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rencontre st andre de cubzac OLIVIER ZAHM — So, you’re the last face from Antwerp in fashion? Not the last, but the most recent graduate to become well known, no?
rencontre femmes clichy sous bois OLIVIER ZAHM — There seems to be a constant flow of designers coming out of Belgium. It doesn’t stop.
rencontre croisé GLENN MARTENS — It’s true! But they’re not all Belgian, you know. They’re also from all different countries, who’ve come to study in Belgium. I’m the last Belgian-Belgian coming out, probably. I think this is because the schools in Belgium are really focused on instilling independence in students. That’s how I see it. There’s a real emphasis on individuality. Antwerp [Royal Academy of Fine Arts], for sure, is not a school that is going to tell you what to do. It’s a school that will just say, “Do it again.” All the time. Over and over and over again.
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texto apres une premiere rencontre GLENN MARTENS — And do it your way. And they will never tell you why you have to do it over again, but you have to keep on doing it. There comes this point, after four years of studies, where you start to understand why they’re asking you to do it again. They really push you to go closer to your own personal world.
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site de rencontre gratuit le premier mois OLIVIER ZAHM — What’s so specific about Belgian culture?
rencontres verdun 55 GLENN MARTENS — Belgium is a country that has been overruled so much throughout history. The last time it was independent of Flanders — the region of Flanders — was way before the Dark Ages. And then, of course, it was under Spanish occupation, German, French. And a lot of our identity got lost or stolen over the years. The most interesting part is certainly the 15th-century Flemish paintings. Well, I think in the Dark Ages, the Flemish school was kind of the ruling arts scene… And afterward, there were so many things developed there. Tapestry, painting, lace, stained glass, sculpture… So, I think they were a bit like the pre-Renaissance. But then, because we were overruled all the time, so many things got taken away. And it’s true now that if you go to Belgium, it’s not the prettiest country. It’s not like Italy or France, where you’re just constantly overwhelmed by the beauty, and constantly under the pressure of the beauty of the country’s patrimony.
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rencontre wasquehal GLENN MARTENS — Also not! [Jokingly] There’s nothing! But the cities are interesting. You have Bruges, Ghent, Brussels, Antwerp.
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café rencontre lévis GLENN MARTENS — Yeah, I guess it’s true. It’s maybe kind of punk. I’m not sure if it’s really punk because it’s Walter Van Beirendonck — the headmaster. It’s acid punk. [Laughs] It’s a very painful punk, for sure. Everybody who reaches graduation, at a certain point they have a mental breakdown and want to quit. [Laughter] Nobody comes out of there really happy and, like, pristine. It’s a bit of a self-flagellation. [Laughs, imitates the sound of whipping] It’s a good school, though!
rencontre teufeuse OLIVIER ZAHM — So you were pretty ambitious from the get-go. When you arrived in Paris, was your goal to create your brand, or to be part of a brand?
rencontre montagne grenoble 2010 GLENN MARTENS — I think most students come out of Antwerp with the idea of one day having their own company or their own brand. I first came to Paris because there was a jury member when I was in the fourth year, doing my master’s, who placed me at Jean Paul Gaultier. So, I had my first job experience straight after graduation — which was great because I would never have been able to afford an internship.
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initial d fifth stage épisode 1 la rencontre du destin GLENN MARTENS — Yeah, dream scenario! [Laughs] I mean, junior designer for the menswear at Gaultier, for the pre-collection at Gaultier — I was very lucky. Honestly, I was super lucky. It didn’t last for that long because my boss’s team got dismantled. That was with Gilles Rosier. And after that, I had all different kinds of experiences. I thought it was quite good for me to learn as much as possible. I first went to work for Yohan Serfaty — he was running his own brand in Istanbul. So, I was in Istanbul for a year. Then I worked for Bruno Pieters on different collaborations — like with Weekday, from the H&M group, then his first Honest By collection.
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lieu de rencontre st nazaire GLENN MARTENS — Honest By, yeah. I did the first collection, which launched the brand. And then I started doing consulting, for Hugo Boss, for example. Through this kind of work, I made money to build my own…
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site de rencontre tunisien GLENN MARTENS — [Laughs]
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prostituée la louviere GLENN MARTENS — That’s why now I’m 34, and I’m going back to the parties. [Laughs] Because in my 20s, I was fully focused on work. And now I’m a bit more settled, so I’m, like, “Ok, let’s take time and discover life.”
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site re rencontre pour ado GLENN MARTENS — Yohan Serfaty, who started Y/Project, had passed away a few months prior. It was a company in mourning. Also, it was a very dark collection. It was beautiful but quite niche — leaning toward a kind of Rick Owens direction. And this really reflected Yohan’s personality. He was a Tim Burton figure or character — tall, super-skinny, wearing long leather jackets. In the beginning, we decided to stay as close as possible to Yohan’s world, and then slowly change to something a bit closer to my world, something a little fresher. I always thought you have so many great designers doing that already — you have Rick Owens, Ann Demeulemeester — doing great things like they do, so why would we also try to take that direction? But the idea was really to take our time, and we really managed. After two years, under my direction, the brand’s 20 stores were a little more like Opening Ceremony,
rencontre pme OLIVIER ZAHM — You seem to be very relaxed and deal easely with the stress at work. You don’t lose your sense of humor?
rencontres amoureuses cavaillon GLENN MARTENS — We’re a very good team. We’re really a team. It’s like a family. We were five people when I arrived. Now we’re 20 — 25 if we include freelancers. The challenge is that every season, it’s a full new story. Because every season, we grow so much that there are new things coming in. You have to reinvent your way of working for new factories, a new team member… You have to get seniors. It’s always a whole new way of working. It’s never stable. [Laughs] It’s always, like, “Okay, what’s happening now?”
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decrire une rencontre amoureuse OLIVIER ZAHM — And you may have to face industrial problems. And you’re not trained for that, necessarily.
rencontres sur l eau GLENN MARTENS — Right! And everybody at Y/Project was still learning the job by doing. But there comes a point when you have to stop making these baby mistakes.
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rencontre femme orange 84100 GLENN MARTENS — No. I think it’s really very much about enjoying yourself. And [about] individuality. That’s also important for me. If you look at our collection plan, or the catwalk, you have so many different kinds of people jumping in that collection. And in so many different directions — our production groups go from sportswear, denim, streetwear, corsetry, tailoring… There are all different kinds of situations.
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rencontre femme polynésienne GLENN MARTENS — It’s super eclectic. But I think it reflects personalities. I can be a club kid, I can be a loving grandson, I can be a lover, I can be a businessman — and all in one day. [Laughs] You can be all these different kinds of people in one day. Also, there’s the fact that we’re traveling all the time. You’re going to be in LA tomorrow — there’s a whole different Olivier in LA… Surroundings always have an influence on you.
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cite de rencontre italien GLENN MARTENS — I need that. And I also think it’s really fun that every single piece is versatile. You can change it, you can adapt it. It’s really pushing individuality. You really have to own the piece. It has to become something you feel comfortable with. Instead of hiding in it. There’s a lot of people who wear clothes to be part of an army.
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rencontre passy 74 GLENN MARTENS — There’s a link, yeah… There’s opulence. I think the link is opulence. It’s always very rich.
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prostituées allociné GLENN MARTENS — I think there were always interesting designers shown in Paris, but they were coming from outside. But Paris changes a lot, no? I don’t know how you feel about it, but I really feel it. I’ve lived here for 10 years. I think it’s a different city… There’s a whole underground scene that is opening up. There’s a whole music scene, there’s a party scene. There are cultural centers in Pantin, or wherever. I think there are a lot of things slowly changing. And I think that goes hand-in-hand with fashion, of course. I think Paris got a bit of a wake-up call. It was, like, “Okay, move your butt.” [Laughter] You can’t rely on the big ones only.
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rencontre senior paris GLENN MARTENS — Ursina Gysi. She’s been my stylist since the very beginning. Well, not really the beginning — the first two, she didn’t do.
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rencontre estavayer-le-lac GLENN MARTENS — I’m not the only one. But I definitely… There’s definitely room for it. But you have to push. You have to push hard. It’s a very difficult industry — either you need a lot of money, or you need a lot of motivation and people around you to help you build your future.