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Martens glenn

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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?

rencontres ado limoges GLENN MARTENS — Well… Actually, it’s true.

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.

een relatie met een prostituee OLIVIER ZAHM — And do it your way?

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.

ou trouver les prostituées a dakar OLIVIER ZAHM — There’s no guideline.

rencontres baie mahault GLENN MARTENS — Never. Never, never. It’s really strange. You really struggle. They’re always pushing you in that way.

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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lieu rencontre avignon OLIVIER ZAHM — Nature in Belgium is not fantastic, is it?

rencontre wasquehal GLENN MARTENS — Also not! [Jokingly] There’s nothing! But the cities are interesting. You have Bruges, Ghent, Brussels, Antwerp.

metisse rencontre OLIVIER ZAHM — So, what you’re saying is that due to a lack of cultural and political identity, the people in Belgium had to create their own identity? Does it impact the fashion creativity there?

a la rencontre de joe black GLENN MARTENS — Yes, I think that could be it. And also, artistically, we don’t have the weight of being the new generation of such a huge culture. So, you have to define yourself.

site rencontre amicale antilles OLIVIER ZAHM — You have to create it. You have to create yourself.

rencontres sainte genevi eve des bois GLENN MARTENS — Yeah, I think you can see that in art, theater, music. I think there’s a lot of things that we have to do ourselves. Because there’s not that much to build on.

rencontre ovni 2010 OLIVIER ZAHM — In fashion, Antwerp [Academy] is constantly pushing you to develop your own vision or your own perspective on fashion. There’s no route map or guideline.

rencontre celibataire paris gratuit GLENN MARTENS — There’s no code.

rencontre carlin OLIVIER ZAHM — In a way, it’s quite punk.

badoo rencontre dol de bretagne GLENN MARTENS — I guess so. And darker!

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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.

rencontre fes maroc OLIVIER ZAHM — So, you were immediately hired?

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.

easyrencontre affiliation OLIVIER ZAHM — What is it called? Honest By?

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…

rencontre trainou OLIVIER ZAHM — So, you did a lot!

rencontre napoleon bismarck GLENN MARTENS — A lot of different things.

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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.”

baboo site rencontre gratuit OLIVIER ZAHM — How did you get involved with Y/Project?

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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eve rencontre charleroi GLENN MARTENS — We’re growing so much — by, like, 40% every season. There’s no routine. And then you have cooperations, etc. So that’s a challenge — to deal with all these changes and still do your thing, and not lose your way, the initial identity of the label.

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.

rencontre femme sexe baie mahault OLIVIER ZAHM — Where do you find your ideas? Because you say you didn’t follow the Owens-Margiela-Demeulemeester path. People connect you with Vetements, but that is also Margiela, in a way. 

faire rencontre avec femme GLENN MARTENS — I honestly think that makes sense. Because—

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one piece rencontre avec ussop GLENN MARTENS — He’s a genius. And, of course, some designers do it more literally than others. We have a lot of rencontre amrae 2012 second degré [tongue in cheek] — that’s really the main idea of the collections. It always has to be…

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rencontre entre gens beaux GLENN MARTENS — It needs to be fun. It needs to be happy. I just think that clothes need to be fun to wear — you need to be challenged a bit. It’s cute that you can give that to people — that they’re surprised, and they don’t know what to do. The whole idea is to trigger people. But to come back to your original question: my ideas mostly have to do with Belgium, actually. Very historic.

site rencontre musculation OLIVIER ZAHM — So, your approach and your pleasure in design is… you don’t take it too seriously?

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.

rencontre entre femme tours OLIVIER ZAHM — You’re very eclectic.

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.

internet moyen de rencontre OLIVIER ZAHM — So, you need this variety in a collection.

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.

site de rencontre pour surdoué OLIVIER ZAHM — How is this versatility compatible with a clear image for your label?

prostituée lutry GLENN MARTENS — We don’t do a lot of branding. We have a bit of branding, of course, but we don’t do that much because we try to avoid this army figure. It’s more about eclectic individualities. We’re still quite small, we’re still very niche, and people are coming to us for that. It’s a very nice position to be in — today, in this situation, in this brand. We can still do it. I don’t have a brand manager pushing me all the time, saying, “You sold so many jerseys — push that.”

chat sexe nord OLIVIER ZAHM — But we can immediately identify what you do.

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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script php rencontres gratuit GLENN MARTENS — [Laughs] Not rich like money, but in form.

rencontre ligue des champions 2013 OLIVIER ZAHM — We are lucky to have you in Paris because you bring a new energy, and Paris for a while was a bit “done” on the fashion map. Like, from 2005 to 2010, we were wondering, “What’s going on in Paris?” It’s a paradox because Paris is seen as a place for fashion, but there are not so many young designers, not so much new blood, exciting energy.

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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club rencontre plein air québec GLENN MARTENS — I think it’s very helpful. I think people can say whatever negative things about it that they want to, but viewed positively, it’s extremely helpful and extremely gratifying. Nowadays, if I follow the right people, I can be in some Berlin scene, I can then be in the London scene, I can follow people from all over the world and see what’s happening around the world.

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rencontre ulysse et nausicaa GLENN MARTENS — Yeah. I think I can get vibes. Honestly, it’s a living encyclopedia.

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photo prostituée senegal GLENN MARTENS — Yeah. I think in former days, Yves Saint Laurent went to Marrakesh to get inspired, and he had to do that. Which is, of course, always the best — to go on the spot. That’s where you really feel the vibes. But people had to travel in order to get inspired by something different. And now, we can just have it on our phones. We can escape in one second. I can be in my office, have an annoying meeting, go on my Instagram, and be calm.

message pour rencontre OLIVIER ZAHM — You don’t seem to have the big ego of the designer?

nouvelles rencontres polio GLENN MARTENS — I don’t see myself as the most talented designer in the world. I just see myself as maybe a person who…

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rencontre avec la splendeur GLENN MARTENS — Yeah, who’s better at matching people and talking to people. For me, it’s really a way of working. I really love going to the office. I’m always super happy. I work with the same people… Since the very beginning, when I had my own brand, before Y/Project… I had my own brand for three seasons. I’ve discovered my stylist, Ursina Gysi, I’ve discovered my favorite photographer, Arnaud Lajeunie, who became two of my closest friends. Together, we’re growing. She’s doing all my shows. Arnaud does all my campaigns. And it’s like a family. It’s a lot of interaction together.

rencontre du troisieme type bande annonce OLIVIER ZAHM — Ursina?

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.

journal sud ouest rencontres OLIVIER ZAHM — So, it’s not only the clothes. It’s the team, and it’s also the picture. 

rencontre badoo mayenne GLENN MARTENS — The whole visual story. The whole identity. It’s very gratifying to work in that way. I think it’s extremely good because you have a lot of trust.

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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.

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rencontres beaux [Table of contents]

“Purple 76 Index” S/S 2018 issue 29

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Table of contents

Purple Index 76

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