After KRISVANASSCHE, Dior and Berluti, and after expanding my work into design objects, sculpture and collaborations, it felt like the right moment to return to fashion in a more personal and instinctive way.

I graduated in womenswear from the Royal Academy of Fine Arts in Antwerp in 1998, but went on to work almost exclusively in menswear. The desire to work on womenswear never disappeared. Now feels like the moment to bring both together. In that sense, this is both a return and a beginning.

The project is deliberately intimate: a concentrated selection of pieces made from high-quality deadstock fabrics. By definition, this means limited quantities. A piece will never exist hundreds of times in the same fabric around the world. It might return, but in a different colour, a different stripe, a different material. For me, this brings back a sense of rarity — an idea of luxury that is also inherently more sustainable.

Familiar ideas from past collections are revisited in new proportions, alongside entirely new ones. Masculine and feminine codes coexist, not as rules about who should wear what, but as contrasts that create tension.

This new fashion project exists alongside my work in design and the collaborations I will continue to develop. Rather than defining a new chapter too precisely, I want to leave room for it to evolve — piece by piece, project by project.