Exploring Masculinities at the Royal Academy of Fine Arts in Antwerp

by Philippe Pourhashemi

Expectations were running high before attending Show 23, the creative statement made each year in June by the Fashion Department graduates of the prestigious Royal Academy of Fine Arts in Antwerp. For many of us who work in fashion, Antwerp stands for a certain idea of the avant-garde and a willingness to push stylistic boundaries. Would Brandon Wen -now in charge of the Artistic Direction of the Fashion Department- stay true to the foundation laid out by Walter Van Beirendonck, or go in a completely different direction?

If there was undeniably a new energy at play -and an emphasis on the students having fun with their clothes- the celebratory and experimental spirit of the school definitely lives on. The Academy is a place where anything is possible and ultimately a safe haven to explore key notions of gender, identity, culture and community. This year, I was struck by how several Master collections delivered strong and insightful visions of masculinity today. As we all know, menswear has been booming over the past 10 years, and become as creatively daring as womenswear. Gender fluidity -a notion Wen tends to embody perfectly- offers men new sartorial possibilities, freed from social archetypes and stereotypical uniforms.

Antonia Vera Kannefass presented exquisite menswear pieces, which looked ethereal and substantial at the same time. Her beautiful white separates were refined and sensual and she managed to give corsets and pleated skirts a masculine feel. Marcel Sommer’s collection, which he named “AFTER[MA]TH” was one of the show’s highlights. His tailoring was impressive, and he also demonstrated a clear understanding of cut, shape and volume. References to workwear and powerful geometric lines added boldness to his garments, while his pleating technique worked wonders for jackets, shirts, tops and outerwear pieces. An intricate gray bomber, featuring rectangular pockets and a rounded shoulder, was a true standout.

Other collections used sartorial stereotypes, and played with them successfully. Mixing the language of gay fetish with American sportswear and the uniforms of superheroes, Juyoung Ahn delivered a provocative lineup of deliberately exaggerated sculptural jackets and coats, which hinted at the notion of toxic masculinity. Paired with tight shorts, breastplates and football socks, his pieces eroticized the male form, and turned it into an object of intense scrutiny. Ahn’s vision seemed to epitomize some of the dilemmas masculinity has to face now, while questioning how far men are willing to turn themselves into sexual commodities.

Check out some of our favorite looks presented at the Show 23 below: