Complete Works | Vincent Van Duysen
Photo essay by Alberto Piovano (Photograph by Alberto Piovano)
Photo essay by Alberto Piovano (Photograph by Alberto Piovano)
M Residence, Mallorca, Spain, 1996-1997 (Photograph by Alberto Piovano)
VL Residence, Bruges, Belgium, 1999-2000 (Photograph by Alberto Piovano)
DC Residence, Waasmunster, Belguim, 1998-2001 (Photograph by Alberto Piovano)
Capco Offices, Antwerp, Belgium / New York, USA, 1999-2001 (Photograph by Alberto Piovano)
Copyright Bookshop, Antwerp, Belgium, 2000-2001 (Photograph by Alberto Piovano)
VVD Residence, Dendermonde, Belgium, 1998-2003 (Photograph by Alberto Piovano)
Desk and Chair for Bulo, 2004 (Photography by Alberto Piovano)
Neutra Outdoor Collection for Tribù, 2008 (Photography by Alberto Piovano)
On Vincent
Vincent’s work is human;
it possesses many qualities
that we value in people.
It is calm yet determined.
It is reliable yet surprising.
It is sensual, but discreetly so.
It is sober yet spirited.
In other words, it is like a good friend,
like Vincent himself.
Ann Demeulemeester and Patrick Robyn
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‘Verwechseln Sie bitte nicht das Einfache mit dem Simplen’
(Don’t confuse minimal with simple)
Mies van der Rohe
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Complete Works
Vincent Van Duysen : Ilse Crawford : Marc Dubois
Thames & Hudson
2010
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6+ | Antwerp Fashion
Haider Ackermann, Autumn-Winter 2006-2007
Veroniuque Branquinho, Spring-Summer 1998
Dries Van Noten, Autumn-Winter 1997-1998
Haider Ackermann, Spring-Summer 2006. Tilda Swinton in Purple Fashion Magazine, Vol.3, nr.5, Summer 2006
Raf Simons, Spring-Summer 1998
A.F Vandevorst, Spring-Summer 1999
The ‘Six’ in the title refers to ‘The Six of Antwerp’ — Dirk Bikkembergs, Ann Demeulemeester, Walter Van Beirendonck, Dries Van Noten, Dirk Van Saene and Marina Yee — who have been renowned in the world of fashion since the beginning of the 1980s. The ‘plus’ refers to Martin Margiela on the one hand, because he is often bracketed together with ‘The Six’ and on the other hand, to the next generation of designers who have always added new aspects to the Antwerp identity. Finally, the ‘plus’ also refers to photographers, stylists, graphic designers and make-up artists, who have only strengthened the impact of the Antwerp fashion image. The Antwerp style is often described as a type of fashion with a strong feel for identity and tradition, as a conceptual type of fashion that can be interpreted as a reflection on the system of fashion that never gets lost in an abstract artistry or thought. Antwerp fashion is praised by many journalists and buyers because of its unique balance between realism and creativity, which also explains the huge commercial success. With works by Bernhard Willhelm, Raf Simons, Patrick Van Ommeslaeghe, Kris Van Assche, Haider Ackermann, Les Hommes, Lieve Van Gorp, Bruno Pieters, Peter Pilotto, Veronique Branquinho, Jurgi Persoons and A.F. Vandevorst.
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6+ | Antwerp Fashion
Kaat Debo : Geert Bruloot
Ludion Ghent
2007
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Fashion Department | Royal Academy of Fine Arts
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Eleonora | 2001
Hair by Guido
Photography by Uli Holz
Make-up by Diane Kendall
Photographic assistance by Lissa Hahn
Printing by Pierre Dal Corso
Model: Eleonora at IMG
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‘Heroes’ : The Inspiration Issue
Guest edited by Raf Simons
i-D #206
February, 2001
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Forever I Am A Part Of You And Me | 2001
Robbie wears jacket, waistcoat, shirt, tie and denim trousers all by Raf Simons Archive; vintage combat boots from Naughty I, Antwerp.
Chloe wears vintage waistcoat by Martin Margiela; jacket and trousers by Balenciaga; T-shirt by Raf Simons Archive.
Robbie wears jacket by Comme des Garçons Homme Plus; waistcoat by Martin Margiela; shirt and tie by Raf Simons Archive; trousers by Louis Vuitton.
Chloe wears sleeveless jacket by Raf Simons Archive; vintage dress by Helmut Lang; vintage leggings by Stephen Sprouse.
Robbie wears jacket, waistcoat, shirt, tie and trousers all by Raf Simons Archive; vintage combat boots, stylist’s own.
Chloe wears jacket, dress and leggings by Veronique Branquinho; T-shirt by Raf Simons Archive; vintage combat boots, stylist’s own.
Chloe wears suit by Comme des Garçons; vintage combat jacket from Waterlooplienmarket, Amsterdam; boot’s stylists own. Robbie wears jacket, shirt and tie all by Raf Simons Archive; vintage combat waistcoat from Waterlooplienmarket, Amsterdam; trousers from Naughty I, Antwerp; boots stylist’s own.
Robbie wears waistcoat by Martin Margiela; jacket by Louis Vuitton, shirt, tie and trousers all by Raf Simons Archive.
Chloe wears vintage waistcoat by Martin Margiela; T-shirt by Raf Simons Archive; skirt by Veronique Branquinho.
Chloe wears jacket by Raf Simons Archive; vintage dress by Stephen Sprouse.
Photography by Willy Vanderperre
Styling by Olivier Rizzo
Hair & Make-up by Peter Philips
Hair Colouring by Tom Malongre
Assisted by Annemie Meyers
Models: Chloe at Vision & Robbie
Special thanks to Stephen Sprouse, Pia Versele, Gerrit Bruloot, Marian Eggers and Raf Simons.
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‘Heroes’ : The Inspiration Issue
Guest edited by Raf Simons
i-D #206
February, 2001
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Raf Simons: Redux, 2005
Spring-Summer 2003. Consumed. Photographed by Mario Sorrenti. Syling by Panos Yiapanis. Arena Homme Plus no. 18, 2003.
Isolated heroes no.1: Robbie. Photographed by Raf Simons. Antwerp, 2000.
Autumn-Winter 1999-2000 (flag). Photographed by Raymond Jacquemyns. Antwerp 2005.
Robbie. Photographed by Willy Vanderperre. Styling: Oliver Rizzo. Grooming: Peter Philips. Antwerp, 1999.
Autumn-Winter 2003-2004. Collaboration with Peter Saville. Hand-painting on garments executed by Stef Driesen and Antonia Deluca. Cis, Johan, Peter. Photographed by Willy Vanderperre. Hair: Tom Malomgre. Make-up: Peter Philips. Paris, 2003.
Robbie. Photographed by Willy Vanderperre. Styling: Oliver Rizzo. Grooming: Peter Philips. Antwerp, 1999.
Collier Schorr. Base Portraits/Barracks. New York, 2005.
Spring-Summer 2002. Alexander. Photographed by Kurt De Wit. Grooming: Peter Philips. Paris, 2001.
Video still. Spring-Summer 2002.
Raf and me – we are the Nicky brotherhood. Other people might look at out two members only-congregation as just another Nicky Wire (of Manic Street Preachers) fan club, but both of us know the word “Nicky” means so much more, so we don’t care. For the uninitiated, it would take a long, deep plunge into the complete history and output of the Manics to fully understand, so just take it from me that “Nicky” stands for conviction, fervor, pride, defiance and self-belief against ones own lucky or unlucky fate. When Nicky Wire falls to his knees onstage, bass guitar low, his eyes closed, lost in melody and noise, signing along to to the very words he himself wrote, it’s not your typical freeze-framed rock pose. It’s the very white-out of deliverance and intent and melancholia all true art has, or should have. Life the Nicky way is what all of us like to aspire to. Above all, “Nicky” stands for passion. There’s so, so much passion in Raf’s head and heart. He’s a believer – always. Take anyone working in his office or somehow associated with him as an example. He has this ability to see the spark in people, no matter what background or possible shortcomings. and then fan the flame until it becomes a glowing fire. Passion is what drives his work, too. If there’s one thing I wanted to get across with this book, it’s this; put aside, although never erase, the schoolboy, the robot, the goth drop-out, the protester, the nature kid, the space-age casual. They’re only symbols, indicators. What they really convey is pure emotion without any trickery. Raf has proved that, in one big natural swoop and before the commentators can make their seasonal shopping round-up, fashion can indeed say something all-encompassing and essential about masculinity, society, individuality and freedom. Whispering, wondering, hesitant, shouting, jubilant or unafraid, Raf’s voice has always been for real. And I’m glad that the world has been taking note.
In 1991, Nicky Wire changed my life when he and Richey wrote the lyrics to “Motown Junk”. Five years ago, Raf also radically, positively redirected my own route by inviting me wholeheartedly into his world. If it wasn’t for him, I probably would still hide my strange scribblings and paste-and-cuttings in a box under my bed.
If the cover and the spine of this book could have taken more letters and words, this excerpt from Wire’s Manics lyric should have been the full title, because it truthfully sums up the full ten years of Raf Simons:
“It was no surface but all feeling
Maybe at the time it felt like dreaming”
Raf: Nicky and brotherhood.
– Peter De Potter
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Raf Simons: Redux
Raf Simons : Peter De Potter : Maria Luisa Frisa
Fondazione Pitti Discovery
Milan
2005
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History of Our World 
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