JB: How was it coming back after Paris? CW: The first thing I did after I built my atelier here, is call Dries Van Noten. At my graduation I had been awarded with the first prize Dries donates to the Academy to help a student to build his career. At that moment it was 2500 euros and this was the very first time anybody got the prize. On top of that he called me to work with him but I kept to the idea of trying to work in Paris at first. I felt very flattered but couldn’t resist this impulse. Once I moved back I understood there was no time to lose to call back. JB: Do you think maybe Paris is selling something not suitable for everyone? CW: The scene and the tradition are there, but is not necessarily a must for every designer to spend time there. I don’t regret going there, because working with Angelo Tarlazzi gave me a lot of experience in a very traditional atelier and this is not easy to get in the industry nowadays. He had a glorious period two decades ago and he made a comeback to the scene around 2000. I also worked very close to him when he was becoming stronger again, it really was a golden opportunity. On the other had, working with Dries Van Noten right after, showed me that it’s worth it to work with a big team in a very well organized and clean atmosphere. I say clean, because there is a sense of comfort and transparency in every work process that is unique. JB: Why did you choose to work exclusively in women’s wear? CW: Because I couldn’t conceive the same beauty I want to achieve through clothing for men. All my goals are about how to make women look superb and personally I don’t like men who are accessorized too much or who are excessively worried about what they’re going to wear.
show them in the best magazines, it’s when a woman tells me how good she feels wearing it and how happy she is since she bought it. It fills my heart! That’s the proof of getting a good result. JB: Let’s talk about your Summer/Spring ’07 collection, you were awarded with the Pierre Berge – Yves Saint Laurent prize to create it and the result was inspired by Ulan Bator and the architecture of Mongolia. Where did all this come from? CW: It came from a trip I took last winter. I was invited with other western designers by the government to do a fashion event there and my mind captured the richness of this culture and its monasteries. I based the prints of the later collection on these designs. There is lot of color and energy, with very delicate fabrics. JB: And you presented it in Paris, in the École National Supériere des Beaux Arts, another interesting architectonical piece. CW: Yes, I did the show in the courtyard, the models had to walk along the narrow corridors around the square. There was quite a contrast between the two styles, the one that inspired my collection and the building itself. JB: Is there any period in art history that you find particularly interesting? CW: I like the classic Flemish painters, but also I’m very inspired by Bauhaus. Something related to my childhood in Brussels is the Art Nouveau architecture. Regarding painters, I like Spilliaert, a Belgian artist from the first half of the century whose exhibition I saw recently in Brussels. His most famous paintings are related to the Belgian coast, his use of shades and colors is a great source of inspiration. JB: In which way do you admire art?
JB: Do you care about your own appearance? CW: I do in a certain way, with the food I eat, by playing sports or in trying to feel good with myself – that way I think I will look good too. But I’m not really aware of the fact that what I wear could cause any impact on others. I like to keep it rather simple, very classic.
CW: Besides going to museums and buying art books, I don’t do it in any other way. I wouldn’t mind having some pieces to look at all the time, but I’m not a person who likes to possess many things. I feel very comfortable knowing that I can leave this space and move somewhere else without carrying a lot of luggage with me. JB: What does luxury mean to you?
JB: What is your favourite piece of clothing as a design item? CW: I like dresses and skirts. Any dress with a sensual touch and many possibilities. These are the essentials of every collection.
CW: It means to have the wealth of living doing what I do, having the possibility to design, which is what I like the most. And to have the sensibility to appreciate what catches my attention from different points of view. JB: I’m very curious to know what are you presenting in Paris for next winter!
JB: How would you describe your taste, style and approach? CW: I would say I like women to look natural, sensual and fresh. I don’t mean that they have to look very self-confident and very aware of their sensuality or proud about themselves. It’s enough that they’re happy with what they’re wearing. I find some weaknesses very charming. I don’t like the image of these models who are absolutely strong and capable of doing anything.
CW: This collection has a lot to do with the novel L’amant by Marguerite Duras. It’s the story of a woman who falls desperately in love with a man, a very passionate story with a very fragile soul. The colors are again related to Vietnam, where the novel is situated and is as tender and sensual as the pages I’ve been through.
JB: Do you have a particular type of woman in mind when designing?
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CW: I’m very impressed by a woman crossing that period between being a young girl and a lady and also by women who look sensual and fresh. I watched Charlotte Gainsbourg in “Prête-moi ta main” and that gave me a lot of inspiration. In terms of glamour and self-confidence I love the image of French and southern European actresses better than those strong American women. Charlotte Gainsbourg for instance, has this soft image that shows fragility combined with a lot of sensuality. JB: Do you feel inspired by Charlotte’s music as well? CW: Not so much by the music itself, but I like to see that this vulnerability that I’m talking about is also shown there. JB: What about the women you see in your daily life, are they also a source of inspiration? CW: Absolutely. As I can never try clothes on myself (laughs), I ask female friends to try them on and to tell me how they feel in them. For me the most important part of the process is the try-out and certain friends whose looks I admire are very helpful in this. Especially because I don’t know If I would ask Charlotte Gainsbourg to try on a piece that I created thinking about her, I’m very shy right now. This is a call for Charlotte’s attention, “If you read this, Charlotte...” Well, that would be cool, I’d be very pleased. The best reward I can have for a piece is not to — 53 —