Eva Hilinski

11 Dec 2024
Fashion
Life & Culture

New at MoMu: Jan-Jan Van Essche – Khayal

Antwerp-based Belgian designer Jan-Jan Van Essche is known within the niche for artisanal fabrics of exceptional quality and his unrestrictive silhouettes. MoMu’s newly unveiled exhibition, co-curated by Jan-Jan Van Essche and Romy Cockx, invites visitors into Jan-Jan’s world within a time-decelerating space, introducing his Spring-Summer 2025 collection, ‘Khayal’.

Jan-Jan Van Essche graduated from the Royal Academy of Fine Arts in Antwerp in 2003. In 2010, he founded his eponymous brand, based at the Atelier Solarshop, the boutique he runs with his partner, Pietro Celestina, sharing the space with other like-minded creators.

Setting the scene

The collection’s name refers to the classical Indian music style centered on improvisation. Khyāl is an Urdu word of Arabic origin that means “imagination, thought, ideation, meditation, reflection”; these concepts generally underline Jan-Jan’s creative approach. As one enters the exhibition, a curtain suggests a bow. Inside, amid the meditative sounds, one can recognize the echo of a weaving machine and other production sounds recorded at the atelier. The lights are soft and warm, enhancing the orange-brown surroundings.

The mannequins, made by Rune Tuerlinckx, stand behind semi-transparent curtains inside the wooden frame, grouped to represent key aspects of Van Essche’s work: construction, natural dyes, layering, handweaving, and knitwear. “My clothes are not that museum-worthy,” Jan-Jan explained. “It is the atmosphere that makes it what it is. Of course, the details are there, but they are often on the inside; they don’t scream for attention. In that sense, the mannequins take it there.”

Focus on material

Most fabrics are sourced from Japan or India or are locally made by craftsmen in Belgium. Jan-Jan prefers materials produced using ancient, often time-consuming, and labor-intensive techniques.

7Weaves, a company Van Essche works with, partners with indigenous forest communities in Northeast India to offer hand-spun Eri silk fabrics, handwoven at around 30 cm of fabric per day. Lamine Diouf, a weaving artist from Senegal, has worked on the tunic inspired by the West African boubou. “He can produce around five meters a day, and it is exceptionally fast,” Jan-Jan said.

All the khaki-green garments that might seem rather modern and technical are made of cotton silk woven on a shuttle loom that has not been in industrial use since the 1950s; in a sense, it still follows the path of traditional manufacturing.

Color & silhouette

The use of naturally fermented indigo has become a core element of the collections. The color palette centers around a linen double-weave fabric in a blue-green-purple chaotic check pattern. Such a shirt is combined with a jacket and trousers made of Japanese denim—the most Japanese it can get, as Jan-Jan admitted. The denim thread is first dyed with Sumi ink before the weaving process begins. Then, the fabric is hand-dyed by Japanese indigo masters using naturally fermented Aizome.

Jan-Jan’s pattern language is fabric-centered. The appreciation for the material translates into rectangular-shaped patterns designed to utilize the entire piece of cloth, from edge to edge. Loose fits ensure space for individual interpretation of how the fabric drapes on the body, rejecting the idea of a “perfect” wearer. When constructing the silhouette, Jan-Jan contrasts ethnically inspired garments with European workwear and military codes.

Along with the exhibition, MoMu presents a film directed by Ramy Moharam Fouad, highlighting the people who have contributed to the brand. The film is also available on Jan-Jan Van Essche’s website. Khayal is on view at MoMu until June 6, 2025. Visit Atelier Solarshop at Dambruggestraat 48 in Antwerp.

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