Dries Van Noten, Ann Demeulemeester, Walter Van Beirendonck, Dirk Bikkembergs, Dirk Van Saene and Marina Yee – at the end of the 1980s, they were virtually unknown to most people. Even the British fashion press – overwhelmed by the pronunciation and spelling of the Belgian names – simply referred to them as the "Antwerp Six".

Forty years later, the six designers are still considered style icons for an entire generation; after they first presented their collections in London in 1986, the industry's attention also turned to Belgium in general.

Flanders DC recently celebrated the 40th anniversary of the Antwerp Six with a fashion festival in Antwerp. A perfect opportunity, then, to chat with Elke Timmerman: As International & Business Relations Manager, she's responsible for the partnerships of the fashion organization, which, like the Fashion Council Germany, is part of the European Fashion Alliance. Why? She tells us in this interview.

Elke, what does European fashion mean to you?

For me, European fashion primarily stands for creativity, artistic vision, craftsmanship, and quality. Innovation and sustainability are equally important – Europe plays a clear pioneering role, especially in sustainability regulations. Within Europe, of course, there are still significant regional differences: from the functional, minimalist design of Scandinavia to the British fashion scene, characterized by subcultures and rebellion, to the luxury and craftsmanship of France and Italy. There is therefore no single label for European fashion . In a global context, Europe is distinguished above all by its creative diversity and cultural heritage. This is also reflected in the streetscape: European style ranges from elegant to conceptual to subcultural experimentation. European fashion is therefore more of a mosaic of diverse characteristics than a clearly defined style – and that's something we can be proud of.

The MoMu fashion museum in Antwerp is currently celebrating a special anniversary: 40 years ago, the Antwerp Six made fashion history when they first presented their collections at the British Designer Show in London, establishing Belgium as an international fashion capital. How does their influence continue to this day?

The strength of the Antwerp Six lay in their unwavering commitment to forging their own path. They demonstrated that Belgian fashion can be bold, conceptual, and deeply individual. This continues to inspire designers in Belgium and instills confidence in the next generation. The term "Antwerp Six" itself arose rather by chance: the British press couldn't pronounce their names and simply grouped them under this moniker. In reality, however, they represented six completely different personalities. At the same time, they collectively paved the way for Belgium's international success. Therefore, now is the perfect time to shine a spotlight on today's generation of designers – which is precisely why we organized the Antwerp.Fashion Festival to coincide with the MoMu exhibition.

Can you describe the idea behind the festival in more detail?

With the Antwerp.Fashion Festival, we deliberately didn't want to create just another Fashion Week. Europe already has twelve Fashion Weeks – another one wouldn't have made sense. Our goal was rather to create a moment to celebrate the current generation of Antwerp designers and showcase what Antwerp fashion stands for today. The festival was a multifaceted event with fashion shows, performances, exhibitions, installations, talks, window displays, and much more. It highlighted the economic and cultural value of fashion for both industry professionals and consumers, reinterpreting the classic concept of a Fashion Week – open and accessible to everyone. The festival is planned to take place every two years. And why not invite international talent as well?

Antwerp boasts a long cultural tradition – from its diamond trade to the Flemish masters of the 16th and 17th centuries. In comparison, the city's fashion history is relatively recent. How do these diverse traditions intertwine today?

Some call the Antwerp Six the "Flemish masters of fashion." There is, of course, a connection, as fashion is an art form. At the same time, it is also an economic sector. Belgium benefits from its rich cultural heritage—the Flemish masters, its historical architecture, and a strong textile tradition. In the early 1980s, the Belgian government invested the equivalent of more than one billion euros in today's money in programs to revitalize the textile industry. These included the "Golden Spool" competition, which several members of the Antwerp Six won. The aim was to foster collaboration between the textile industry and creatives, to initiate partnerships, and to send designers to Japan and the UK. This also paved the way for the Antwerp Six to move to London. Today, young creatives can draw on this rich heritage and interpret it in a contemporary way.

Does this relatively recent history of fashion create more space for creativity and experimentation?

Yes. In Antwerp, much like in Berlin, there's no dominant tradition of large luxury brands. This makes it easier for young designers to develop their own distinctive style. They're essentially forced to tell their own story, work with their own materials, and build their own community. However, I'm not sure if this is actually due to the city's history or rather to the market power of the major luxury conglomerates.

With Milk of Lime, a design duo from the Royal Academy of Fine Arts Antwerp, Belgian design is regularly represented at Berlin Fashion Week. How do you see the connection between Berlin and Antwerp?

What Julia and Nico are doing is very courageous. I've been following their journey since their beginnings in Germany. With Milk of Lime, the Belgian influence is immediately apparent: a dark, elegant aesthetic combined with the avant-garde, conceptual spirit of Antwerp. There are already more similarities between Antwerp and Berlin than one might initially think. It would be exciting to invite German designers to the festival in the future – and vice versa. This could even become a new European collaborative project. The potential for creative exchange programs is certainly significant.

The international fashion scene is already paying particular attention to the new generation at the Royal Academy of Fine Arts Antwerp. What distinguishes this educational approach?

The academy in Antwerp occupies a unique position. Walter Van Beirendonck shaped it for many years, demonstrating how to simultaneously lead an academy, run one's own label, and be present on the catwalks of Paris. He always encouraged students to tell their own stories, to experiment boldly, and to develop independent fashion. Graduates of the academy possess a wealth of experience—but there is also immense pressure to perform. One must be exceptional. The training is strongly artistic and experimental. Business aspects, on the other hand, play a minimal role. This is precisely where Flanders DC comes in, offering coaching, mentoring programs, webinars, and digital resources for starting a business.

What advice do you give to the labels that contact you?

We support designers from the very beginning – from aspiring founders to established brands and CEOs. Our support ranges from individual consultations to group programs with industry experts. For newcomers, we offer mentoring programs in partnership with the city. We support more established labels with internationalization, digitalization, sustainability, and business development. We also provide a free guide to starting a fashion label, which we update regularly. We recommend everyone read it first before letting their dreams guide them. After all, there are many dreamers out there – and sometimes you'll discover real talent among them.

How can you recognize such talent? Is it a gut feeling?

A delicate touch is essential! We currently support four or five labels that we believe have great potential and ambition. However, success depends on several factors: talent, financial resources, vision, and a strong network. When all these conditions come together, we support the brands as intensively as possible – for example, by traveling to Paris or other key markets. This allows us to offer them genuine added value.

Together with the University of Antwerp, you also award the Flanders DC/UA Award to graduates of the Master's program in Fashion. This year, the prize went to Lars Mertens. What is the significance of this award?

We award the prize to graduates of the three Flemish fashion schools. This year, it went to Harry Van Noten (KASK Gent), Kito Kotsoane (Academy Sint-Niklaas), and Lars Mertens from Antwerp. All three win a summer business course at the Antwerp Management School – an intensive program that teaches creatives how to build their own label. Many graduates possess great design talent but little business acumen. In addition, together with partners from Flanders, Brussels, and Wallonia, we organize the Belgian Fashion Awards. One category recognizes emerging talents and comes with a €10,000 prize. This also provides an important financial boost for young designers.

Flanders DC was also instrumental in the founding of the European Fashion Alliance in 2022. How did this idea come about?

The European dream faded. Back then, I was working for MAD Brussels and wondering how we could position ourselves as a fashion council. Brussels' biggest advantage is its role as the capital of Europe. So I thought: Why not bring the European fashion councils together? I called them all – though not everyone answered the phone at first. Between 2014 and 2017, we organized several European Fashion Summits with lectures and interactive workshops before finally establishing a permanent organization. Sustainability wasn't a major focus back then. The biggest challenges were a lack of funding and the limited business acumen of young creatives. The luxury conglomerates spoke for the industry, but the many independent labels lacked a unified voice. Therefore, we wanted to share knowledge and build a long-term European organization – supported by a Creative Europe project. The goal was to give the creative fashion industry a strong voice and create a lasting structure.

What goals does the EFA pursue from your perspective, both today and in the future?

Today, our primary focus is on political advocacy. Given environmental challenges, technological shifts, and new European sustainability regulations, lobbying is crucial for representing the interests of the many small and medium-sized enterprises (SMEs) in the European fashion industry. The EFA aims to strengthen the creative sector, establish sustainable frameworks, and simultaneously safeguard its economic competitiveness. Furthermore, we seek to exchange knowledge and best practices, foster international collaborations, and develop joint projects. The network itself is particularly valuable in this regard. For example, I can contact our Portuguese partners at any time.

And what results from such contacts?

This year, we are planning, among other things, a production tour to Portugal and Spain to give Belgian brands insights into different production facilities. Thanks to our contacts with the Spanish Fashion Council and ModaLisboa, such collaborations can be initiated quickly. We are also a partner in the European Horizon project "Just Fashion," in which EFA, Fashion Council Germany, and Flanders District of Creativity are involved, along with other countries and companies. Another good example is Scott Lipinski, CEO of Fashion Council Germany. After taking office, he commissioned a comprehensive industry report—something that only a few fashion councils have done so far. Such reliable data is essential to highlighting the economic importance of the industry. Other councils are now also working on similar studies. This is precisely where EFA's greatest strength lies: learning from one another. Photos: Flanders District of Creativity