IT MUST BE BELGIUM: The VIP opening for “The Antwerp Six” exhibition at MoMu on Friday night felt more like a family reunion, with Dries Van Noten hugging Walter Van Beirendonck, Raf Simons embracing his buddy Pieter Mulier, and Ann Demeulemeester leading a small group around the show, which opened to the public Saturday.
“That’s my Golden Spindle,” she said to Stefano Gallici, the current creative director of her namesake house, as she pointed to the diminutive fashion prize, which she received in 1982 shortly after graduating from the Royal Academy of Fine Art with her classmates Van Noten, Van Beirendonck, Dirk Van Saene, Marina Yee and Dirk Bikkembergs, who burst onto the scene 40 years ago.
Milliner Stephen Jones, fashion scribe Suzy Menkes, stylist Olivier Rizzo, fashion educator Linda Loppa and production guru Etienne Russo were among those who toured the multi-media display.
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Mulier marveled at video clips of a student-aged Van Noten, who resembled “Together Forever” singer Rick Astley in those days.
A bit rueful, having just worked his last day at Alaïa – he starts at Versace on July 1 – Mulier said Bikkembergs was his go-to brand as a youngster, especially the pants and ankle boots, with the laces passing through the heel.
“I used to wear that one. I had it in four colors,” he said, as a photo of the boot flashed on a monitor.
Van Noten was soon headed to Venice to mount his debut exhibition at his new cultural foundation at the Palazzo Pisani Moretta, which will feature fashions by Christian Lacroix, Comme des Garçons and emerging Palestinian designer Ayham Hassan.
The VIP guests eventually filtered down to the foyer for the official opening ceremony, and speeches from Belgian politicians.
Antwerp mayor Els van Doesburg, wearing a sleeveless black pantsuit and sequin top by Christian Wijnants, whose boutique is a spindle’s throw from the museum, spoke about her emotional connection to her clothes, and paid tribute to the Six for catapulting the port city into “a stronghold of visionary fashion and creativity.”
“They reshaped neighborhoods. They put our Academy on the global map. They made Antwerp a reference point in fashion. We owe them all of that,” she said.
Later, four of the remaining Six (Bikkembergs was a no-show and Yee died last year) repaired to the Botanic Sanctuary Antwerp for a casual dinner in its 17th-century chapel.
Jones was easy to spot in his traffic-cone-orange vinyl jacket by Van Beirendonck, which he’s had for 28 years, forgetting how stiff the sleeves can become in winter. He was grateful for the crowded, warm venues.
Facts Only
The VIP opening of "The Antwerp Six" exhibition took place at MoMu in Antwerp on Friday night.
The exhibition opened to the public on Saturday.
Attendees included Dries Van Noten, Walter Van Beirendonck, Raf Simons, Ann Demeulemeester, Stephen Jones, Suzy Menkes, Olivier Rizzo, Linda Loppa, and Etienne Russo.
Ann Demeulemeester pointed out her Golden Spindle prize from 1982, awarded shortly after graduating from the Royal Academy of Fine Art.
The Antwerp Six consists of Dries Van Noten, Walter Van Beirendonck, Dirk Van Saene, Marina Yee, Dirk Bikkembergs, and Ann Demeulemeester.
Marina Yee died last year, and Dirk Bikkembergs did not attend the event.
Pieter Mulier, creative director of Alaïa, mentioned his last day at the brand and his upcoming role at Versace starting July 1.
Mulier recalled wearing Dirk Bikkembergs’ ankle boots in four colors as a youngster.
Dries Van Noten is preparing for his debut exhibition at the Palazzo Pisani Moretta in Venice, featuring designs by Christian Lacroix, Comme des Garçons, and Ayham Hassan.
Antwerp mayor Els van Doesburg wore a Christian Wijnants outfit and spoke at the opening ceremony.
The mayor credited the Antwerp Six with transforming Antwerp into a global fashion reference point.
Four of the remaining Antwerp Six members attended a private dinner at the Botanic Sanctuary Antwerp.
Stephen Jones wore a 28-year-old vinyl jacket by Walter Van Beirendonck.
Executive Summary
Full Take
The narrative surrounding the Antwerp Six exhibition opening is a celebration of legacy, creativity, and cultural impact, framed through the lens of fashion as a transformative force. At its strongest, the story highlights the enduring influence of the collective, their role in elevating Antwerp’s global standing, and the personal connections that sustain their legacy. The emotional resonance of the event—evident in the mayor’s tribute and the camaraderie among attendees—reinforces the idea of fashion as both an art form and a community builder.
However, the piece leans heavily on nostalgia and institutional praise, which could obscure critical questions about the fashion industry’s broader dynamics. For instance, while the Antwerp Six are credited with reshaping neighborhoods and putting the city on the map, there’s no mention of the potential downsides of gentrification or the exclusivity of high fashion. The focus on elite figures and VIP gatherings might inadvertently gloss over the systemic barriers that emerging designers face today. Additionally, the absence of Dirk Bikkembergs and the passing of Marina Yee are noted but not explored in depth—what does their absence signify about the group’s current cohesion or the pressures of sustaining a legacy?
Rooted in the paradigm of fashion as cultural capital, the narrative assumes that artistic innovation and economic revitalization are unquestionably positive. Yet, it leaves unexamined the tension between creative freedom and commercialization, or how the Antwerp Six’s success might have influenced the commodification of avant-garde design. The implications for human agency are mixed: while the story empowers the collective’s achievements, it risks romanticizing an industry that often prioritizes prestige over accessibility.
Bridge questions to consider: How might the Antwerp Six’s legacy be critiqued through the lens of labor practices or environmental sustainability in fashion? What perspectives from emerging designers outside this elite circle could challenge or complicate this narrative? Would the story read differently if it centered on the broader cultural shifts in Antwerp rather than the VIP experience?
Counterstrike scan: If this were part of a coordinated influence campaign, the playbook might involve leveraging nostalgia and institutional authority to reinforce a sanitized version of fashion history, omitting critiques of elitism or industry exploitation. However, the content does not align with this pattern—it appears to be a genuine celebration rather than a manipulative framing. The emotional appeal is organic, not weaponized, and the focus remains on the collective’s artistic contributions rather than overtly commercial or political agendas.
Patterns detected: none