Number 27 on Boulevard de Waterloo, one of Delvaux's Brussels boutiques, has a new look. A transformation with a Belgian flavour showcasing art and design, and keeping pace with the rapid international growth in the fine leather goods sector.
Meeting with Christine Zeller, the brand's Artistic Director, in the chic and elegant spaces of Le 27.
When you arrived at Delvaux in 2011, what was it about this house that captivated you?
Right away, I became aware of the opportunity before me to contribute to the renewal of the oldest fine leather goods brand in the world. For this boutique, we have chosen to present a collection of minaudières alongside our current collections as a reminder that Delvaux invented the handbag. Our house has a history, talented craftspeople and a great tradition, which are our greatest treasures and enable us to shine throughout the world.
To begin with, however, you chose to focus on something else...
There was not really any need to further promote the quality of our craftspeople. Six years ago, I was actually hired to develop ideas that would contribute to showcase Delvaux's excellence, but in a completely different way to what had been done before. My first task was therefore to dive into the archives take inspiration from them to bring new impetus to Delvaux.
You have responded to this task with, in particular, creations with touches of humour and whimsy. Tell us about your approach.
This quirky and often surrealist approach has been embedded in Delvaux's DNA from day one. It had however been somewhat forgotten. I therefore chose to give a fresh look to our iconic lines such as the Brillant, the Tempête and the Madame, lines that today continue to be our bestsellers and which we have subtly modernised by making them more practical and easier to carry. We have reviewed the dimensions of certain models, added straps or pockets to others for them to appeal to chic and urban customers in Brussels or Tokyo.
You have also created bags using transparent vinyl or fluorescent yellow leather, special series paying homage to Magritte and Alice in Wonderland, models in pastel colours with multicoloured pleats, cutwork on python leather and, most recently, a series of Miniatures decorated with fries, mussels or a waffle. Do you agree that this was a bold gamble?
The popularity of our leather goods internationally gave us a lot of stylistic and technical freedom. Until 2011, due to having fewer financial resources, we could not give free rein to the mastery of our craftspeople. Indeed, behind each original model – especially when they are humorous and quirky like our new Miniatures – lies a complete mastery of leatherwork. For certain bags made using exotic skins, the cutwork and stitching is so precise that it is comparable to jewellery-making. At Delvaux, we do not seek to be trendy or cool. There is nothing ostentatious about this luxury house. We are always moving things forward.
This is also the case for the interior design of Le 27…
Indeed. The irreverent portraits by the Argentine painter Romina Ressia that adorn the walls of the staircase appear tailor-made for the space. Initially, they were only meant to be in place for the opening, but we cannot bring ourselves to take them down.
The design of the boutique has thought out in great detail. Tell us about the exceptional furniture that has been combined with Delvaux's bags.
Le 27 embodies what Belgium does best. This explains Jean-Marc Loubier's (President and CEO of the First Heritage Brands investment group, which owns Delvaux) to incorporate in it a collection – which he found himself by the way – of Belgian furniture pieces and lighting fixtures by Jules Wabbes, Pieter de Bruyne, Renaat Braem, Nathalie Dewez, Ben Storms and Alain Berteau. This snapshot of 20th and 21st century Belgian design is also a tip of the hat to the Belgian market which, oddly, is less receptive to our rebirth than our Asian or American customers.
By Marie Honnay
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