![]() With Ann I had the most complete experience.ĭo you see any similarities among Simons, Demeulemeester, and Van Beirendonck? They’re so different from each other, but one thing that they have in common is that they’re really very grounded people, very down-to-earth. I was able to see the differences between the Asian, American, and European shops. That was really great because I had the opportunity to witness up close when she decided on the looks, trying on and styling the collection together with her husband and publicist Michèle Montagne, and then for a week in Paris after the show when they sold the collections to buyers. From that season I worked for seven years, 14 collections, for the men’s stylings and also as a showroom model. For the first show I had three or four outfits. She used to show her men’s collection during her women’s show. There was no Instagram, so a lot of things happened over the phone my parents would tell me, “There is this person on the line for you.” She’s a makeup artist, and she worked for Ann a lot and also for Raf in the beginning. …and with Ann Demeulemeester? In 1998 I was at a party in Antwerp where Patrick Robyn noticed me and got my number via Inge Grognard. With all his projects and collections, he always has a concept drawn out and thought over. For the show’s finale, big yellow curtains on one side of the venue’s walls opened up and we had to stand in a tableau of a fairy tale. Tell us about working with Walter Van Beirendonck… My first show for Walter was 1998–1999, where he was inspired by the French artist Orlan and a few of us had prosthetic makeup. I remember them having the spray-paint installation for Alexander McQueen’s 1999 ready-to-wear show in the window display! ![]() They did really crazy things in that gallery. It was a multibrand store, and then there was a small gallery it was like an old garage. That’s where the concept store of Walter Van Beirendonck and Dirk Van Saene opened. I studied communications-a mix of languages and economics-in Ghent, but somehow I knew that for fashion you needed to go to Antwerp. What was the fashion scene like in Antwerp then? I did not live in Antwerp at that time. David had something unique, a certain calm innocence that was inspiring.” He was not a model but just like an angel who walked for us. There was a lovely calm atmosphere in our studio. We started working with him for the styling of that show. ![]() We were working on a white collection at that time, and David seemed just the right boy for this. He told me that he found an angelic boy for the collection. She explained that her husband, Patrick Robyn, first met Flamée in 1998 at a reception and was “struck by his presence. They became friends and part of my family,” the designer wrote in a recent email. I found a lot of my boys at rock concerts or art receptions. “I wanted to work with intriguing boys who were real and who added emotions with their own personality. Flamée worked most closely, however, with Ann Demeulemeester. It seems that this six-foot-two Belgian with an easy smile knows fashion inside out, having modeled for the likes of Raf Simons and Walter Van Beirendonck. ![]() In the case of David Flamée, the longtime director of PR and communications for MoMu in Antwerp, I came to learn about his first fame quite by accident. David Flamée in-what else?-Raf Simons Photo: Oona Oikkonen / Courtesy of David Flaméeīack in the 1960s Vogue ran a food column called “A Second Fame.” I love the broader concept-how exciting it is to discover something unknown and wonderful about a person you’re acquainted with.
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