The romantic fashion of Ann Demeulemeester, (also) featured at Pitti Uomo

The 102nd edition of Pitti Immagine Uomo is about to open its doors. This year features an exceptional special guest, who over the course of her career lasting more than 40 years has written indelible pages of the history of fashion with a capital F: in fact, the Ann Demeulemeester brand will be the guest of honour of the Florentine kermesse, as the protagonist of a special project curated by the same Flemish designer that will animate Leopolda Station during the four days of the event (14-17 June). It is a significant part of the brand’s relaunch strategy, which has been under Claudio Antonioli since 2020, added to the three collections designed so far by an internal creative team, as well as the reopening in September 2021 of the flagship boutique in Antwerp, a place intimately linked to the (glorious) past of the Belgian label.

The store was redesigned by Patrick Robyn, Ann’s husband and close collaborator, and is a showcase for the label’s new direction under the aegis of Antonioli. An entrepreneur, owner of the eponymous multibrand and already one of the co-founders of New Guards Group, he acquired the brand a year ago, determined to restore it to its rightful role. Indeed, it was the founder who brought it to the top of the fashion world as one of the Antwerp Six: the six designers (in addition to Ann, Dries Van Noten, Marina YeeDirk Van SaeneDirk BikkembergsWalter Van Beirendonck) who graduated from the Royal Academy of Fine Arts in Antwerp in the early 1980s and would soon make an indelible mark on the fashion of the time, becoming a fundamental part of fashion history.

Ann Demeulemeester: the beginnings

Ann Demeulemeester portrait
Ann Demeulemeester in her studio, Antwerp, 1999 (ph. by Kevin Davies)
Antwerp Six
The Antwerp Six

Just think: born in 1959 in Waregem, West Flanders, Demeulemeester had considered dedicating her time to painting in the beginning, as attracted as she was by Flemish portraiture, but soon realised the expressive strength of clothing and enrolled in fashion design at the Royal Academy of Fine Arts. She graduated in 1981, giving rise to the brand that bears her name four years later along with Robyn. In 1986 she joined forces with the above-mentioned university partners: they rented a van, filled it with their own creations and travelled to London to exhibit them at the British Designers Show, where they were a huge sensation. Their proposals, on the other hand, were astronomically far from the pomp prevailing in the eighties, a decade characterised, stylistically speaking, by shoulders, baroque, glitter and much more, their touchpoints were rather more in step with the conceptualism driven by the innovators who had arrived in Paris from the Far East a few years earlier, Yohji Yamamoto and Rei Kawakubo.

Ann Demeulemeester’s creative inspirations

Having gained notoriety, Demeulemeester began to detail her very particular vision of ready-to-wear: in her opinion, clothing is a means of communicating, an emanation of the creator’s personality, of her sensations, experiences and interests. The Belgian creative orients the latter towards the verses of poets like Rimbaud, Blake or Byron, on the music that expresses the anxieties of the youth of that time (Doors, Velvet Underground, Nick Cave…), on those paintings that, in youth, had pointed her towards the art school of Bruges. As a teenager, she then came across the cover of Patti Smith’s album Horses, with the cover featuring the artist in black and white wearing a superbly androgynous outfit (the work of Robert Mapplethorpe, cursed genius of American photography); she fell in love with the music and even more with her style: in her academy years she made three white shirts and managed to send them to the singer’s address in Detroit.

Patti Smith Ann Demeulemeester
Ann Demeulemeester with Patti Smith

The priestess of rock became her muse, and a friendship and mutual esteem soon arose between the two, with Smith even signing the introduction of the monograph published by Rizzoli USA in 2014, which retraces over 30 years of the label’s history with words and images, dwelling on the sentimental value that the garments signé Demeulemeester have for her (“I draw great power from wearing Ann’s clothes. They make me feel safe […] They are a talisman”, she wrote).

First collections

In the brand’s collections all this translates into a twilight romanticism veined with melancholy and bohemian spirit, in the chromatic absolutism of black and white (sometimes broken by flashes of bright colour), in the tension between opposing elements (rigour and delicacy, body and lightness, fluid shapes and others adhering to the body) that characterise every outfit, a real leitmotif of the designer’s work.
The first women’s fashion show in Paris was held in 1991, in a bare art gallery where severe, blatantly dark looks broke out, crushed by critics branding them “funeral directors”. She adjusted the bar, made her silhouettes drier and further refined her vision with almost scientific precision, while remaining elusive with unambiguous definitions and easy categorisations, which soon began to tickle the interest of the press, buyers and simple observers, struck by the designers cutting-edge, often deconstructive, approach.

Menswear did not take long to arrive, and in 1996 men’s outfits began to appear, seamlessly mixed with the women’s releases, a choice that was repeated in subsequent collections until the creation of a specific line in 2005. Besides, Demeulemeester never paid too much attention to gender distinctions, clearly ahead of today’s gender fluid. Men and women therefore shared many of the cornerstones that, season after season, forged the maison’s aesthetics: the insistence on fluid and elongated lines, bias cuts, preferably graceful, naturally soft fabrics (silk, rayon, jersey, linen), with textures reduced to a minimum even in the most dense materials such as leather or cloth, surfaces punctually rippled by layering or clever draping, the copious use of belts, ribbons and cords, as if to support garments from which a sense of precariousness emanates, of only apparent carelessness which is then the essence of Demeulemeester fashion.

Ann Demeulemeester collections
Ph. Erik Madigan Heck for Nomenus Quarterly
Ann Demeulemeester collections
Ph. Erik Madigan Heck for Nomenus Quarterly

The success of the label and her retiring from the stage

The brand’s man has a perennially dreamy look and a noble but tormented soul; a bit the maudit of today, a bit rebellious metropolitan style, with relaxed-fit trousers and crumpled blazers. A hint of vanity is granted with the use of feathers, a decoration that exemplifies the dialectic between natural sophistication and eccentricity that is so dear to the designer: thus feathers resting on wide-brimmed hats, attached to necklaces, bracelets and other jewellery or even covering the boas wrapping around the clothes of the Fall/Winter 2010 show.

Ann Demeulemeester runway
Ann Demeulemeester S/S 2007 (ph. by Giovanni Giannoni)

The brand’s consolidation process reached its peak with the S/S 1997 collection, a symphony in black & white punctuated, for the men’s part, by hints of layering, widely unbuttoned shirts and pants almost liquid in their looseness. This time the critics enthusiastically applauded the textbook performance, the New York Met Costume Institute purchased several key pieces, and the cult brand status became clear. Her withdrawal from the scene was a surprise in 2013, communicated with a handwritten letter. She was succeeded by Sébastien Meunier, who worked in the wake of his illustrious predecessor, introducing minimal variations from time to time, fluorescent touches here (S/S 2016), softness with decadent aesthetics of a closed bedroom there (S/S 2018).

Ann Demeulemeester black white
Ph. by Erik Madigan Heck

A new turning point: Antonioli

The new turning point came in the summer of 2020 when Meunier left the maison and after a few weeks Antonioli, one of the brand’s first historic retailers, took on the role for an undisclosed amount. The founder was (re)convened to play the role of creative consultant, some already hypothesise her greater involvement, her niche, while the new owner speaks to MF Fashion of a ‘new beginning’, yet to be written. Basically, it is a rethinking of the concept of masculinity, finally called upon to recognise all the fragilities, doubts and fears inherent in the human soul: the masculine ideal of Demeulemeester is present more than ever.

Ann Demeulemeester b&w
F/W 2021 collection

Around Pitti Uomo 97: 10 brands to remember

Each season Pitti Uomo brings over 1,200 exhibitors to Florence, which becomes the showcase and seismograph of men’s and global lifestyle trends. We have chosen 10 brands that have particularly impressed us for the impact of their events, planning and collection.

Karl Lagerfeld

For the second time, after edition of last June, the brand is present at the Fortezza da Basso with its new collection of rtw, accessories and a special project entitled “A tribute to Karl: the white shirt project ”, Edited by Carine Roitfeld.

These are various white shirts, rethought and reworked by historical friends of the Kaiser, such as Kate Moss, Cara Delevigne or Lewis Hamilton. The textured skins of trousers and jackets are splendid, which will be all the rage for next winter.

A tribute to Karl: the white shirt project


Herno presents its new “Globe” project, synonymous with sustainability and craftsmanship: the utmost importance for the origin of the raw materials, the development of new production techniques and respect for the environment.

In a green and very relaxing location, duvets, bomber jackets and biodegradable jackets are born, which decompose after 5 years if thrown into landfills, or those obtained with regenerated materials derived from waste material.

Herno Globe project


Borsalino’s challenge is to update an accessory such as the hat, considered retro and obsolete. It does it very well, offering the classic “Bogart” in a modern key or merging the world of fashion with the artistic world of the Renaissance or the English movement of “Arts and crafts”.

The result is a very interesting search for shapes and materials, in which the classic English Scottish blend with animal print velvet, paint and fake fur. Funny is the tribute to Raphael, five hundred years after his death.

Borsalino hat


Refinement is one of Tagliatore’s trademarks: starting from a warm and spicy palette, which then turns to gray and black, the silhouette plays on the harmony between the oversized coats and the tightest jackets and pants.

Particular attention to the chamber jacket, treated and built as if it were a couture coat, with sophisticated details and enveloping shapes.

Tagliatore coat


Lardini relaunches the formal and the classic with a special collaboration with the designer Yosuke Aizawa, founder of Mountaneering.

Wrapped in a Nordic and glacial atmosphere, the new fashion is the result of innovative contamination between practicality and innovation, between classicism and dynamism.



A Visconti atmosphere in Palazzo Gerini, one of the few seventeenth-eighteenth-century buildings located in Florence: thanks to Olivier Saillard, who was able to translate the celebrations of the 75th anniversary of the Roman brand into a real path in culture, between fashion and classic music.

The preciousness of the finest velvets, leathers and wools, declined in classic shapes and with a romantic flavor, designed by the Austrian Norbert Stumpfl, perfectly match the models-musicians who accompany us in the six rooms of the building, among the notes of Debussy, Satie and Monteverdi. A delicate, cultured and not rowdy masculine elegance concept, in total contrast with what we have seen elsewhere.


K way

At the historic Stock Exchange, the apothesis of outerwear is staged: colorful, practical, fun, pop, technological. Starting from the historic slogan “Let it rain”, the brand celebrates its 55th year of activity by showing off a myriad of proposals for all needs, from basic (not surprisingly it is owned by the Basicnet group) to proposals rich in technical details.


Jil Sander

In the cloister of Santa Maria Novella, a new chapter is inaugurated by a stylistic couple of the Meier spouses, who studied and met in Florence. A bright and monastic atmosphere at the same time, where the simplicity of the lines, the amplitude of the volumes, the neutrality of the palette are the masters.

Everything is whispered, hinted at: the rigor of austere coats refined by subtle embroideries and applications, the most refined fabrics combined with the most natural ones, a royal eagle that rests on pins and necklaces.

Jil Sander


The brand founded by Telfar Clemens speaks of melting between cultures, genres and styles: the Tuscan Renaissance, so well embodied by the splendid Palazzo Corsini. The female merges with the male, the 400 with the street culture of African Americans, the pirate style (so dear to Vivienne) with the biker look.

A somewhat confused and chaotic fashion, where however the beauty of the skin reigns, which is found in biker jackets and especially in tight and seductive pants.


Random Identities

On the notes of a cover of “I’m every woman” by Whitney Houston, the fashion of the ex creative director of Yves Saint Laurent, a real and proper rtw conceived for the digital era, takes the stage. A fluid, radical fashion that annihilates the barriers between male and female, between ephebic physicists and curvy beauties, between youth and maturity.

Freedom and inclusion are the keywords of this lexicon, where men wear knee-length skirts, lace bras over English shirts, oversized sweaters put upside down. The catwalk is closed by Pilati himself, in a beautiful camel coat, white pants and riding boots. The constant provocation is tempered by the choice of clean lines, the dominant monochromatism and the sparse and industrial location of Stazione Leopolda.

Random Identities

By Alessandro Martinelli

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