentorship. Raf Simons, who interned with Van Beirendonck after initially being rejected by Loppa, benefited from this network. Loppa defended her decision, stating, “I told him the Academy would kill him! He’d studied industrial and furniture design. He didn’t need it.”

Olivier Rizzo, a major stylist and Van Beirendonck’s mentee, credited his success to Walter’s unwavering belief. “Walter always believed in me and always saw the right thing in me, and always pushed me,” Rizzo affirmed.

Systemic Support and Network Effects

The exhibition, curated by Kaat Debo with guest curators Geert Bruloot and Romy Cockx, explores the broader context. This included support from an enlightened socialist government that introduced the Golden Spindle prize and connected designers with local manufacturers.

Pieter Mulier highlighted the interconnectedness: “It’s all intertwined here... I think it has something to do with our education, and the role models you have.” He noted that seeing established designers succeed internationally made alternative paths feel possible.

The Current Generation and Enduring Traits

The sheer number of Belgian or Belgian-educated creative directors currently leading major luxury houses—including Raf Simons (Prada), Matthieu Blazy (Chanel), Demna (Gucci), and Pieter Mulier (Versace)—is staggering.

Meryll Rogge pointed to a “non-teaching approach” at the Academy as crucial. She explained that students are forced toward independence, learning to figure out complex tasks themselves rather than being explicitly taught every technical skill.

“You’re really taught about how to be independent and how to figure it out... You learn to think for yourself.”

Rogge concluded that beyond the rigorous work ethic, the defining characteristic remains the strong peer relationships: “We stick together. And that’s why we have such a good bond after all these years.”