Clothes: Pain
When I designed this clothing line I was deeply moved by An and Eefje’s story. I felt attracted to it and at the same time I found it hyped in a sense. Maybe it was my way of coping with this terrible event, young girls who had been raped and killed by a pervert. I had a hard time with the coverage in the media. Laetitia, one of the surviving girls, was asked ‘Are you happy now?’ in front of the camera! Stupid question, in my opinion. It upset me, and I was quite assertive about it. That’s why I called VRT to put pressure on the news and also with the request for adapted news for children – that is approximately when Ketnet was introduced. I wanted to stick up for others.
The aesthetisation of pain can be seen in my collection, which is probably also due to the fact that I have suffered a lot myself, because I was bullied at school, among others, first as the son of the teacher and later due to my homosexuality.
The technique was quite easy: white clothes and red paint, it was a natural. It was fairly difficult nonetheless to have the clothes made. That is how I found the way to Schleiper. When I was staining those clothes, it was important to find a balance in terms of stains. I especially wanted to make the crotch red (photo 5), referring to bloody vaginas, an aspect that has nothing to do with menstruation or my aggression here. It is rather imagining their distress from my own pain, empathy. It also made me think of the painter Jackson Pollock, who launched this trend with his famous 'drippings'. Today it also makes me think of those jeans with white paint stains on them, which can be bought. I did not copy them, since I only saw them subsequently in the stores.
I have also worn pieces from my collection at the Aalst carnival. I had made a sign with the name ‘An’ and someone else carried a sign with ‘Eefje’ on it. When they played ‘I will survive’ at the disco, we danced to it. As far as I was concerned those girls continued to live on and I found it so sad that they were only remembered as victims. I also wanted them to live on in a positive way. People did not all react well to this and some were shocked. However, it wasn’t my intention to hurt anyone.
The deeply cut neckline I designed ten years ago has only become fashionable a few years ago. To me it was not a mere decorative feature, but a symbol for deep-seated pain. Subsequently I created a stylised collection, which is more commercial. To many the blood was too unpleasant and I therefore shifted the red to the collar, pockets and zips. The latter, also on the jacket, represented scars, as in a fight, referring to the suppression of the bad, to resistance, to the fact that we don’t just allow things to happen. In one garment one sleeve is longer than the other, as if that arm was stretched, while the collar conjures up the image of a slit throat.
Eventually I found the photos more important than the clothes, as a kind of statement. They were taken by Stijn Vanorbeek at the Anderlecht slaughterhouse.
The strong mediatisation of An and Eefje triggered the topic of pain but it had always been latent in the pain I inherited, as it were, from my grandmother and mother. In some way I also deal with their pain, and their pain is expressed in me. For my grandmother it had to do with the pain she experienced during the war and the fact that she was an orphan. Sexuality was also taboo to her. She did have two children, but nakedness, cuddling, intimacy were off-limits to her. For example, she had to sleep fully clothed. I also remember that when I got a bit older I was no longer allowed to snuggle up to her, since she found it too sexual. That is when I became resentful of her. At the end of her life she lived with us, and I still remember how she ranted when something intimate was shown on TV, a kiss or something physical. To her it was not acceptable and I had to switch to another programme. When she passed away, I did not feel overly sad since she had not accepted my love.
As far as my mother is concerned, I always thought that something terrible happened to her. In general I feel very involved with women in the family, for example with my aunts and female cousins. My relationship with most men in the family is not nearly as strong.
Hats
Thimble (finger hat in Dutch). The word is self explanatory (in Dutch), it is a hat. In the meantime it is one of my classics, which can to some extent be compared with the bowler hat, which was Magritte’s signature.
Head covering (Head lid in Dutch). A hat is indeed something that covers the head, hence “head lid”. I thought of a lid on a rubbish bin, since sometimes people treat each other like garbage. I want to keep it light-hearted since I turned it into a lovely accessory.
Hairstyle hat. Hair can also be considered as an accessory covering the head. Design is based on a children’s drawing of mum’s hairdo, as I would draw it now, in the Jommeke-like yellow of the Flemish comic hero.
Halo, made for the entrance exam to the La Cambre fashion school in Brussels, which refers to the religious and materialisation of light by which saints are surrounded. Initially I made a halo from adhesive tape. Later I had this hat produced from sisal.
Satellite dish hat: for this image Kristof was inspired by a daydream and refers to the contact with the extraterrestrial, the cosmic, God, etc. He chose the colour black in function of a yet-to-be-made photo, whereby the model is seen as it appears in black when it is lit up by a strong light source, as in a solar eclipse when the moon turns black and the sun into a halo.
The hats were created through a mechanism, which is always based on language and this in various ways. First and foremost there are two designs based on the ambiguity of language, namely the "thimble (finger hat)" and the "head cover". Whilst the word thimble seems to unequivocally refer to the small metal implement with which we protect our finger, Kristof Buntinx plays with the word and uses it in its literal meaning as a hat, i.e., like something we wear on our head. The same creation mechanism forms the basis for "head cover". This word typically refers to gear specially manufactured to cover the head. In this creation, however, the designer uses the second part of the word, i.e., "cover", which by association takes him to the lid of a rubbish bin. In this design the endeavour resounds to transform something that is considered to be generally "ugly", into something beautiful. We see how he raises the everyday, exactly as was the case with his "pin cushion": the common implement is raised to the level of a graceful object, which at the same time acquires a new function. In the "hairstyle" design the hairdo is metonymically (through substitution) transformed into a hat whilst the aureole involves the shift and transformation of what is plastically depicted as a halo in painting. Lastly, the "dish antenna" design reflects how easy it is to turn the meaning of a word "upside down". The hats are handmade by the accomplished milliner Martine Verstraeten.
Paper Hats
These seemingly paper hats, photographed here by Emilie Vercruysse, were made from printed cotton, reinforced with elasticated cloth. The concept is simple and is a nod to the Flemish children’s song: “Eén, twee, drie, vier, hoedje van, hoedje van, Eén, twee, drie, vier, hoedje van papier!” Paper hats and paper boats are obviously also traditional handicrafts, everyone has made one at some point.
Kristof Buntinx made hats along these lines, which can actually be worn. He designed these hats for the celebrities from the world of the media, who in this way refer to their biotope.
The photographer, who lives and works in Ghent, however, placed the hats on Bonnie’s head and by doing so takes us back to the playfulness of our childhood days. She primarily works with children and her colourful portraits are an authentic representation of the child’s soul.
The collaboration between Kristof and Emilie Vercruysse went off swimmingly and Kristof is delighted that she was willing to complete the project. He hopes to be able to work with other talented photographers in the future.
Deze schijnbaar papieren hoedjes, hier gefotografeerd door Emilie Vercruysse, werden gemaakt uit bedrukt katoen, verstevigd met toile élastique. De idee is eenvoudig en verwijst naar het Vlaamse kinderliedje “Eén, twee, drie, vier, hoedje van, hoedje van, Eén, twee, drie, vier, hoedje van papier!” Het hoedje van papier en het papieren bootje zijn uiteraard ook klassieke knutselwerkjes die iedereen ooit wel eens heeft gemaakt.
Kristof Buntinx maakte er nu hoeden van die werkelijk kunnen gedragen worden. Hij bedacht deze hoeden voor de sterren uit de mediawereld, die op die manier naar hun biotoop verwijzen.
De fotografe, wonend en werkend te Gent, zette de hoedjes echter op het hoofd van Bonnie en voert ons daarmee terug naar het speelse van de kindertijd. Zij werkt meestal met kinderen en haar portretten zijn kleurrijk en geven de kinderziel authentiek weer.
De samenwerking tussen Kristof en Emilie verliep bijzonder vlot en Kristof is verheugd dat zij dit project heeft willen realiseren. Hij hoopt in de toekomst nog met getalenteerde fotografen te kunnen samenwerken.
Ceci n'est pas un advocaat
Kristof Buntinx’s ontwerpen voor een nieuwe toga voor de advocatuur werden onlangs gepreselecteerd door de jury van Fashion Award “Toga 125”. Hij realiseerde één van deze silhouetten en stelde deze voor tijdens een modeshow op 27 mei 2011 in het justitiepaleis van Antwerpen. Het ontwerp is conceptueel en kreeg de naam mee van: “Ceci n’est pas un advocaat”.
Het gaat om een tunica in een eigele crèmige kleur, met daarover een lange zwarte drappage. Het geheel ademt de luxe en de stijl uit van de Romeinse keizers. De snit is heel basic: de tunica bestaat uit één stuk stof, die aan de zijkanten met linten wordt dichtgemaakt. Ook de drappage bestaat uit één stuk stof, nu zo’n zes meter lang, aan één zijde ovaal uitgesneden, zodat de drappage aan de pols afgerond is.
De toegevoegde waarde ligt in de ontlening aan de geschiedenis (Romeinse tijd -- Romeins recht), gecombineerd met het actuele van de woordspeling Advocaat -- de drank “Advocaat”. Het gaat om meer dan een simpele woordspeling: het oeuvre van Kristof Buntinx schrijft zich grotendeels in in de traditie van het Belgisch surrealisme. Hierin gaat de creatie vaak uit van de dubbelheid van de betekenis.
Accessoires: hoed en tas
De hoed is letterlijk een hoofddeksel, hier dan passend het deksel van de fles advocaat, vervaardigd in zwarte sisal. De tas krijgt de vorm van een ei, verwijzend naar de eieren die in de drank worden verwerkt. Men kan hierbij denken aan het gezegde “eieren kiezen voor z’n geld” of aan het gebruik van het gooien met eieren, of aan de vraag van de kip en het ei, maar daar heeft deze creatie helemaal niets mee te maken.
De tas is in wit leder, omdat de huidige gadgets (iphone) meestal een witte kleur hebben. “Wit” wordt geassocieerd met het moderne milieuvriendelijke.
Toga 125 Fashion Award
Kristof Buntinx was interviewed recently as a result of the Toga 125 design contest, organised by the Young Bar Conference in Antwerp to celebrate its 125th anniversary. The event took place in collaboration with the Ghent Fashion Academy, the Ghent Royal Academy of Fine Arts and the Flanders Fashion Institute in Antwerp.
The toga that was designed could be admired on 27 May 2011 during a major fashion event at the Antwerp Palace of Justice in the presence of the Antwerp bar, the ministers for justice and culture, the president of the Antwerp Bar Council, judges, lawyers, the press and the public.
The designs were judged during the fashion show by a jury of renowned designers and prominent members of the judicial world.
The show was followed by a prize-giving ceremony and a fabulous reception.
Thanks for being there!
Movies are made by www.advocatennet.be
Jewellery
Back in ancient times the use of coins as jewellery was commonplace. Coins are daily implements exchanged by everyone. To Kristof Buntinx, creating a piece of jewellery from a coin boils down to elevating an object to the dignity of a work of art (see the definition of the sublimation process in the psychoanalyst Jacques Lacan). Kristof Buntinx designed his creations for a woman as evidence of her relationship with the royal family. To him the portrait of the King, the reference to Europe and the fact that it involves money, provide the added value to his creation. In these times of economic crisis, in which everyone complains about loss, this veiled reference brings about a re-evaluation.
Noose Ties
With noose ties the idea results from the association in terms of sound-image: a tie in the shape of a noose. The scarlet colour of one contrasts with the virginal white of the other tie. Both were hand-made from wool, the latter to soften the sharp edge of the thought of suicide. Kristof Buntinx did intermittently play with the idea, as a mere possibility, as a final self-destination or ultimate self-discipline. At the same time the design implies control over that concept, since all imagination equals suppression. Kristof is nonetheless aware that human thought is at times uncontrollable. This is where fear rears its ugly head. He does understand that it is possible to be frightened by his designs.
Bij de stropdassen spruit de idee voort uit de associatie op het niveau van het klankbeeld: "stropdas", een "das" in de vorm een "strop". De bloedrode kleur van de ene contrasteert met het maagdelijke wit van de andere das. Beide werden met de hand vervaardigd uit wol, dit laatste om het scherpe van de idee aan zelfmoord te verzachten. Met die gedachte speelde Kristof Buntinx wel eens, als loutere mogelijkheid, als ultieme zelfbestemming of zelfcontrole. Tegelijkertijd impliceert de creatie zijn controle over die idee, zoals elke verbeelding een bemeestering is. Kristof weet echter dat die menselijke gedachte soms oncontroleerbaar is. Dan verschijnt de angst. Hij begrijpt dan ook dat men kan schrikken van zijn ontwerpen.
Scarves
The scarves represent a blow-up of the famous breast cancer (pink) and AIDS (red) ribbons, which are universally recognised as a sign or symbol. Here the intention was to cover the body with the ribbons, albeit partially, and at the same time the ribbons become functional: a scarf protects.
With these designs, Kristof Buntinx subscribes to what is expected from fashion designers, i.e., that their creations occasionally include a statement about a controversial social issue.
De sjaals vormen een uitvergroting van de gekende aids (rood) en borstkanker (roze) ribbons die universeel herkend worden als teken of symbool. Hier was de idee om met die linten het lichaam te bedekken, gedeeltelijk dan toch, en tegelijkertijd worden de linten functioneel: een sjaal beschermt tegen de kou.
Met deze ontwerpen schrijft Kristof Buntinx zich in in het verwachtingspatroon dat actueel leeft ten aanzien van een modeontwerper, namelijk dat zijn creaties af en toe een statement bevatten over een maatschappelijk hangijzer.
Clothes: Pain Revisited
These designs represent the next stage in the ‘Pain’ collection, which I had created years ago. Whilst initially I had photographs taken in a slaughterhouse, now, in 2011, I present the more stylised version, which I designed in 1999-2000. The red of the piping, trouser pockets and zips, refers to wounds suffered in the past. For example, the deep décolletage stands for intense pain and not for the fashionable image that would become trendy later. The context in which the model is photographed reflects the faith to which I was attracted and from which I expected healing. The photographer Stefaan Beernaert, aka Foantje, was able to capture all of this perfectly. Based on his penchant for unique, abandoned sites, he opted for a convent in this case. By having the model Justine Desmet float and by surrounding her with flowers, he converts the pain into something beautiful and wearable. Here, we revisit the painful photos from the slaughterhouse. Stefaan Beernaert is a talented young photographer, who spares no effort to find the right location for his work. I wish to thank him for his commitment and dedication.
Deze ontwerpen vormen een volgende fase op de collectie ‘Pain’ die ik jaren geleden gestalte gaf. Waar ik aanvankelijk foto’s liet maken in een slachthuis stel ik nu, anno 2011, de meer gestileerde collectie voor die ik eveneens in 1999-2000 ontworpen heb. De rode kleur van de biezen, de broekzakken en ritsen, verwijzen naar de verwondingen opgelopen in het verleden. Zo staat de diepe halsuitsnijding voor de diepe pijn en niet voor het modebeeld dat later trendy werd. De context waarin het model nu wordt gefotografeerd weerspiegelt het geloof waartoe ik mij aangetrokken voelde en waarvan ik genezing verwachtte. De fotograaf Stefaan Beernaert aka Foantje voelt dit goed aan. Vanuit zijn voorliefde voor verlaten, bijzondere plekken, opteert hij hier voor een klooster. Door het model Justine Desmet te laten zweven en te midden van bloemen te plaatsen, verwerkt hij de pijn tot iets moois en draagbaars. De pijnlijke foto’s uit het slachthuis worden hier herbezocht. Stefaan Beernaert is een jonge talentvolle fotograaf, die geen inspanning schuwt om de juiste locatie te vinden voor zijn werk. Voor zijn inzet en voor zijn toewijding wil ik hem danken.
Handbag
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A handbag in the shape of a hand! In terms of design, a nod to the cursor on a computer screen, ideal for young people for whom the computer has become part and parcel of their daily life. Made from white leather with black leather sides. The design crystallises the pun, which can be made in several languages, i.e., ‘hand-tas’, ‘sac à main’, ‘handbag’, pun that is put into practice here for the first time. In terms of production, I suggest that several sizes be made. From evening clutch, as is shown here, to oversized carry-all. The house model, in a manner of speaking, is Justine Desmet, who recently took part in Benelux’ Next Top Model. I was charmed by her performance in this reality show and ran into her accidentally on the train. We got to talking and she was willing to become my model. During photo sessions she is very patient, easy to work with, even under difficult conditions. In short, I am pleased with our professional collaboration. Stefaan Beernaert, a.k.a. Foantje, shot the photos in an abandoned building. He is a young photographer with a keen eye for desolate settings with which he merges the models.
Een handtas in de vorm van een hand! Verwijzend qua vorm naar de cursor op een computerscherm, wat passend is voor jongeren voor wie de computer een belangrijke plaats inneemt in hun dagdagelijks leven. Vervaardigd in wit leder met een zwartlederen zijkant. Het design concretiseert de woordspeling die in verschillende talen kan worden gemaakt: “hand-tas”, “sac à main”, “hand-bag”, woordspeling die hier voor het eerst gematerialiseerd wordt. Voor de productie stel ik voor dat er verschillende groottes gemaakt worden. Van coctail accessoire, zoals hier, tot de oversized handtas. Huismodel, bij wijze van spreken, is Justine Desmet, recent nog deelneemster aan Benelux’ Next Top Model. Ik was gecharmeerd door haar optreden in deze reality-reeks en ontmoette haar bij toeval op de trein. We geraakten aan de praat en zij was spontaan bereid om voor mij als model op te treden. Bij foto-sessies is zij heel geduldig, werkt goed mee, ook in moeilijke omstandigheden. Kortom, ik ben blij met de professionele samenwerking. Stefaan Beernaert a.k.a. Foantje maakte de foto’s in een verlaten gebouw. Hij is een jonge fotograaf met een scherpe blik voor desolate omgevingen waarmee hij het model doet samensmelten.
Accessories
In this non-contemporary series of fashion shots, advertising photographer Geert De Taeye sticks to his own, somewhat cynical and gloomy style. The contrast of this view with my intrinsically cheerful accessories (the halo hat, the rosary of Belgian euro coins, the ‘hand-bag’ and the jam jar lid hat) provides the images with remarkable tension.
The halo and the rosary hats share a religious aspect with Geert De Taeye’s photography enhanced by the model, Justine Desmet’s modesty. In addition, the halo hat represents the conversion of a symbol (the halo surrounding the heads of saints in Christian iconography) into a wearable object, i.e., a hat. The rosary was also designed with a nod to the Belgian royal family and is part of a series of jewels to which this object belongs. On the other hand, the hand-bag was inspired by the literal meaning of the word ‘hand bag’, to which I added the hyphen, as it were. The jam jar lid hat is a variation on the classic ‘head cover’, again based on a play on words (in Dutch). If you ask me, this last photo belongs on the cover of Vogue. In short, my objects acquire another dimension as a result of this collaboration with photographer Geert De Taeye.
In deze niet eigentijdse reeks van modefoto’s houdt reklame-fotograaf Geert De Taeye vast aan zijn eigen ietwat cynische en duistere stijl. Het contrast van deze blik met mijn in se vrolijke accessoires (de aureoolhoed, de rozenkrans van Belgische Euromunten, de ‘hand-tas’ en de konfituurpotdekselhoed) zorgt voor een merkwaardige spanning in de beelden.
De aureoolhoed en de rozenkrans delen met de fotografie van Geert De Taeye het religieus aspect, mede door de ingetogenheid van het model Justine Desmet. Hiernaast vormt de aureoolhoed een omzetting van een symbool (de stralenkrans waarmee de hoofden van heiligen wordt omgeven in de christelijke iconografie) in een draagbaar object, nl. een hoed. Ook de rozenkrans werd met een knipoog bedacht, hier naar het Belgisch koningshuis dat ik in gedachten had bij het maken van de reeks juwelen waar dit object in thuis hoort. De hand-tas werd dan weer geïnspireerd door de letterlijke betekenis van het woord “handtas”, waar ik als het ware het koppelteken aan toevoeg. De konfituurpotdekselhoed is een variatie op de klassieker “hoofddeksel”, met daarin weerom de woordspeling als uitgangspunt. Deze laatste foto hoort, als je het mij vraagt, thuis op de cover van Vogue. Kortom, mijn objecten krijgen door deze samenwerking met fotograaf Geert De Taeye een andere dimensie.
MIAT
Binnen het kader van hun najaarstentoonstelling “Futiel textiel?” van 15 oktober 2011 tot 25 maart 2012, selecteerde het MIAT (Museum voor Industriële Archeologie en Textiel te Gent) het ontwerp de “Das” van Kristof Buntinx. In zijn creaties staan vaak, zoals in de traditie van de surrealisten, woordspelingen centraal. Een woord betekent altijd meer: zo ook bij deze das, verwijzend naar het marterachtig roofdier met het karakteristieke patroon in zijn pels. Deze “Das” zal te koop zijn in de Museumshop aan een democratische prijs. Kristof is fier op deze selectie, temeer omdat hij een speciale band heeft met de stad Gent waar hij een jaar verbleef tijdens zijn modeopleiding.
Aan deze tentoonstelling was ook een wedstrijd verbonden waarbij men de Bekende Vlaming dient te raden die de “Das” draagt gefotografeerd door Cristina De La Madera. Hiermee kon je een weekendtrip naar Londen winnen. Jaap Van Heest is ermee aan de haal gegaan en de BV is niemand minder dan Herr Seele!
Dans le cadre de son exposition d’automne « Futiel textiel? » du 15 octobre 2011 au 25 mars 2012, le MIAT (Musée d’archéologie industrielle et du textile de Gand) a sélectionné le projet «Das » (la cravate, mais aussi le blaireau en néerlandais) de Kristof Buntinx. Dans la grande tradition des surréalistes, les jeux de mots occupent dans ses créations une position centrale. Un mot a toujours plus d’une signification : c’est aussi le cas avec cette cravate, qui fait directement référence au mustélidé carnivore au pelage au dessin caractéristique. Cette « Cravate-blaireau » sera en vente dans la boutique du musée à un prix démocratique. Kristof est fier de cette sélection, d’autant plus qu’il entretient un lien particulier avec la ville de Gand où il a séjourné pendant une année au cours de sa formation à la mode.
Un concours consistant à deviner quel Flamand connu porte la « Cravate » était également associé à cette exposition. Photo par Cristina De La Madera. Un week-end à Londres était à remporter. Le grand gagnant est Jaap Van Heest et le Flamand connu est Herr Seele!
The MIAT (Ghent Museum for Industrial Archaeology and Textile) selected the “Tie” design by Kristof Buntinx as part of its autumn exhibition “Futile textile?” running from 15 October 2011 to 25 March 2012. Kristof’s creations are often centred around puns, true to surrealist tradition. A word always has more than one meaning, as is the case for this tie, which in Dutch refers to a badger typically having a grey and black coat and a white-striped head. This “Tie” will be available for sale at a democratic price in the Museum shop. Kristof is proud of this selection, all the more so since he has a special "tie" with the city of Ghent where he stayed for one year during his fashion training.
A competition was also linked to this exhibition where entrants had to guess which Famous Fleming wears the “Tie”, photographed by Cristina De La Madera, and could win a weekend trip to London. The big winner is Jaap Van Heest and the Famous Fleming is Herr Seele!
Modo Brussels Parcours 2011
At the end of October (28-29-30), Modo Brussels rolled out the red carpet for trendy designers over a period of three days.
Kristof Buntinx also obviously joined in on the fun and showed his hats, ties, jewellery and belts in the new Dun-Dee Concept Store at the Sablon. A lot of beautiful people as well as the press were also in attendance. Kristof granted an interview about this three-day event and his designs, to which you can listen here.
Kristof wishes to thank Modo Brussels, and more particularly Elke Timmerman for organising the event.
Friends and acquaintances attended the evening do, of which a few photos can be seen here.
He wishes to extend his thanks to Nicolas Viu Masia for the creative display window and Murtaza Teke for the amazing visuals. His gratitude also goes to Kathy Tarea of Dun-Dee for welcoming him in her gorgeous store. Pictures were taken by Leo Estercam.
Hopefully we will see you next year and we thank you for having come to this event this year!
Modo Brussels rolde eind oktober (28-29-30/10/2011) gedurende drie dagen de rode loper uit voor trendy designers.
Kristof Buntinx was uiteraard van de partij en showde zijn hoeden, dassen, juwelen en riemen in de nieuwe Concept Store Dun-Dee op de Zavel. Veel schoon volk was er te zien en ook de pers was aanwezig. Kristof gaf een interview weg over deze driedaagse en zijn creaties. U kunt dit hier beluisteren.
Kristof wenst hier Modo Brussels, in het bijzonder Elke Timmerman te bedanken voor de organisatie van dit event.
Vrienden en kennissen kwamen af op de nocturne, waarvan u hier enige foto’s kunt bekijken.
Met dank aan Nicolas Viu Masia voor de creatieve etalage en Murtaza Teke voor de mooie visuals. Ook dank aan Kathy Tarea van Dun-Dee om Kristof te ontvangen in haar prachtige zaak. De foto's zijn gemaakt door Leo Estercam.
Hopelijk tot volgend jaar en dank om naar deze editie gekomen te zijn!
Hong Kong Design Week
During the Hong Kong Design Week 2011, the three curators Li Mei Tsien, Sébastien Cruyt and Marie Pok opted for a non-traditional exhibition. In the old police headquarters they put a playful and interactive installation on display with references to popular Hong Kong cultural practices. This installation is composed of basic ‘Made in China’ cotton T-shirts printed with designs by architects, designers and couturiers. Each T-shirt is printed with a distinctive design, draft or sketch by one of the selected candidates, featuring Kristof Buntinx, among others. This concept is the Belgian answer to Ai Wei Wei’s and Rei Kawakubo’s installation in the Comme des Garçons Dover Street Market shop window.
In the T-shirt presented here, Kristof capitalises on the multiple interpretations of the word “crow” (“corbeau” in French, which when pronounced also sounds like “corps beau” (“a beautiful body”). In addition to the reference to surrealism, this T-shirt illustrates how the human mind works, namely through the “signifier” or acoustic image (French: “signifiant” or “image acoustique”) of the words (which therefore do not have to be rendered in the grammatically correct sequence). The wearer of the T-shirt shows the world through the symbol of the crow that he has a beautiful body.
Kristof’s creations therefore also illustrate Ferdinand de Saussure’s language theory, which was based on the field of tension between word and image, or more specifically, between “signifier” (“signifiant”) and “signified” (“signifié”). In his language theory this linguist postulated that there is no fixed connection between the level of signifiers, in other words, the level of that with which we indicate something and the level of the signified. Furthermore, he postulated that there is no hierarchical connection between both levels. In his opinion therefore the language does not prevail over the visual image. The French psychoanalyst Jacques Lacan drew inspiration from this linguistic belief for the further development of the Freudian theory. He nonetheless did put forward that there is an actual hierarchical connection between signifier and signified, insofar as the signifier prevails over the signified. The latter is perfectly illustrated by Kristof’s creations, namely the signifier “corps beau” opens up several signifieds, here both the “crow” and the “beautiful body”.
Hats
Gum printing was invented around 1855 by Alphonse Louis Poitevin (1819-1882).
A number of Kristof Buntinx’s hats were photographed by Kim Engels and finished by her using this technique. Gum printing is a form of bichromate photography for the production of positives on paper, whereby use is made of the light-sensitivity of mixtures of gum arabic and dichromates, whilst the image remains on the original bottom layer. Gum printing belongs to the so-called noble processes and is also one of the oldest ones. Kristof is happy with this workmanship using an old and labour-intensive procedure. Obviously this technique suits Kim Engels to a T, being the perfectionist that she is. Kristof contacted her through the association of professional photographers and got to know her as a very charming person.
Le procédé du tirage à la gomme bichromatée a été inventé en 1855 par Alphonse Louis Poitevin (1819-1882).
Plusieurs des chapeaux de Kristof Buntinx ont été photographiés par Kim Engels et parachevés avec cette technique. Un tirage à la gomme bichromatée est une forme de photographie permettant la réalisation de tirages positifs sur papier utilisant la sensibilité à la lumière de mélanges de gomme arabique avec des bichromates, tandis que l’image demeure sur la sous-couche initiale. Le tirage à la gomme bichromatée relève des procédés nobles et est l’un des plus anciens. Kristof est heureux de cette réalisation faisant appel à une méthode ancienne, à facteur de travail élevé. Cette technique semble très bien convenir à Kim Engels et à son perfectionnisme. Kristof est entré en contact avec elle via l’association des photographes professionnels et a fait la connaissance d’une dame tout à fait charmante.
De gomdruk werd omstreeks 1855 uitgevonden door Alphonse Louis Poitevin (1819-1882).
Een aantal van Kristof Buntinx’ hoeden werden gefotografeerd door Kim Engels en door haar met deze techniek afgewerkt. Een gomdruk is een vorm van chromaatfotografie voor het vervaardigen van positieven op papier, waarbij gebruik wordt gemaakt van de lichtgevoeligheid van mengsels van Arabische gom met dichromaten, terwijl het beeld op de oorspronkelijke onderlaag blijft. De gomdruk behoort tot de zogenaamde edele procedés en is een der oudste procedés. Kristof is blij met deze uitvoering met behulp van een oude en arbeidsintensieve werkwijze. Blijkbaar gaat deze techniek Kim Engels als perfectioniste heel goed af. Kristof contacteerde haar via de vereniging van de beroepsfotografen en leerde haar kennen als een heel charmante juffrouw.
Kortrijk Interieur 2012
In keeping with tradition, biennially Kortrijk Interieur holds a competition for the clothing of its stewards & hostesses. This year I very enthusiastically presented the designs ‘The inside’. Both designs with the same name involve complete outfits to be worn by both male hosts and female hostesses. They are white, two-part suits with associated shirt or blouse. On the fabric from which the suits are made, a colourful interweaving is printed that refers to the electrical wires that are every bit as colourful and which we usually find on the inside of an interior (in the wall, floor, ceiling), or also to the home automation that is worked into it today. Both with the title (“The inside”) and the design itself (wiring) I explicitly refer to the Biënnale Interieur event in Kortrijk. I also switch ‘inside’ and ‘outside’: the inside comes to be seen on the outside. Nice, in my opinion, but unfortunately enough my designs were not retained.
Royal Ascot 2012
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A few nice pictures of the picnic in car park No. 1, part of the Royal Enclosure at The Royal Ascot Races this year: nice hats, champagne and canapés. Johanna is wearing the ‘paper hat’ made of printed cotton and strengthened with elastique toile, a rebellious wink in the direction of left-wing newspaper The Guardian at this veritable high mass of tradition. Madelon is wearing the haircut hat, an own interpretation of the haircut of Annemieke & Rozemieke from Flemish comic book series Jommeke, made from yellow felt. The ever stylish Ninni has dared to wear the dustbin hat at this fashonable event, a reference to how people sometimes treat each other and above all me as rubbish. Milliner Martine Verstraeten was responsible for the execution of the hats. The photos were taken by Fredrik Jönsson of Redhouse Media. Many thanks to Jolanta Lincoln and her husband Bryan for the invitation.
Exhibition Theo Gallery
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Here are a few photos of the vernissage that took place on 31 August in the Antwerp Theo Gallery, where my neckties, scarves and jewellery were shown. A lot of friends and acquaintances dropped in. It was a massive honour for me to be able to exhibit in the renovated gallery run by Patrick Hoet & Wim Somers. Thanks also to Miet Vaes for her support and cooperation.
The event attracted media attention in Nieuwsblad online, Feeling online, etc.
Designer Shop
On Friday 12 October 2012 a reception took place during the Modo Brussels Parcours 2012 in the Summer Ends boutique (Grote Zavel). My foulards and neckties were on sale at the shop.
Foulards: The concept starts out from the spelling of the word “foulard” -- “fou l’art” ("mad art"), hinting at the madness of art and (with a wink) at myself as an artist. They were produced starting out from a series of drawings from 2007.
Neckties: Here too you can find word play.
TV
Video 1: Kristof is the guest of the programme Zipp, presented by Alain Tholl de L'Enclos, on the RTBF-2 channel, in which Kristof provides information on his accessories. The images proved to be very beautiful.
Special thanks to:
Models: Justine Meuleman & Sofja Primchits & Gilles De Neyer
Hair: Hendrik Coppieters
Location: Design Republic & Murtaza Teke
Video 2: Marlène de Wouters interviews Belgian fashion designer Kristof Buntinx in her programme “Marlène@Home” on the Actua TV channel. They discuss his LGBT co-housing project, his personal story and his fashion accessories. The informal and candid interview can be seen on Actua+, the video-on-demand-offer from ActuaTV.
God save the Queens
Fashion designer Kristof Buntinx' answer to Bart De Wever.
I introduce my T-shirt for civil servants of the city of Antwerp.
Allow 3 days from date of purchase for delivery, inside Belgium.
Click and buy here.
Kristof Buntinx' antwoord aan Bart De Wever.
Voor de ambtenaren van de stad Antwerpen stel ik mijn T-shirt voor.
Sta ons een levertijd toe van 3 dagen vanaf datum aankoop, binnenin België.
Bestel hier.
La réponse de Kristof Buntinx à Bart De Wever
Je propose mon t-shirt aux fonctionnaires de la ville d’Anvers.
Prévoir un délai de livraison de 3 jours à partir de la date d'achat, en Belgique.
Achetez ici.
T-Shirt Collection
JBC and Fashionangel are organising a fashion competition with a prize of 15,000 euros at stake along with the production and distribution of the winning designs in JBC stores in Belgium and Luxembourg. Among others, Kristof Buntinx is entering with his new collection of trendy T-shirts. Only recently his 'God save the Queens' T-shirt made it into the news, as a response to the remarks of Bart De Wevers regarding 'rainbow' T-shirts at the Antwerp service counters.
In his designs, the playful treatment of words and language plays a central role. Hence for example his 'James Bont' T-shirt (definitely with a t) where a fur coat is being worn ('bont' being the word for 'fur' in Dutch).
He often deals with the double meaning of the sound of a word: “My name is Bond - James Bont”.
Another example from this series is the 'I love people' T-shirt, whereby 'people' refers to the dialect (that of Limburg) with which Kristof Buntinx grew up and in which the word for 'butterfly' is 'piepel'.
A few T-shirts represent a visual shift: we measure our waistline using a tape measure, which is here printed on the T-shirt.
A jury of professionals will knuckle down to judging the submissions, but your vote also counts. Unveil the double message of the T-shirts and do not forget to vote here. The competition runs until 15 April 2013 inclusive.
Handbag
Crowdfunding is the wave of the future for the world of fashion! Kristof Buntinx offers his original handbag for sale and directly targets his trendy fans and excited shoppers. This is referred to as crowdfunding: buyers prefinance the bulk production and the typical middlemen (bank and stores) are eliminated.
As a result Kristof is able to sell his creations to his customers at an affordable price.
A handbag in the shape of a hand! In terms of design, a nod to the cursor on a computer screen, ideal for young people for whom the computer has become part and parcel of their daily life. Made from white leather with black leather sides. The design crystallises the pun, which can be made in several languages, i.e., ‘hand tas’, ‘sac à main’, ‘handbag’, a pun that is put into practice here for the first time.
View the video here. (In English)
The handbag sells for EUR 195 and can be delivered to your home within two months.
Buy now, enjoy later!
RTBF-2
Kristof is the guest of the programme Zipp, presented by Alain Tholl de L'Enclos, on the RTBF-2 channel, in which Kristof provides information on his accessories. The images proved to be very beautiful.
Thanks to:
Models: Justine Meuleman & Sofja Primchits & Gilles De Neyer
Hair: Hendrik Coppieters
Location: Design Republic & Murtaza Teke
Actua-TV
Marlène de Wouters interviews Belgian fashion designer Kristof Buntinx in her programme “Marlène@Home” on the Actua TV channel. They discuss his LGBT co-housing project, his personal story and his fashion accessories. The informal and candid interview can be seen on Actua+, the video-on-demand-offer from ActuaTV.
