Atelier - How Sculptural Accessories Are Developed

1) Research: images first, then what remains

The concept work is not literal storytelling. A key studio description from the period around the Antwerp atelier visits is blunt: the collection can be built from a mash-up of films - watching multiple films a day - then translating the residual “images and emotions” into form decisions. That method explains why the output reads like objects, not costumes: the reference is filtered, reduced, and rebuilt into shape, surface, and balance.

In practical terms: mood is not a Pinterest board. Mood is a set of constraints (scale, edge language, surface behavior, palette) that you can enforce across every piece so the collection looks intentional.

2) Form building: silhouette-read is non-negotiable

Sculptural accessories live and die by silhouette. The atelier workflow starts by locking the outline: does the piece read in one glance from distance? If not, it will not work on runway or in editorial layouts. Once the outline is strong, the studio pushes volume and negative space - because those are what a camera sees first.

This “runway logic” is tied to fashion training and the Antwerp context. The line began after graduating from the fashion program at Antwerp’s Royal Academy of Fine Arts, growing from small hand-made editions into larger, more complex bodies of work.

3) Materials: surface behavior under light

The atelier chooses materials based on how they behave on camera: reflectivity, translucency, edge crispness, and how fast they pick up scratches. Depending on season and piece, that can mean metalwork, enamel, crystal elements, resin-like transparency, or antique/vintage components when the concept demands it. A WWD note from a later period explicitly mentions combinations like gold, enamel, and vintage crystals sourced from early 20th-century stock.

Don’t confuse “materials” with “luxury.” Luxury here is control: clean joins, stable color, predictable weight, and finish that does not degrade after a few wears or a day on set.

4) Prototyping: weight, balance, and wear tests

Prototypes are not optional. They answer questions drawings can’t:

• Balance: does the piece sit where it should, or does it rotate and fight the body?
• Weight distribution: can it be worn for a full shoot, not just a 10-second clip?
• Edge safety: will it snag fabric, scratch skin, or damage hair/makeup?
• Movement: does it hold presence while walking and turning, or does it collapse visually?

The atelier trims anything that fails these tests. “Looks good on a table” is irrelevant - the body is the real display.

5) Finishing: the part people notice without knowing why

Finish is where credibility is won or lost. Editorial close-ups punish bad work: rough edges, messy joins, uneven coating, cheap shine. This is also why the brand has historically been positioned in couture-adjacent contexts, including commissions associated with major fashion houses after graduation.

A clean finish is not “extra polish,” it’s the baseline requirement for professional use - especially when the accessory is designed to dominate the chest, shoulder, or neckline in a single frame.

Care notes (simple, realistic)

Sculptural pieces are durable when handled correctly, but they are not indestructible. Treat them like objects:

• Store separately to avoid surface scratches and pressure dents.
• Keep away from perfume/spray contact zones (finish dulls fast).
• Wipe with a soft cloth after wear; do not use aggressive cleaners.
• For shoots: pin and secure properly - don’t force a fit that fights the piece.