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September 5th     11:35 pm


Fall–Winter 1999–2000, Véronique Branquinho by Raf Coolen

Moi, Véronique Branquinho Toute Nue

Fall–Winter 1999–2000, Véronique Branquinho by Raf Coolen

Moi, Véronique Branquinho Toute Nue

(via cotonblanc)

September 5th     11:34 pm


Fall–Winter 1999–2000, Véronique Branquinho by Raf Coolen

Moi, Véronique Branquinho Toute Nue

Fall–Winter 1999–2000, Véronique Branquinho by Raf Coolen

Moi, Véronique Branquinho Toute Nue

(via cotonblanc)

September 5th     11:03 pm


Véronique Branquinho
Photography Raf Coolen Make-up Peter Philips Hair Guido Palau
The strength of her work is that it manages to succeed on both levels: it appears hip enough to appeal to those who want edge and it is exquisite enough in terms of design and textile quality to be a truly indispensable investment. Belgian fashion, according to Branquinho, is serious and introverted, and exudes a quiet intensity (“it’s not a loud fashion—it’s not screaming for attention”). With Raf Simons, Branquinho produced two collections for the Italian leather goods house of Ruffo Research. The woven leather strapless ball gowns in chocolate and black, for Fall–Winter 1999–2000, and the puffy down-filled parkas in white and red leather were acclaimed as the most chic street style ever. But now that the contract with Ruffo Research has ended voluntarily, Véronique is relieved. “I didn’t feel comfortable about it at the end. I’m not very comfortable selling my name,” she says. “I’m a person who wants to be in control of everything,” she adds, without a trace of school girl bashfulness.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Véronique Branquinho

Photography Raf Coolen Make-up Peter Philips Hair Guido Palau

The strength of her work is that it manages to succeed on both levels: it appears hip enough to appeal to those who want edge and it is exquisite enough in terms of design and textile quality to be a truly indispensable investment. Belgian fashion, according to Branquinho, is serious and introverted, and exudes a quiet intensity (“it’s not a loud fashion—it’s not screaming for attention”). With Raf Simons, Branquinho produced two collections for the Italian leather goods house of Ruffo Research. The woven leather strapless ball gowns in chocolate and black, for Fall–Winter 1999–2000, and the puffy down-filled parkas in white and red leather were acclaimed as the most chic street style ever. But now that the contract with Ruffo Research has ended voluntarily, Véronique is relieved. “I didn’t feel comfortable about it at the end. I’m not very comfortable selling my name,” she says. “I’m a person who wants to be in control of everything,” she adds, without a trace of school girl bashfulness.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

September 5th     10:57 pm


Véronique Branquinho
Photography Raf Coolen Make-up Peter Philips Hair Guido Palau
"I don’t think it’s bad to be classical," she says. "I really appreciate things that are a little timeless." In her case, this means long pleated skirts that swish elegantly behind their wearer, high-collared blouses in silk and poplin, and Shetland wool knits in a rainbow of unusual hues (pistachio, berry, sky blue). The silhouette is always long and severe, and on occasion, layered: for Fall–Winter 1999–2000, the long, sombre skirts were lifted with an internal belt strap to reveal unfrilly petticoats, and knitted leg warmers were pulled up over narrow trousers or under knee-length skirts. The pieces in this collection are those that Branquinho imagines parents buying for their school-going daughters. The way she styles the garments in her very goth and groovy show is meant to reveal how girls adapt classic clothing to fit their own generationally specific or personal requirements.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Véronique Branquinho

Photography Raf Coolen Make-up Peter Philips Hair Guido Palau

"I don’t think it’s bad to be classical," she says. "I really appreciate things that are a little timeless." In her case, this means long pleated skirts that swish elegantly behind their wearer, high-collared blouses in silk and poplin, and Shetland wool knits in a rainbow of unusual hues (pistachio, berry, sky blue). The silhouette is always long and severe, and on occasion, layered: for Fall–Winter 1999–2000, the long, sombre skirts were lifted with an internal belt strap to reveal unfrilly petticoats, and knitted leg warmers were pulled up over narrow trousers or under knee-length skirts. The pieces in this collection are those that Branquinho imagines parents buying for their school-going daughters. The way she styles the garments in her very goth and groovy show is meant to reveal how girls adapt classic clothing to fit their own generationally specific or personal requirements.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

September 5th     10:38 pm


Véronique Branquinho
Photography Raf Coolen Make-up Peter Philips Hair Guido Palau
"I am intrigued by schoolgirls," explains Véronique Branquinho, "because they are adolescents, and that is the time of life where everything changes, when one has all those complex, confused feelings." Branquinho’s fascination with schoolgirls and her ability to transform the components of their uniforms into things of peculiar downbeat grace and beauty, have made the young Belgian designer one of the most sought-after new faces in the fashion world. Branquinho’s work is romantic, gothic, and—oddly, for a graduate of Antwerp’s Royal Academy of Fine Arts—traditional.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

Véronique Branquinho

Photography Raf Coolen Make-up Peter Philips Hair Guido Palau

"I am intrigued by schoolgirls," explains Véronique Branquinho, "because they are adolescents, and that is the time of life where everything changes, when one has all those complex, confused feelings." Branquinho’s fascination with schoolgirls and her ability to transform the components of their uniforms into things of peculiar downbeat grace and beauty, have made the young Belgian designer one of the most sought-after new faces in the fashion world. Branquinho’s work is romantic, gothic, and—oddly, for a graduate of Antwerp’s Royal Academy of Fine Arts—traditional.

Visionaire’s Fashion 2001: Designers of the New Avant-Garde by Stephen Gan

February 5th     10:39 am

Lida Egorova by Raf CoolenPentax Issues 1: Antwerp

Lida Egorova by Raf Coolen
Pentax Issues 1: Antwerp

February 5th     10:21 am

Lida Egorova by Raf CoolenPentax Issues 1: Antwerp

Lida Egorova by Raf Coolen
Pentax Issues 1: Antwerp

February 5th     10:14 am

Lida Egorova by Raf CoolenPentax Issues 1: Antwerp

Lida Egorova by Raf Coolen
Pentax Issues 1: Antwerp

March 8th     11:37 am

Show 98 of the Royal Academy of Antwerpphotography raf coolen
Studio Voice Magazine, October 1998 

Show 98 of the Royal Academy of Antwerp
photography raf coolen

Studio Voice Magazine, October 1998 

November 11th     11:43 am

fall–winter 1999–2000, véronique branquinho photography raf coolen
moi, veronique branquinho toute nue

fall–winter 1999–2000, véronique branquinho
photography raf coolen

moi, veronique branquinho toute nue

November 11th     11:43 am

fall–winter 1999–2000, véronique branquinho photography raf coolen
moi, veronique branquinho toute nue

fall–winter 1999–2000, véronique branquinho
photography raf coolen

moi, veronique branquinho toute nue

November 11th     11:42 am

fall–winter 1999–2000, véronique branquinhophotography raf coolen
moi, veronique branquinho toute nue

fall–winter 1999–2000, véronique branquinho
photography raf coolen

moi, veronique branquinho toute nue

September 28th     11:03 am

fall–winter 1999–2000, véronique branquinhophotography raf coolen
moi, veronique branquinho toute nue

fall–winter 1999–2000, véronique branquinho
photography raf coolen

moi, veronique branquinho toute nue

December 10th     2:34 pm


the inspiration behind the collection is the image of an old-fashioned governess, strict, inaccessible and intriguing, seductive at the same time. the blouses have an ‘antique’ look: high collars, with or without ruches, worn on black severe, ankle-length or calf-length skirts. photos: raf coolen.

spring-summer 1999, véronique branquinhobelgian fashion design

the inspiration behind the collection is the image of an old-fashioned governess, strict, inaccessible and intriguing, seductive at the same time. the blouses have an ‘antique’ look: high collars, with or without ruches, worn on black severe, ankle-length or calf-length skirts. photos: raf coolen.

spring-summer 1999, véronique branquinho
belgian fashion design

November 22nd     10:27 am

show 98 of the royal academy of antwerpphotographs by raf coolen
studio voice magazine, october 1998
note: silly me, i forgot to upload these. hope you guys enjoyed it. if anyone knows which pictures belong to which designer, do drop me a message.

show 98 of the royal academy of antwerp
photographs by raf coolen

studio voice magazine, october 1998

note: silly me, i forgot to upload these. hope you guys enjoyed it. if anyone knows which pictures belong to which designer, do drop me a message.

s.t.