David Flamée, Who Modeled for the Antwerp Six, on His Journey From the Catwalk to the Museum

Do you see any similarities among Raf, Ann, and Walter?
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. They’re still ambitious, but I saw that it was all about working and about expressing yourself. They were very individual also in their way. I respect their work ethic the most. It’s not about parties, all of them have a real passion and I’m so blessed to have been able to witness that, it’s also something I nowadays take with me. And, it was like some sort of a family in the way that you see that you can achieve things.

In your opinion, how do you think fashion has changed since the 1990s?
It became more and more commercial. The biggest challenge for young, independent designers is to find their audience and be heard.

Why do you think people are so interested in the 1990s?
They are drawn to a certain nostalgia [for something] that they never had. It’s also a period in fashion that is not overshared, there are sometimes only a few key images, so it still leaves something to the imagination.

Does it feel like a Belgian moment again to you?
Belgian designers have always worked at big fashion houses and they still do; now there is Matthieu Blazy at Bottega, Pieter Mulier at Alaïa, Raf Simons at Prada, Glenn Martens at Diesel/Gaultier… Students are coming from all over the world to the Royal Academy of Fine Arts so being a Belgian fashion designer has more to do with the sensibilities of the designers [than nationality.] It means working with a deep respect for history and craftsmanship.

How did you come to work at MoMu [Mode Museum]?
In 2001 I did an internship at the Antwerp Fashion Department of the Royal Academy of Fine Arts, helping them with their graduation show. Linda Loppa was the head of the department at the time, she was also in charge of the Flanders Fashion Institute (now Flanders DC for Fashion) promoting fashion, and the director of MoMu Fashion Museum. There was such good energy and immediately after the show she hired me to work at the Flanders Fashion Institute. Sometimes it was funny because I was taking care of the press when they entered, and then I was also walking the show. I worked there for eight years. At the time we went to all the Paris Fashion Weeks to distribute a little red guide with the show and showroom addresses of the Belgian designers (it was pre-internet). Since 2002 I have also helped the RCA fashion department with their international jury and press for the graduation show. In 2009 I started handling press and PR for MoMu.

What Belgian designers are you following now?
I work with Jan-Jan Van Essche, a men’s designer based in Antwerp. His way of growing is very true to himself, and conscious. I’m also following Meryll Rogge, another designer who is very down to the ground.