From A.F. Vandervorst to Veronique Branquinho, here's an introduction to an often-overlooked side of the Benelux nation's fashion history.
A.F. Vandevorst SS00. PIERRE VERDY/AFP via Getty Images“I didn’t know how many special pieces A.F. Vandevorst had made until I went to the archives”, Nathalie says. “It's something you can’t see from the runway pictures, and it's only when you see it in real life that you realise, ‘Okay, they did this!’” After visiting an A.F. Vandevorst sample sale, Nathalie struck up a conversation with the design duo and gained special access to their archives.
when he was just 21 years old, was unavailable to buy. Titled ‘Gloomy Trips’, the 1998 show never actually went into production, but not for lack of interest. Constructed from sheets collected by his grandmother in Normandy, it was impossible to recreate any of the narrow Edwardian dresses or black ball gown skirts because the fabrics were so limited. Olivier Theyskens: She Walks in Beauty
This lightness of touch took him to Rochas in 2002, and eventually Nina Ricci in 2006, where his work became a little more commercial, before joining New York-based tailoring and basics label Theory. He then dropped off the radar for a while, but after his most recent show for, Olivier Theyskens seems to have gained a new audience.
“Her aesthetic was both innocent yet at the same time erotic; both playful and severe, mysterious and complex,” Elisa tells me. “That’s quite unique and intriguing and might still be appealing and relevant to people who only recently discovered her work”. Veronique herself refers to her designs as “romance for the doom generation”, a sumptuous phrase which feels apt for a new cohort of young fashion enthusiasts living in an intensely precarious world.
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