Mixte Magazine

Forget the tired cliché of the snake-headed designer, envious of other people’s talent and always quick to denigrate. In 2023, camaraderie, complicity and unity have become core values in the fashion world. As Glenn Martens and Nicolas Di Felice can attest, supporting each other, helping each other out, putting bad egos aside for a better understanding of the world is the way to go. Their aesthetics may be radically different, but they are similar in many ways: both are Belgian designers of the same age living in Paris. Martens is Flemish, Di Felice Walloon, which no doubt explains the natural reserve of the former and the extraversion of the latter. Martens’ style is as ironic at Y/Project as it is in his Diesel collections, with a truly creative dimension. As for Di Felice, he wins the bet for contemporary modernism at Courrèges, dissecting our everyday attitudes to create strong, relevant pieces. For the very first time, the two men, who regularly attend each other’s fashion shows, have accepted to take part in this joint interview to talk about how they met, their friendship, their mutual respect and values, and to share their views on the fashion industry and the concept of audacity. Between the lines, and through the gentle gaze they cast on each other, a discreet fondness and genuine admiration emerge, as touching as it is unexpected.

MIXTE. Do you remember your very first encounter?
NICOLAS DI FELICE. It was in Brussels, wasn’t it?
GLENN MARTENS. A fashion show at La Cambre, I think.
NDF. No, I believe it was the Vif Weekend night in Brussels, a small event at Tour et Taxis (now disused warehouses that used to host cultural events).

M. Were you invited as designers?
N. D. F. We were both in our last year of school. We didn’t even talk that much that evening. It was furtive and intense at the same time. We said we’d see each other again and be in touch soon.
G. M. When we moved to Paris, we saw each other again pretty quickly. We were just two Belgian guys who had just gotten here, and we got on really well.

M. Were you living in the 9th district at the time?
G. M. No, I was in the 11th district, in a small studio flat on rue Saint-Maur. I had a mattress right in front of my fridge, and I had to move it out the way every time I needed to get to it.
N. D. F. I had a one bedroom flat on rue du Nil in the 2nd district, small but very charming. We didn’t have much when we moved here, and we were working a lot. Even though we often ended up working late into the evening, we thought we were really lucky and had a pretty neat life. We’d have nice picnics in the evenings after work, and I remember going for walks in the parks that were closed at night, like Belleville or Buttes-Chaumont. Climbing over the park fences was our way of embracing both the city and a new life.

M. Did you feel like outsiders at first?
G. M. My grandparents spoke French at home, so I was convinced I’d have no issue communication wise in Paris. I soon realized language would prove to be a real obstacle, and that I spoke the French of a Flemish bastard… After my first internship at Jean Paul Gaultier, I went to work for a company whose offices were based in Istanbul, so I was constantly on the move and meeting people was complicated.
N. D. F. When I was at Balenciaga, I was lucky enough to meet people from the night scene, because nighttime was the only moment I had to myself. Initially, I didn’t connect with very many people here, so I spent a lot of time with Glenn and other friends I’m still in contact with to this day.

M. You’re the same age, and yet your respective worlds couldn’t be further apart. What are some of the values you share as designers?
G. M. For us, the concept comes first, that’s the way we were brought up. There’s also a form of respect for our background and the determination to avoid making mediocre or lazy designs. There’s nothing gratuitous about our approach, each piece really has to have a reason to exist.
N. D. F. To this I would add our respect for raw materials. Sketching is only a tiny part of our work, because Glenn and I know how to make clothes. We know how to assemble a sleeve, we know how to cut leather and we understand the technical side of clothing. We both revolve around the body too, and our fitting sessions are really decisive in the construction of our collections. Even if we’re currently working on projects that require other skills that we’re learning on the job, we share the same love for garments.

M. You both turned 40 this year. When you were 20, could you have imagined what was to come career wise?
G. M. My grandfather was a colonel in the Belgian army, and I remember that when I told him I was going to the Antwerp Academy, he couldn’t take my decision seriously. Fashion meant nothing to him. So as a freshman, I remember telling everyone that I would go and work in Paris, that I would have my own brand and also that I would join a fashion house to become its artistic director.

M. It seems you had it all figured out already! What about you, Nicolas?
N. D. F. It wasn’t quite as clear-cut for me, and my vision of what the future would hold was quite blurry. When I started my three-month internship at Balenciaga, I had no idea they’d actually hire me. After that, I was lucky and things went well. When I was 20, I was just happy to be constantly learning … At Courrèges, I think I was ready, even if I hadn’t really been looking for it. It was the right offer at the right time.

M. What does Belgian culture mean to you?
G. M. Belgium isn’t necessarily known for its beauty, which compels creative people like us to look for it in unusual places. Belgian people know how to write one of a kind, non-conformist stories, because in a way, we’re always ready for the unexpected.

M. Would you say there’s a kind of irony in your humor?
G. M. I’d say yes, personally.
N. D. F. There’s no irony in my work. On the other hand, the beauty of Belgium lies in the fact that we’re not historically fashion-minded. I’d even say that it’s the concept of style that defines our best designers. That’s why so many Belgian designers never go out of fashion, like Ann Demeulemeester. I’m an early fan, even if it doesn’t necessarily reflect in my work. Belgian fashion is more an evolution rather than a change of direction every six months. It’s also about pursuing sincerity and honesty.

M. Which part of Parisian fashion amuses you most?
N. D. F. Fashion in general amuses me, and I think it’s now more of a global thing rather than something purely Parisian.
G. M. There’s this AbFab side to fashion with all the clichés that go with it that always makes me laugh. It’s more what’s going on outside the industry that I find funny these days, much more than what’s going on inside the Parisian fashion houses. There’s more folklore around than within the circle.

M. The theme of this issue is audacity. What does this word mean to you in 2023?
N. D. F. If I go by the dictionary definition, there’s this idea of confidence and a complete absence of fear in the face of obstacles. Striving to be yourself is the definition of audacity for me today. Our work is highly structured, and I think that sincerity should be considered a type of audacity.

M. Is it something you can relate with, Glenn?
G. M. Absolutely. I agreed to work for Diesel because stepping away from the luxury sphere in which I was probably expected to operate represented a real challenge. This brand has always been bold, especially in the way it chooses to communicate. What’s also exciting is to be able to speak to a much wider community than that targeted by the luxury houses. For each campaign, I also ensure that a queer and/or transgender dimension is taken into account, because I’m aware that in some countries where these photos are published, the freedom to live one’s identity to the full and to be free in one’s sexuality does not yet exist, either legally or politically. What’s more, when I arrived at Diesel, only 3% of our fabrics were sustainably sourced. Today, we’re up to 57%.
N. D. F. It’s true that you’ve shown a certain audacity with this Diesel reboot… In my opinion, it’s a great way of putting what it means into perspective.

M. Do you think fashion still has the power to change mentalities and impact our worldview?
N. D. F. A brand isn’t just about garments anymore. For instance, the communities that Diesel campaigns are currently highlighting aren’t necessarily represented elsewhere, and in this sense, visuals are participating in shifting a society towards greater tolerance and open-mindedness. Those big parties organized by Courrèges are another way of not only making our artistic offer more democratic, but above all of creating a community around our core values. Some major brands are reluctant to venture into these areas and highlight communities whose existence is nonetheless an integral part of our daily lives.
G. M. I’d even go so far as to say that it’s our responsibility as artistic directors today, because the content posted on social media speaks directly to our communities.

M. In terms of public image, what do you think of the celebrity status of certain designers who flaunt their private lives on social media?
G. M. I mean, good for them, if that’s what they want to do. Of course, it doesn’t really correspond to my way of thinking or working, even if I am also present on social media. At the end of the day, everyone is free to share whatever they like.
N. D. F. I can only agree with Glenn on that, even if I don’t feel the need to do that in my everyday life either. When I joined Courrèges, I wasn’t asked to take part in this, so I almost feel like I should thank my boss in a way. Frankly, when it’s well done and feels natural, it’s fine. And if you don’t feel like following certain people anymore, you can easily unfollow. I think everything has the merit of existing, even if this approach shouldn’t take precedence over what’s essential in our trade: creating beautiful collections.

M. At the same time, isn’t your modesty in this respect in line with the Belgian culture we were talking about earlier? Anthony Vaccarello, for instance, rarely gives interviews…
N. D. F. I’m not really sure…
G. M. It’s true, Belgian designers rarely put themselves forward in that way…

M. How do you deal with the pressure associated with your work?
N. D. F. We’re well surrounded, which is crucial. We’re working every day, and the circle around us plays a big part in maintaining that balance. I also take time for myself, to do sports for example.
G. M. It was your birthday last week, and I saw the same faces I’ve known for the past twenty years. It’s a privilege to have such friendships, especially with people outside this fashion world. Coming back to the pressure you mentioned, you get used to it eventually. It’s always stressful, of course.

M. Is there anything you particularly like about one another?
G. M. Absolutely not! (laughs). But more seriously, what I admire is the fact that he knows how to surround himself with good people. Nicolas is very loyal. That’s what makes him unique.
N. D. F. What I really admire about Glenn is that he’s a go-getter, intelligent and fearless. He just goes for it with no hesitation. And he also has this ability to live in the moment, which I find incredible. That’s why I’m not too worried about him, despite his crazy work schedule.
G. M. I must admit that I don’t have time to ask myself too many questions. I just follow my instincts.

M. Do you have the ambition to mark your era? Or do you think you already have?
N. D. F. I don’t think about it, personally. At best, my hope is to successfully reflect a part of my era and bring it to life. I’d say I would hope so, even if it takes time.
G. M. I completely agree with Nicolas. We just have to keep in mind that we work in fashion. We’re not Nobel Prize winners, nor out to save lives.

M. By the way, when was the last time you made a bold move?
G. M. When Nicolas cancelled the Summer Courrèges Party last July, I’d say he showed a lot of courage.
N. D. F. Everything was ready and set up, the DJs were there, but at this point, Paris and France were up in flames following Nahel’s death. Sometimes it’s just not the right time, and you have to make the right choice. Tomorrow is another day…

This article was originally published in our fall-winter 2023 issue, AUDACITY (out September 26th 2023).