The course of study concentrates less on applied professional knowledge, but rather emphasises creativity, originality and renewal, which at the same time explains the unique features of the course. “The Antwerp Six” graduated at the beginning of the 80’s: Walter Van Beirendonck - who has been the Head of the Fashion Department since 2007 - Ann Demeulemeester, Marina Yee, Dirk Van Saene and Dries Van Noten and Dirk Bikkembergs.

The term “Antwerp Six” originated in the British press in 1986, which was unable to pronounce the Flemish names of these designers when, together, they took part in the designer week in London. Up to the present time this name has followed them, even if they are distinguished by their individual style and universe, and each having gone their own way. There remarkable talent, perseverance, attention to perfection and to the very details, individually make them legendary. They are the ambassadors of the Fashion Department, which is the breeding ground for students of fashion from the whole world, and which has put Antwerp on the world map.

Martin Margiela graduated together with Walter Van Beirendonck in 1980, but does not belong to the Antwerp Six. He established himself almost immediately in Paris as assistant to Jean-Paul Gaultier. In October 2008, Maison Martin Margiela, which has been part of the Diesel group since 2002, will be celebrating its 20th anniversary. With reference to this birthday, the Fashion Museum in Antwerp has programmed the unique exhibition ‘MAISON MARTIN MARGIELA. (20) The exhibition’, from 12 September 2008 to 8 February 2009.

The second generation of designers who graduated from the end of the 80’s to the end of the 90’s with, amongst others, A.F.Vandevorst (An Vandevorst and Filip Arickx), Stephan Schneider, Veronique Branquinho, Kris Van Assche, Bernard Willhelm, Bruno Peters, etc., on the basis of their determination, strong and conceptual collections, ensured an immediate breakthrough. They established the avantgarde character - ‘L’Anverse de la Mode’ (The Wrong Side of Fashion), as the French fashion journalist, Elisabeth Paillé, so aptly described it - of the Antwerp fashion: the reverse side, the underdog, not as extravert as English fashion, not as sexy as Italian fashion, not as brainy as Japanese fashion.

Now the third generation comes marching along with the top designers who have graduated at the turn of the century, such as Christian Wijnants, Tim Van Steenbergen, Pelican Avenue (Carolin Lerch) Les Hommes (Tom Notte and Bart Vandebosch), followed by recent names such as Peter Pilotto, Il Galantuomo (Gunhyo Kim) and EK Thongprasert.

Fashion is business; that is the reality today. This does not prevent fashion students from having to study cultural-history backgrounds in the course of their learning and developing the highest conceptual visions. But those who want to start a collection themselves must realise that it goes together with an economic activity. This amounts to finding a good balance between the super-creative and the economic aspect.

Designer fashion is marked by an international character. The student corps of the Fashion Department in Antwerp has become even more international over the past 25 years: with more than 33 nationalities in 2008. That international character has undoubtedly had an influence on fashion here in Antwerp. Our designers must also, at the same time, offer their collection to an international target group.

The Belgian market for designer fashion is too limited. It does not do to concentrate first on the national market and those of the neighbouring countries. The cake is too small and the competition too big. The world is the market place. Though it is true that we do speak of certain ‘niche markets’ and the higher income segment that is approached via international buyers, importers, agents and the fashion specialist publications. Also the production events in the fashion industry show international characteristics. Delocalisation is a fact. Unemployment in careers that become victims of delocalisation, such as pattern makers, sewers/seamstresses, retouchers and production attendants have reoriented themselves. Training in these careers has become less attractive.

Designer fashion is a top creative product with which Belgium/Flanders/Antwerp must position themselves further on the world map. Designer fashion means high-quality, inventive, creative designs that must be converted into quality finished products with limited circulation. No massed numbers come to look here. For our designers it is essential to have production capacity - in time and in quality - in the immediate vicinity.

Naturally, certain facets come into consideration for contracting out, but the production must take place in this country alone. It is particularly difficult for a designer to find competent technical support for his creative team. And our clothing factories are struggling with the same problem. In Flanders we must promote craftsmanship to present the bottleneck careers in a more attractive way and motivate young people to choose them. We must see to it that in the perception of the people, the fashion industry comes over more dynamically, fresher and sexier. We must show positive narratives with images.

We must involve designers and passionate patternmakers and manufacturers who believe in this, etc. In this sense we are at present working out a pilot project. If you opt for training as a pattern maker, sewer/seamstress, retoucher and production attendant, you will support the creative process and you will be an essential link in the creative team. Moreover … you will be opting for one of the parade horses from the Flemish racing stable: fashion.

In this way you will contribute to the success of our creative industry, which has an excellent quality image abroad. “Knowledge” workers must also mean for Flanders: people who have the technical knowledge and skills to support the creative careers. Only then the young people will feel obliged to study in the field of technical careers to support our creative industry. “There is a college for every mind” is what I mean literally here. Not everybody need be academics. I also believe very strongly in cluster forming. If we want to keep on producing our region further, then we must search - especially on the designing side.

That requires other structures. Co-operation of industries, inter alia in the form of knowledge and industry clusters, is a requirement for this. You must not do together what you can do alone, but … sometimes you must work together to achieve what you cannot succeed on your own. Such co-operation must be steered by the different actors from the fashion industry, with complementary competencies and the same level of ambition. One does not co-operate with reference to one project alone.

It requires a long-term commitment and the same strategic vision on the part of the players. “Flanders in Action”, the strategic plan with which Flemish Minister President Kris Peeters wants to give Flanders a durable place in the European regions, with the focus on talent, innovation, internationalisation, is the ideal hat stand on which to hang increased cooperation in the fashion industry. If ViA really wants to set work in motion aimed at a mental shift which is essential for coming out on top lastingly in the future and to resolutely set the course towards social-economic changes, the fashion industry is the case to be.

The Flanders Fashion Institute (FFI), a non-profit association, was founded in 1998 with the support of the Flemish Government. The FFI, which is established in the fashion metropolis Antwerp, is the centre of knowledge for the fashion sector in Flanders. Their priority objectives are to stimulate employment in the fashion sector and promote fashion from Flanders on the national and international scene.

The FFI is, in the first instance, for the graduated young and already established designers of the fashion departments in Belgium. The FFI is also the link to the creative network of photographers, graphic designers, cosmeticians, etc. The FFI receives the needs of the designers and provides them with suitable solutions. Together with a number of passionate fashion business consultants, the core team of the FFI accompanies the designers in their careers and towards independent entrepreneurship.

“Jobs.Jobs.Jobs” is the online platform on this site for job offers, assignments and stages in the fashion sector for creative, supporting and other functions. Candidate job seekers can make themselves known to the FFI. The Flanders Fashion Institute is the contact point for enterprises that are seeking access to the world of designers and want to link themselves to fashion.

The FFI facilitates innovative, creative projects with national and international radiation and builds a bridge between creative design talent and business