t qatar issue 22

8/13/2019 T Qatar Issue 22

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66 T Qatar: The New York Times Style Magazine

Arena Qatar

TO DISCUSS DELVAUXis to discuss Belgium. Charles Delvaux

made his first trunk luggage in 1829, a year before the founding of

Belgium as a nation. And as Belgium grew, Delvaux became

intertwined with the nations identity, prospering through political

and industrial revolutions, and surviving through colonialism,

migration and war. Its really Belgo Belge, such a strong Belgian

identity, says Belgian fashion icon Didier Vervaeren.

The relationship has a strong root among its people that is hardly

rivaled by any other in the world. Handbags and leather pieces are

inherited from generation to generation, and the gifting of a

Delvaux piece between family members marks a significantmilestone like marriage or childbirth. It has always been the

symbol of luxury in Belgium. My grandmother had several Delvaux

handbags and they were the treasured heirlooms in the family,

says Damien Carlier, a Belgian fashion designer based in Qatar.

With a 184-year legacy, Delvaux is the oldest leather

manufacturer in the world. But while its younger contemporaries

from neighboring France have gone on to become global luxury

icons, Delvaux remains steadfastly local in its reach. Beyond its

deep entrenchment in Belgium, very little of the brand is known

outside the country. The brands initial international efforts to open

stores in Los Angeles and Paris in the 80s were not successful

except for a small cult following in Japan.

But those early missteps were no deterrent to the billionaire

Fung brothers of Hong Kong, who saw the legacy and potential in

Delvaux. In 2011, the brothers through their investment companyFung Brands Limited, acquired a controlling stake in the company

from the Schwennicke family who had run Delvaux for the past 80

years. It was a much-needed partnership to help renew Delvauxs

image on the global stage and to highlight the houses atelier, which

The Awakening

BY DEBRINA ALIYAH

Belgian pride is poised tomake a global impact.

To Accessorize

NEW DIRECTIONClockwise from

left: Marco Probststeering the

house toward newhorizons; the

construction of acrocodile Brilliant

bag; artcollaboration with

Arnaud Koolfeaturing

illustrations of realpeople with

Delvaux bags.

COURTESYOFDELVAU

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67November-December 2013

Every new piece is designed as an interpretationfrom the houses design archive, which consists of

more than 3,000 handbags.

UNDENIABLELEGACY From topleft: bags awaitingafter-sales service;Princess Paolavisiting the atelier inthe 1980s; theoriginal Delvauxtrunks feature amplybowled lids to allowrainwater to run off;

a small bag madefrom Delvauxsspecialized fish skinleather; the Venetianhallway as thecenterpiece of newDelvaux boutiques.

specializes in master leather craftsmanship. This was, after all, a

house that holds Belgiums royal warrant for leather

goods, and manufacturer of some of the best leathers in

the world.

Following the acquisition, Marco Probst, previously of

Hugo Boss and Chloe, was appointed as Delvauxs CEO.

In the span of two years, international sales for the house

have risen from 4 percent to 20 percent with the opening

of new points of sale in Beijing, Seoul, London, Paris and,

most recently, Doha. It was the opportunity of a lifetime,

says Probst, to helm a brand that has such storied history

and archive. I still get goose bumps every time I speak

about the legacy of the brand, he quips.

The new direction of Delvaux has seen an increased

commissioning of collections that are more contemporary

and colorful. Every new piece is designed as an

interpretation from the houses design archive, which

consists of more than 3,000 handbags dating back to the

days of founder Charles. The Madame bag, the au courant

hit among global style makers (Katie Holmes and Sienna

Miller are fans), was first conceived in 1977, while the houses

signature Brilliant bag was designed in 1958. Every brand wants to

fall back on a history as its marketing strategy, and here we have

years of archival works to refer to. Isnt it a dream to be legitimate,

without making up stories? asks Probst.

The quality and craftsmanship of Delvauxs handmade bags have

been essential to its longevity and brand loyalty in Belgium. The

after-sales department is an integral part of its atelier, where bags

as old as 40 years are still being sent in to be refurbished. The

preservation of this skill has recently become a priority, with an

increasing interest from young Belgians. Delvauxs senior

craftsman Mohammed Benelcaid, who teaches evening classes in

leatherworking at Brussels Institut des Arts et Metiers, says the

renewed interest may have been caused by the economic crisis,

resulting in young people becoming more aware of the value of

quality work. Such know-how is priceless. Wagering on artisanal

quality and know-how required audacity, but artisanal excellence

remains the pillar of Delvaux, says Kaat Debo, director of the

Fashion Museum Province of Antwerp, and this could well make

the difference in the current economic climate.

It is in this new economic cl imate that Delvaux is hoping to make

its mark, appealing to the growing set of clients who are seeking

more than the usual flashy names. The absence of a distinguishable

monogram and continuous collaborations with esteemed yet low-

profile artists on various projects have given Delvaux a sort ofsecret handshake status. As Tina Craig of BagSnob puts it, when

you carry a Delvaux, you are not flaunting the fact that youre

carrying a high-end designer. It is understated chic at its very best

only insiders will know the house behind your bag, but the


5/568 T Qatar: The New York Times Style Magazine

To AccessorizeArena Qatar

DESIGN QUALITYFrom top: inspirationsketches made bythe design team of

the 1950s; newtechniques aredeveloped in theatelier; the leatherlibrary at The Arsenalwhere skins datingback over 30 yearsare kept, allowingprecise matching ofleather for after-sales repair work.

quality will be recognized. This understatement continues in the

houses new store concept designed by Luxembourger artists

Martine Feipel and Jean Bechameil in collaboration with retail

space architect Tiziano Vudafieri. Breathing new life into Delvauxs

decades-old boutique at Galerie de la Reine in Brussels, the designduo combined their conceptual installations with traditional

Flemish furnishings, setting the mold for future Delvauxs boutique.

Delvaux was like a sleeping beauty coming back to l ife and it was

very interesting for us, says Feipel, theres a discretion and

softness to the brand, which we could relate to.

But heralding the brand has not been a walk in the park for

Probst. The initial response to the acquisition by Fung Brands

garnered backlash. This brand is an institution; whatever it does,

it is watched by Belgians, Probst explains, There was a

misunderstanding, and people felt it was an attack on national pride

being acquired by an outsider. And then there was the issue ofinternal change. Having operated under very few owners, the brand

had developed a certain business process that was very focused on

the Belgian market. Probst had to introduce a new model to cater to

the new visions. However, his efforts have paid of f. Recent artistic

projects including handbag art installations in 10 Corso Como, Milan

and at the iconic Manneken-Pis statue in Brussels have revived

positive interest among Belgians. New presence on social media

and the opening of new points of sale

internationally have in turn

increased nationalism. This brand

is 184 years old; I dont want to bethe guy who ruins it! Probst says.

In the heart of Brussels lies The

Arsenal, a former maintenance and

repair depot for military vehicles that has been

refurbished as the headquarters and atelier of

Delvaux. The Arsenal is also home to the ultimate

showpiece for Delvaux, its tribute museum, which

houses the earliest luggage trunks made by

Charles himself. That these pieces are still in

existence in mint condition is the biggest testament

to the quality of work produced by the house. Themuseum is a private venue, open only by invitation,

and is part of the brands work in providing an

engaging experience with clients. This is a brand

that needs introduction and communication for

new clients to understand the where, how and

why, Probst says.We are not just asking people to

buy this or that; we are not an in-your-face brand.

Communication and education are on-going, even to the

younger generation of Belgians, especially with artistic

collaborations. This long tradition of working with external

creative personalities, including Martin Margiela, continues. Thevarious collaborations, resulting in art illustrations, installations,

and keepsake booklets, represent very personal relationships

with clients and help highlight the playfulness and relevance of

the brand. Most recently, Belgian painter and illustrator Arnaud

Kool conceived the idea of Venetian window illustrations for the

houses spring 2014 presentation at Paris Fashion Week. At the

showroom, there was an unexpected air of cheerful interaction

between fashion editors and guests with the brand. The bags,

instead of being perched on a pedestal, were dangling on guests

arms as photos were snapped and laughter was shared. It was

endearing, just like the time the founder of Belgian cafe Le PainQuotidien, Alain Coumont, recounts his earliest memory of the

house: I was 10, and I had used an old Delvaux bag as my

fishing gear sack.

Delvauxs first store in the Middle East is now open at Porto

Arabia, The Pearl-Qatar.

This brand is 184 years old, Probst says. I do not

want to be the guy who ruins it!

t qatar issue 22

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