An and Filip Vandevorst founded their label AF Vandevorst in 1998 and prospered for over two decades redefining avant garde womenswear season after season with their own unique design language . They met during their first year at university and were immediately a match made in heaven or more precisley in Antwerp. Both were enamored by the art of Joseph Beuys and individually collected Red Cross memorabilia, this would both inform the logo of the label(a red cross) and many of their reoccurring design elements such as felt suiting, military inspired outerwear and medical/hospital garments. Im so glad to have had the opportunity to speak with them and share their responses with you, enjoy:)
Before starting your brand An worked at Dries Van Noten and Filip worked at Dirk Bikkembergs. I’m curious what you both learned from each of your internships respectively? Were these experiences vital to the creation of your brands?
An: I worked 7 years for Dries Van Noten as his first assistant. Dries taught me to always push your limits, never to be satisfied from the first attempt, to keep training your eye, to push further and further until you take that one step that nobody else will take. A vital lesson!
Filip: I met Dirk B before I went to the academy in Antwerp and remained friends. I helped him on the show collections and in the studio. Dirk is a master in passing the joy of working in fashion and to always look on the bright side of life.
Joseph Beuys, a big inspiration of yours, advocated in his philosophy of social sculpture, that art has potential to transform society and dismantle repressive systems through social interaction and engagement. Do you think fashion has this power regardless of its inherent consumerism and superficiality? How did you implement this philosophy in your early shows through audience interplay?
An : it depends how you approach it. Fashion is a mirror of the zeitgeist. If you are an engaged person you can spread a message with fashion. It can be a self- expression. For us it was never about the garment itself, but about a universe from which we operated. We were always open for new opportunities and didn’t stay in the routine of the fashion system. Some of our shows were really different and it was important to share beauty and emotions.
Filip: Shows or presentations were for us never the reason to transform or dismantle. They have always been a way of passing on aesthetics and evoke emotions.
An used to collect nylon stockings from various eras. I’m curious what are her favorite ones and why? How did this collecting inform your Nightfall line of undergarments and lingerie.
An : I still prefer the silk ones, because they had very beautiful knitting details in the heel. Already in our very first show we had lingerie. We wanted the models to feel very feminine and self-confident so we have all of them our lingerie to wear under each outfit.
Since your very first collection, your work has stayed authentically consistent with its design tropes: studded detailing, stockings juxtaposed by heavy outerwear, leather corsets and accessories, riding boots, and military themes. How did you manage to keep this brand image over 20 years while big fashion houses were shapeshifting to conform to new trends and new creative directors? Do you feel like your choice to exist as outsiders to the fashion industry helped or hindered the longevity/relevance of the brand?
An : as we always worked from our own universe we developed our own world, separated from the trends. We had a clear aesthetics so I guess it was easy for us to keep our DNA authentic.
Filip: It’s the advantage of having your own brand. When creativity comes right from the stomach it will always remain an honest way of developing ones aesthetics. Big fashion houses have more the intention of bringing creative interpretations on its DNA.
I know Pina Bausch was a big inspiration of yours and An is a big fan of dance in general. Can you tell me about the influence of dance and choreography on your work? How does dance and the movement of dancers inform fashion?
An : it was not so much about the movement but more about bringing a story, in an emotional way.
You both famously collected red cross related items before you both met, I know Filip had a lot of furniture and An had a lot of Beuys art. I’m curious what’s your favorite red cross item you each had acquired back in the day.
An : very difficult to say. But I guess a night table and a red cross patch
Filip: They all bring their own story with them. Therefore it feels much as “killing a darling” if I should pick only one.
Filip has stated that he felt technology and social media was one of the biggest obstacles that led to the eventual closure of the brand due to its inability to translate the intimacy, exclusivity, and storytelling that was integral to your collections. Since the digital age is here to stay, how do you see it impeding the future generations of high fashion? On the other hand, How can you see it helping the future of fashion?
An : there is definitely a very positive side to it as well, but for us it meant that we had to restructure our way of working too much to go along in that direction. We didn’t feel the connection with marketing and merchandising and our way of working with A.F.Vandevorst. For the young generation the digital age gives also a lot of visibility, but you will always have to have an authentic story to tell. At least that is what I would advise them.
The AF Vandevorst brand is often categorized as Avant Garde fashion, a word that has many different interpretations and definitions. Often people think Avant garde clothing exists outside the sphere of the common person’s closet but I’ve always felt the AF Vandevorst line was extremely wearable and could be seamlessly integrated into anyone’s wardrobe. I’m curious how you would define “Avant Garde” fashion and how your brand existed within your definition?
An : I think Avantgarde or the way people named us avantgarde refers very much to an era of the 90ies. The avant garde designers had a bolder approach towards garments and the way they presented them. But it didn’t mean they were not wearable. Since A.F.Vandevorst exist I always wore only A.F.Vandevorst, so my wardrobe was wearable.
Filip: In fashion I define avant garde rather with a first impression. After taking a closer look it lifts you to a next level and helps you to open your mind.
In many of your runway shows, some or all of the models’ faces are obscured or completely covered by fabric, masks, hats, helmets, or hair. Was this just a stylistic choice or does it mean something deeper?
An : it was about the anonymity of the wearer. We didn’t want to focus on 1 type of woman or in that era a supermodel.
An was recently appointed head of fashion design at Polimoda Firenze. What is it like to be head of design at a fashion school, what are some of your responsibilities?
An : it is extremely challenging, interesting and rewarding. I have to give a direction and my vision to the school. I’m in contact with all the teachers but also with the students, the future generation of fashion. I have to guide both teachers and students towards the best possible education I can give. I sincerely want to show them the way how to make of the students better designers, to train their eye, to never give up, to look to things in a different way, from another perspective, away from the ordinary.
Since the closure of your brand what are some creative activities/outlets you both have engaged in?
An and Filip : we both are working on separate projects but too early to tell.