Un perfect timing, this confinement! In early March 2020, fashion designer Dirk Van Saene presented his winter 2020-2021 collection in Paris. Two weeks later, the country was confined. “I had already designed a new collection and I was about to have it produced. We had bought the fabrics, but I stopped everything. I did not want to follow this production or the sale digitally”, says Dirk Van Saene.

Not that he suddenly fell into a black hole in mid-March, because the designer still teaches Masters students at the Fashion Academy in Antwerp. However, a lot of time was freed to complete his secret project: “Stories of hope and despair”, his first solo exhibition, which opened last weekend at the Galerie Sofie Van de Velde in Antwerp.

“For the first time, I am combining my three passions: ceramics, clothing and furniture”, he explains in his workshop in Zandhoven. “Since classic plinths are commonplace, I used vintage furniture to display my ceramic sculptures.”

For some, Van Saene also designed outfits. “No, these are not fashion silhouettes from the collection I canceled, but rather classic pieces, like a suit or a white shirt. A sculpture wears a suit, it has table legs for legs. and wears ceramic shoes. The furniture and clothing reinforce the character of the sculpture. The result is sometimes surreal, sometimes frightening: each sculpture evokes a specific emotion. “

Dirk Van Saene: “At the beginning, I found this isolation rather pleasant. This deserted world seemed very refreshing. A few years ago, Walter (Van Beirendonck, the companion of Van Saene, also fashion designer, Editor’s note) and I moved in in a 19th century notarial residence in Zandhoven. In spring and summer the large garden was like a decadent luxury. “

“But, since the dark winter days, we have struggled. Not only do we miss those around us, but also the physical contact with art. In 2020, I went through an emotional roller coaster, which we Also notice in my sculptures. Even though this white clay looks very serene, I lack a touch of drama and tragedy. You can see it in my characters, who are sometimes historical or mythological characters, like Cupid, and sometimes real people . “

“I made a sculpture of Raf Simons. And of Walter, of course. Lump, Picasso’s dog, and Jacqueline Roque, his last muse, also appear in the exhibition. I leave the rest to the imagination.”

“No, he’s not one of them: I only represent people I respect.”

“Yes, of course, but there are also many examples in African art of masks or sculptures dressed in fabric. Walter and I have a collection of Bozo masks from Mali. At the time, they were dressed for the show. . I find that very inspiring. Even if, nowadays, we are quickly accused of cultural appropriation. What absurdity! As Belgian artists, we could only be inspired by the Carnival of Binche? “

“During a trip to Budapest, Walter and I discovered 19th century ceramics. We then started collecting figurative and folkloric pieces, notably from the Hungarian ceramicist Livia Gorka.”

“Since I wanted to practice this craft, I took classes at the academy. Now it’s trendy, but, at the time, I was almost the only one. I mastered the technique quite quickly, even if ceramics remain an exercise in patience. A sculpture by Anna Wintour that I worked on for days exploded in the kiln. “

“At the parade, I’m already tired of my silhouettes, because, in my head, I have already started on the next collection. Here, it’s different: I continue to look at my sculptures with pleasure, which is not the case. case with a garment. The creation process is also completely different: it takes many to make a fashion collection, whereas a ceramist does not need anyone to create a sculpture from a block of clay. 10 euros. Creating something from start to finish is fine for me. “

“I hesitated for a long time between art and fashion. I do not regret my choice, because fashion allowed me to flourish. And Walter and I lived together fantastic moments. When I was a student, I dreamed of working in a big house like Prada. But leading a creative team of 250 people would make me very miserable. “

“It was only late in the day that I realized that I didn’t have a team spirit: consultation and delegation are not my forte, I prefer to do as much as possible myself, until packing the orders! I also wanted my fashion brand to stay small, so I could get to know each customer and each store. I didn’t want to get involved in this one-upmanship of collections or outlets. The flip side the medal is that I never made a lot of money. “

“At the time, I didn’t realize that it could be a big stepping stone. I didn’t intend to live in a small room in Paris, just for this job. Maybe it was stupid, but I’m happy with the turn my life has taken. Now I know how it goes with these big fashion brands: it doesn’t mean much. “

“No, I will be doing collections again. After a few seasons, I will definitely itch again, but not at the moment. Ceramics is not a plan B, because my expectations are not as high as in fashion. . I am already happy to be able to exhibit this work in such a renowned gallery and that Sofie Van de Velde has given me this opportunity, without having seen a single ceramic in this series. “

“I really feel carried by her. She takes care of everything, so I just have to concentrate on the creation. In the 37 years that I have worked in fashion, I had never been accompanied by a such a personality. Fashion designers and their gigantic entourage always make me laugh, with all kinds of characters who play the essentials. So I say to myself: behave normally! “

“In a way, yes. But maybe the art world is like that too? I don’t know it very well yet. Who knows, maybe I’ll be disappointed in a year? now it isn’t. Sofie Van de Velde is very human, and anything but snobbish. It’s refreshing at times compared to a lot of fashion figures. “