At the Delvaux HQ in Brussels, this February marked the unveiling of an exclusive collaboration between the luxury leather-goods house and Antwerpian fashion designer (the curator of NºA) Dirk Van Saene.

Van Saene was approached by the Delvaux Studio to design a scarf for their ever-expanding collection, joining the ranks of Belgian names such as Hannelore Knuts & Bruno Pieters who have collaborated with the heritage brand in the past. Dirk’s realization of the challenge presents us with two visually seductive silk carrés, articulating the designer’s whimsy and encapsulating Delvaux’s iconic handbag, aptly named the “Brilliant.”
The print, a reproduction of a painting by Van Saene, exists in contrasting colourways to represent “Jour,” framed by vibrant yellow and “Nuit” by red.

This collaboration sees Van Saene take on the role of both designer and artist – through his evolving creative expression, sculpture. Dirk applied his playful craftsmanship to mould ten ceramic vessels on which to present the scarves, with each bust depicting the face of a celebrated fashion model from the 50s to the present, including Twiggy, Alek Wek and Belgium’s own Anouck Lepere.

Buy Dirk Van Saene for Delvaux here.

“Anouck Lepere” bust by Dirk Van Saene.

Above: “Alek Wek” bust by Dirk Van Saene.

“Twiggy” bust by Dirk Van Saene.

Above: Delvaux par Dirk Van Saene, “Jour” scarf.

Above: Delvaux par Dirk Van Saene, “Nuit” scarf.

Above: Leather scarf loops by Dirk Van Saene for Delvaux, with his signature bow.

Text by Christie Fels, Antwerp.
Photography by by2 photographers.

Hannelore Knuts remains in the fashion psyche as a model of the darker, minimal side of 90s fashion – associated with designers like Yohji Yamamoto and Prada and the photography of Juergen Teller.

In a 180º turn for Vogue Nippon in June 2003, Hannelore posed amidst mountains of flowers wearing Viktor & Rolf’s most bursting creations, styled by the dynamic Dutch duo themselves. The shots were taken by Anuschka Blommers and Niels Schumm, another Dutch pair who have worked consistently with Viktor & Rolf on many projects since their early years. Their style captures a ghostly stillness in their subjects, that become almost porcelain (like the dolls they shot for Viktor &Rolf’s DOLLS exhibition).

With fantastical wisps of coloured hair fanning out across her floral backdrop, Hannelore disappears into the foliage –  the silken petals of the outfits blurring with the genuine articles that surround her.

See more below.

AMAZE.  A personal vision on contemporary makeup.

Included in Dirk Van Saene’s NºA is this series of natural beauties enhanced by the brush of Inge Grognard, photographed by her husband Ronald Stoops.  Featuring five of Belgium’s top faces in 2001, this shoot was realised in large-scale posters, folding out from the pages of NºA – with Inge’s signature of striking, abstract makeup styles that stray far from the conventional glamour of ‘fashion’, to explore more unusual and artistic shapes and lines that distort and frame the face.

Each portrait depicts a strong and iconic model of the moment – from Laura Delicata, entirely pale faced without a visible fleck of makeup to Ann Oost, whose fine blond hair is painted with a thick stripe of black paint;  Kim Peers, with a strong jawline framed in gold paper, Roos with her cheeks traced in black and mouth powdered in a shocking white like a trompe l’oeil gag mask; and Hannelore Knuts with crystals at the corners of her lips.

Ronald captures an effortless cool in each image, as the girls stare through his lens with a calm feminine power, accented by Inge’s work to create an essence of primal and tribal sensuality.

Above: Kim Peers @ Vision.

Above: Ann Oost @ Dominique.

Above: Roos @ Vision.

Above: Hannelore Knuts @ Vision.

To finish our coverage of Hannelore Knuts’ self-curated exhibition ULTRAMEGALORE, A BLOG offers a selection of the significant portfolio of fashion photography that accompanied the fashion pieces and artworks in the Hasselt Mode Museum in Belgium. Hannelore has had the privilege to pose for many of the world’s best photographers, for images that have ranged from personal projects and high fashion magazine editorials, to brand campaigns and charity work (notably for Designers Against Aids).

The collection of images tells the dynamic tale of a striking face and the personality behind it – as muse and inspiration for designers and photographers from the height of Parisian polish and Italian glamour to the grungiest of New York and Belgian avant-garde scenes. Hannelore’s face – with its sharp chin, hollowed cheekbones and seductive gaze – has won the approval and indeed offered the essential ‘it-factor’ for such a wide variety of aesthetic directions. From designers like Yohji Yamamoto through to Haider Ackermann and Jean Paul Gaultier, and photographers from Inez & Vinoodh to Juergen Teller, there seems no shortage of disparate entities who have chosen Hannelore to represent their vision.

Below is a selection of editorial images displayed from various titles in the exhibition ULTRAMEGALORE.

Title image: Yohji Yamamoto SS 1999 campaign by Inez Van Lamsweerde & Vinoodh Matadin.

Above image: Alex Salinas

Above image: David Sims for V Magazine, July 2009.

Above image: Ellen Von Unwerth for Vogue Italia, December 2005.

In Rodarte by David Benjamin Sherry for 032C, Spring Summer 2009.

Michael Thompson for W Magazine, 2002.

Juergen Teller for Self Service Fall Winter 2009.

When one steps out of Hasselt train station, it may seem the entire city is alive with ULTRAMEGALORE, the new fashion and art exhibition curated by Belgian model Hannelore Knuts at the Mode Museum in her hometown. A large white billboard of Hannelore in Vogue Paris greets you on the adjacent street, followed by a long procession of yellow flags lining the high street.

Upon entering the museum, Hannelore’s face is no less evident (rather, very much more so) and quite rightly so in a retrospective project such as this, celebrating a decade-long modelling career and a colourful personal journey alongside it.

Hannelore by name, ULTRA-MEGA-LORE by nature.

The 800sqm Mode Museum has had no exercise of minimalism wrought upon it, but an explosion of colour, light, sound and film that overwhelms in its small details and larger visual impact alike. Impossible to describe and document in one story, A BLOG will feature three days of ULTRAMEGALORE, beginning with fashion and running through the art and photography elements, for a holistic view of the entire exhibition.

From the entrance hall and a life-size Hannelore on the cover of Vogue Italia December 2005 to the attic room creaking with mannequins and magazines, Hannelore has unearthed a ten year legacy in the fashion industry with an impressive archive of her personal garments, and couture pieces borrowed from the designers closest to her. From the first garment – a Maison Martin Margiela artisanal leather waistcoat – to the final dress – a Christian Lacroix ceremonial wedding gown – each piece is imbued with a ‘Hannelorian tale’, whether it be a piece she wore in its catwalk debut or something her beauty and charisma inspired as a muse.

Above: Maison Martin Margiela artisanal leather waistcoat.

Above: Christian Lacroix wedding dress as worn by Hannelore.

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With a face that captured the shift in classical beauty and a turn towards more avant-garde models, Hannelore’s fierce lust for life coupled with her dashing looks – a pointed nose, strong chin and big, bright eyes – became an instant hit with a slew of designers across the world. From Belgian designers like Ann Demeulemeester and Dries Van Noten, to Paris stalwarts such as Azzedine Alaïa and Jean Paul Gaultier, Hannelore quickly became a regular fixture on their runways and in their campaigns. With some, Hannelore became more involved than just a model, becoming a muse and even collaborator on projects – particularly with Azzedine Alaïa and Haider Ackermann.

As such her personal style has become an intermingled mix of all these disparate aesthetics, resulting in a fluid femininity that is roughed up with a rock-star edge and a colourful eclecticism. The garments on show are a rare mix of new and old pieces, from established designers to younger names, from New York to Paris and back to Antwerp. The variety and scale is imposing: ranging from piles of designer shoe samples straight off the catwalk, to playful costumes worn by Karen O of the Yeah Yeah Yeahs, fanciful couture looks from Lacroix, eveningwear from Hermès, and t-shirts from Bernhard Willhelm.

Downstairs the fashion is separated into designated rooms (for those designers who Hannelore holds nearest and dearest), and upstairs the attic holds the majority of the archive, with little rhyme or reason to its colourful chaos. Despite a loose colour and thematic grouping, visitors are left to scour through a haphazard mix – piece after piece of personal belongings and borrowed archives –  with the unusual sights of a stepped wooden Hussein Chalayan skirt circled by high heels, a Haider Ackermann jacket casually draped over a vintage television set, and mannequins wearing Prada or Rick Owens surrounded by smashed shards of mirror on the floor. If not pure high fashion, it is certainly pure Hannelore, and she makes no apologies for that.

See our fashion photo gallery below, with art and photography to follow in the coming days.

Azzedine Alaia:

Jean Paul Gaultier:

Haider Ackermann:

Artwork by Haider Ackermann with accompanying song “Feeling Good” by Nina Simone.

“Birds flying high, you know how I feel. H.”

Hussein Chalayan:

The attic and beyond:

Above: Bernhard Willhelm tee shirts.

Above: Costume designed for the Yeah Yeah Yeah’s Karen O by Christian Joy.

Above: Maison Martin Margiela bead waistcoat over Ann Demeulemeester dress, Haider Ackermann wrap neck dress, VPL padded shift dress.

Above: Hermès Spring Summer 2006 dress, as worn by Hannelore Knuts in the show.

Above: archive Yves Saint Laurent red dress and cape, in the Juergen Teller room.

Above: A selection of personal and borrowed archives, including a leather hooded jacket by Ann Demeulemeester and the green 3-d print parka and dress worn by Hannelore in the Prada Fall Winter 2004 show (far right).

Above: A selection of personal and borrowed archives, including a python jacket from Revillon by Rick Owens (far left), star corsets by Francesco Scognamiglio (centre) and lace pants bodysuit by Haider Ackermann (far right).

Top image: Hannelore Knuts in Jean Paul Gaultier by Jean Baptise Mondino, Fall Winter 2004.

We are happy to announce the special partnership of Belgian model Hannelore Knuts and the ModeMuseum Hasselt in Belgium for a unique exhibition from March 27th 2010, displaying works from a wealth of international creative talent. With a distinguished modelling career spanning a decade, Hannelore has worked in the most prestigious fashion houses, crossed paths with many of the world’s best fashion photographers, and met many interesting artists from Belgium and elsewhere along the way. As well as a learned photographer, Hannelore is currently the model ambassador for Antwerp-based AIDS awareness charity, Designers Against Aids.

Curating the exhibition herself, Hannelore has called upon ‘connected souls’ to contribute to ‘ULTRAMEGALORE‘, including A#3′s Haider Ackermann – from whose magazine comes the above poster image by Inez Van Lamsweerde & Vinoodh Matadin.

The exhibit will include a fashion selection from the likes of Jean Paul Gaultier, Prada, Rick Owens and several Belgian designers, such as Haider, A.F Vandevorst and Maison Martin Margiela.

Complementing the physical garments will be fashion photography from the likes of Juergen Teller, Ronald Stoops, Miles Aldridge, Alex Salinas and Serge Leblon.

Also displayed will be artistic works by Kendell Geers, David Sherry, Luc Tuymans, Elizabeth Peyton and more.

ULTRAMEGALORE promises to be a landmark event for the small museum, located in Hannelore’s birth city of Hasselt, and is set to attract significant critical attention for the exciting content and scale of the project. While Hannelore insists it is not retrospective nor homage to the ‘supermodel’, we are promised a confronting insight into her artistic and cultural sphere. One surely not to miss.

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ULTRAMEGALORE – Fashion Icon Testimony
(27th March – 6th June 2010)
Modemuseum Hasselt
Gasthuisstraat 11
3500 Hasselt
Belgium

www.modemuseumhasselt.be

Haider Ackermann’s vision spills across the pages of A#3 like invisible ink – his presence gleaned in each page, yet his garments, his words and his visage strangely lacking. It is only here in Ari Versluis’ image entitled ‘Haider’s Gang’ that the man himself steps out of the shadows and into the spotlight, yet cushioned in a way – with his nearest and dearest standing around him, hands on their hearts. This includes Hannelore Knuts, a muse and dear friend of Haider – the pair met on the train years ago and have not gone a day since without contact. Hannelore appeared in a beautiful series by Inez & Vinoodh in A#3 also here.

This tradition of showing the faces of the designer’s team has travelled through several issues, and this is the first to be showcased here on A BLOG.

www.exactitudes.com

Hannelore Knuts is one of the most successful models Belgian models today, with a  runway and campaign career spanning over a decade. With her sharp cheekbones, piercing eyes and highly arched brow, her strong androgynous features have become a sinous pairing with the dark and feminine silhouettes of Jean Paul Gaultier, Azzedine Alaïa, Miuccia Prada, Yohji Yamamoto and Haider Ackermann to name but a few. Today Hannelore splits her time between her base in New York and her home town of Deurne on the edge of Antwerp, Belgium. She has just been appointed as the face of Designers Against Aids, the Belgian based organization campaigning for AIDS awareness safe sex, diffusing their message across the globe through a harmonious blend of fashion, music and pop culture.

With a sunny and enthusiastic outlook, a distinctly Belgian frankness and a fresh natural beauty, Hannelore spoke to Dan Thawley for A BLOG about her exciting new projects.

Dan The Scout: I would really like to ask you what you will be doing with Designers Against Aids?

Hannelore Knuts: I have known Ninette for a while and I know she has been working on this project, and I saw it growing and growing, its so amazing what she does, and we found each other again. Not that she needs help, as she is all over the world, but it’s always good to have a face and I am really happy to spread the word that needs to be said about aids. Because also I, not really forgot about it, but its one of those ‘old diseases’ and it is really good that Ninette keeps telling people that it is something you need to be reminded of. And now with the DAA Institution, I love it. I mean, I just live around the corner! (laughs) So this is going to be my new hangout when I am here in Belgium.

DTS: How did you meet DAA’s founder, Ninette?

HK: Yeah how did it go? I was studying (photography at the Antwerp Academy), and Ninette was a sitting model for Bernhard (Willhelm). Then we did his show together! Then I was invited to do Veronique Branquinho’s first show and Ninette was there except as a journalist. And we talked, and she heard that a scout of Elite Paris wanted to have me, and I said no, and she actually kept pushing and saying ‘do it do it!’ And now this is eleven years ago. So we go way back.

DTS: For designers against aids, what really excites you about the project in terms of working with people?

HK:Well it’s all new! But I have a feeling it is REALLY big and I am almost nervous (laughs) Ninette posted something (about Hannelore’s involvement) on Facebook and after one hour BOOM. So now I am studying DAA a little bit, and we will see what happens.

DTS: I hear you are curating another project now, could you tell me a little more about it?

HK: Its at the fashion museum at Hasselt, they asked me to do a retrospective on me, but I didn’t want that I wanted to bring everything that happened to me through the ten years and so it will be a mix of fashion, photography, art music and of course also with DAA it is nice that we can help each other out, so it will be a nice platform for people to get inspired and to be aware and also to see the beauty of collaborating.

DTS: Well that is exactly what we are about with A MAGAZINE also…

HK: It doesn’t matter who you are or what you do.

DTS: Or when it was. Because fashion is too much about what is happening right now, what is happening next..

HK: Yeah too much focus on being trendy and hip, and that’s not the way to go.

DTS: Exactly. Do you see yourself putting in a creative contribution to DAA?

HK: Well yeah we are going to have something in my exhibition, and we were already saying that Chicks on Speed will do something, so yeah I am sure that we are going to have a lot of fun, while keeping it safe! That’s the beauty of it. We are having fun, but it is with a message. It’s a really nice way to do it.

DTS: And your own photography, how is that going?

HK: For me it is still like a diary, as I am so busy but I am always looking in a square and trying to find beautiful things. I have my blog which is my diary. It is really simple and innocent, one picture is prettier than the other one.

I have some ideas to do a photo shoot but I am just still so busy.

DTS: With A MAGAZINE, what are your memories of working with us?

HK:  Well I liked it because I was really close with Haider, and I was really honoured that he wanted to shoot me and that I was almost the only model in there but I was nervous at the same time as It was the first time totally naked. But I trust Inez (Van Lamsweerde) and I mean it was really beautiful. And I like the magazine, so it was really a nice experience.

DTS: How did your friendship with Haider Ackermann begin?

HK: Oh we met on the train! He knew me as a model, and I didn’t know him. We started talking and actually ever since that day there hasn’t been a day we didn’t talk or write.

On consulting for his label: As a friend of course you talk about the collection and in the end it became more official, as I was putting a lot of time in it.

For Azzedine Alaïa: Yes I used to be there, I felt a little bit too young still to be there permanently, yet he is still a very, very good friend, I mean he is my family in Paris, whenever I have a day I go spend my time there.

DTS: How does it feel to still be modeling? Most girls don’t last half as long as you have in the industry?

HK: It’s really nice, though I had a little break when I wasn’t full time modeling, but again all of a sudden you are on a rollercoaster, but I like it. It keeps me awake actually, even though I am really exhausted it is exciting and motivating and really I am having fun.

DTS: You started working of course with the Belgian designers here, yet you seem to have diffused across the markets – from Gaultier in Paris, to the New York scene, there has been a hugely diverse group of people who you have worked with. Do you like to come back to where you started?

HK: Oh yeah! Belgium will always be home and Belgium is actually my point of (deep breath) coming back and coming down to earth, to see family and friends. And to not forget what life is about. It is really important to me.

Please visit www.designersagainstaids.com.

Many thanks to Hannelore Knuts and Ninette Murk, director of DAA.

Belgian model Hannelore Knuts is considered amongst the world’s most successful faces, with a formidable career that spans over a decade. Since appearing in the Yohji Yamamoto campaign of Fall Winter 1999, Hannelore has built a formidable portfolio of work with the most renowned labels, designers, photographers and stylists that the global fashion industry has to offer.

It is closer to home however, that Hannelore founded one of her greatest collaborations, as muse and close friend of Haider Ackermann.

For A#3 the dynamic husband and wife duo of Inez Van Lamsweerde and Vinoodh Matadin photographed Hannelore, in this elegant and striking nude series. With a shock of cropped, blonde hair, Hannelore exudes vampish femininity with a gamine air – her coltish limbs poised in relaxed stances for the black and white shots.