Kris Van Assche’s Bold Leap Beyond Fashion: A Designer’s Quest for the Unexpected
There’s something profoundly intriguing about watching a fashion designer step into uncharted territory. Kris Van Assche, a name synonymous with luxury fashion thanks to his stints at Dior Homme and Berluti, is now making waves in a realm far removed from the runway: bronze sculpture. Personally, I think this move is more than just a creative detour—it’s a statement about the fluidity of artistry and the courage to defy expectations.
From Runway to Foundry: A Designer’s Uncertain Leap
When Van Assche unveiled his first bronze sculptures last June, he admitted to feeling uncertain. “I literally had no idea if people would actually show up,” he said. This vulnerability is what makes his journey so compelling. Here’s a designer who’s mastered the art of predicting fashion trends, yet finds himself in the unfamiliar position of a novice. What makes this particularly fascinating is how it mirrors the human experience of stepping into the unknown. We’ve all been there—whether it’s starting a new job or pursuing a passion project—and Van Assche’s honesty about his doubts feels refreshingly relatable.
His upcoming debut at Milan Design Week, titled “Nectar Vessels Bronzes,” is a testament to this leap of faith. The sculptures, described as “a moment suspended in time,” are not just objects but narratives. Van Assche’s decision to pair them with a pink garden, where the vases emerge like flowers, is a stroke of genius. It’s as if he’s inviting us to pause and reflect amidst the chaos of the design world. In my opinion, this installation isn’t just about aesthetics—it’s a commentary on the need for stillness in a hyper-paced industry.
The Technical Precision Behind the Art
One thing that immediately stands out is Van Assche’s meticulous approach to his sculptural designs. He didn’t just sketch and call it a day; he 3D-printed prototypes to refine volume, texture, and shape. This level of detail is a hallmark of his fashion work, but seeing it applied to bronze is a revelation. What many people don’t realize is that the foundry process is as much about craftsmanship as it is about patience. “That bronze is like a thousand degrees hot when you do it,” Van Assche noted, highlighting the physical intensity behind the art.
The vases themselves are a study in contrast: matte exteriors paired with gleaming interiors, visible through portholes. This duality is more than just visually striking—it’s symbolic. If you take a step back and think about it, the design mimics the allure of nature, where beauty often lies hidden beneath the surface. Van Assche’s comparison of the vases to nectaries attracting bees is particularly insightful. It’s a reminder that art, like nature, thrives on invitation and discovery.
A Dialogue Between Past and Present
What this really suggests is that Van Assche’s work is deeply rooted in dialogue—both with his collaborators and his own history. His partnership with Laffanour | Galerie Downtown, which began in 2017, has evolved into a platform for reimagining design icons like Isamu Noguchi’s Akari lamps. But it’s his personal memories that truly shape his creations.
Take his “Rosamar” collection for Serax, inspired by childhood summers in Spain. The ceramic pieces, with their concrete-like clay and sharp glazing, are a blend of nostalgia and modernity. A detail that I find especially interesting is how he incorporates his grandmother’s influence—her floral dresses, her DIY spirit—into his work. It’s a beautiful example of how personal stories can transcend time and medium. If he hadn’t become a fashion designer, he would’ve been a florist, he says. That duality—fashion and flora—isn’t just a coincidence; it’s the essence of his identity.
The Future of a Multifaceted Creator
Looking ahead, Van Assche shows no signs of slowing down. His collaborations with Fred Perry and Anta Zero prove he’s still very much in the fashion game. But his enthusiasm for design projects outside that realm is undeniable. “It’s too much fun to be diverse,” he quipped, and I couldn’t agree more. What this really suggests is that creativity isn’t bound by categories. Van Assche’s willingness to explore new materials and disciplines is a reminder that true artistry knows no limits.
From my perspective, his journey raises a deeper question: What happens when designers break free from their labels? In an industry obsessed with branding, Van Assche’s foray into sculpture feels like a rebellion. It’s a declaration that creativity isn’t about staying in your lane—it’s about exploring every road you can find.
Final Thoughts: The Beauty of Unpredictability
As I reflect on Van Assche’s trajectory, one thing is clear: his work is a celebration of the unexpected. Whether it’s bronze vases or ceramic urns, he’s not just creating objects—he’s crafting experiences. His ability to infuse every piece with personal and cultural significance is what sets him apart.
Personally, I think the design world needs more of this—more risk-taking, more vulnerability, more storytelling. Van Assche’s Milan Design Week debut isn’t just an exhibition; it’s a manifesto for the power of diversity in creativity. And as we eagerly await his next move, one thing is certain: he’s just getting started.
