Soon she will be working with the renowned Delvaux house, as creative director. What exactly does this position involve?

Veronique Branquinho: ‘It started with a design request for three handbags for the 2009-2010 autumn/winter collection. After this first collaboration, which went well for all concerned, I was asked whether I wanted to become artistic director. From 2010, I will be at the creative helm of all collections. The three handbags “Ame Libre”, “Message Ambigue” and “Régard Passager” will be in Delvaux stores from September.

Will you have enough time for your own collections as well as this demanding job?

Branquinho: ‘Don't worry about that (laughs). My contract as lecturer at the University for Applied Arts in Vienna will be over by then which freed up some space in my agenda – and of course I am surrounded by an excellent team!’

COSMOPOLITAN

Last year a retrospective Moi, Veronique Branquinho TOuTe NUe was organised in the Antwerp Fashion Museum. How important was that moment for you?

Branquinho: ‘The retrospective at the MoMu came at the perfect time. Ten years and twenty collections later… In fashion you only think about the future and you rarely think about the past. I was handed the perfect opportunity to take stock and reflect about previous collections. It does something to you to see all you work showcased like that. It felt like the end of a chapter and the start of a new one.’

When you're abroad, do you introduce yourself as Belgian, Flemish or from Antwerp?

Branquinho: ‘I usually say I am Belgian. I am proud of my background and our country which is a nice place to live in. Antwerp is and remains my basis but actually my real roots lie elsewhere. Vilvoorde is my native town. (quickly) But of course I studied at the Royal Academy of Fine Arts and I've lived in Antwerp for 15 years, which of course creates a special bond with the city.
Antwerp is a cosmopolitan village. The biggest advantage is also its biggest disadvantage: you find all the facilities of a real metropolis but also the warmth and charm of a village, including the village mentality. Grand in smallness or small in its grandness, it just how you look at it.’

NO OIL PAINTING

Is there such a thing as an Antwerp dress code?

Branquinho: ‘There is definitely an ‘Antwerp style’. There is clear difference with the streets of, let's say, Brussels and Ghent. Antwerp's street style is more fashionable and 'studied' nonchalant, much less alternative-retro than Ghent but not as smart as Brussels.’

A lot of Flemish rockers wear Branquinho designs, what attracts them to your clothing?

Branquinho: ‘I think you should ask them that themselves' (laughs). Personally, I think it is very important to design for “real” men - and women - and not just for fashion victims. Men who have both feet solidly planted on the ground, who are impassioned about something. That 'something’ need not be fashion, but they do pay attention to well designed clothing, nice materials, quality and details. The man I have in mind when I design is sexy, not over-styled, contemporary but not too trendy, timeless but not nostalgic. Anyway, I think or hope that many men can find themselves in this description.’

When you design do you sometimes have a particular person in mind?

Branquinho: ‘Like some icon, you mean? No, it's mostly gut feeling. I don't have a scrapbook full of muses. But I suppose you want a name? Okay then: Serge Gainsbourg, or Jacques Dutronc. Not exactly what you call oil paintings but with heaps of charisma and two guys with style.’

DAVID LYNCH

Over the past years you made a number of theatre excursions. How did you end up in this sector?

Branquinho: ‘Mostly through friends and acquaintances who know the sector, such as the incredible Sam Lowyck. Theatre is a creative bubble which is a nice place to be, very different from fashion where you are never done. Theatre has a clearly defined beginning and end. Film is also a sector I like to dip into. For Anyway The Wind Blows I dressed the character of actress Natali Broods and more recently I dressed Filip Peeters for Loft. Dressing a movie character is an intriguing process.’

Are there any other sectors you would like to tap? Would you ever, I don't know, want to dress a brass band?

Branquinho: (enthusiastically) Or design the uniforms of an airline company! Uniforms appeal to the imagination of any fashion designer. They're sexy. Challenging. Unfortunately, imagination and romance conflict harshly with reality because you need to take into account all kinds of practical things. Uniforms need to be suitable for all seasons, look good in different sizes, easy to wash, etc. etc. No, if I really had a choice I'd like to design the wardrobe for a David Lynch film. Pick up the phone, I'm ready!

(* the correct answer is Marina Yee)


Nvdr: only some days after this interview, Veronique Branquinho announces the sad new she stops all her activities. Her present collection will also be her last...