Although he now works with textiles, Van Breda actually studied graphic design at first. “But then I realized that I really like to work with tactile materials and not so much on the computer,” he explains. And so, after graduating in graphic design, Van Breda pursued a Master’s in textile design at the Luca School of Arts in Ghent, where he now works as a professor.
Approaching textiles as an art medium, he often works with loose fabrics and threads in his installations. Water is also something that continuously influences Van Breda’s work, as we can see in Streams - his new creation for The Art of RAW made of old jeans, which resembles a cascade. We recently sat down with the artist to discuss his background, Streams and much more.
16 December 2024
Art
Water Streams
He’s not a textile artist. He’s an artist that works with textiles. Influenced by his grandmother’s knitting and sewing, Bram Van Breda has been fascinated by fabrics since a young age. And having grown up in Antwerp — an undisputed fashion hub — working with textiles was a natural step for the Belgian artist. Just like his new art piece for The Art of RAW.
You’re from Antwerp, but you live in Ostend now. What made you choose this place?
Ostend is a small town on the Belgian coast, 20 minutes away from Bruges. I moved here three years ago because I love the sea, its wideness and force. I also like the fact that it has all the perks of a city, while feeling relatively small with a sea climate, and it’s still affordable to live here. Apart from that, Ostend is an interesting place because of its history. It used to be the bathing resort of the Belgian royal family and has a lot of historical buildings. And the Belgian colonial past, especially with King Leopold, is a controversial one. [Editor’s note: Ostend has an equestrian statue of Leopold II.]
Interesting. And then you work in Ghent, at the Luca School of Arts. How do you approach your teaching?
I like focusing on both the technical aspects of textile techniques and the conceptual side. I prefer for my students to reflect on their relationship to textiles and explore their potential beyond sampling, crafts, and techniques. Like, ‘How do you bring together all these different aspects of the medium?’
Ostend is a small town on the Belgian coast, 20 minutes away from Bruges. I moved here three years ago because I love the sea, its wideness and force. I also like the fact that it has all the perks of a city, while feeling relatively small with a sea climate, and it’s still affordable to live here. Apart from that, Ostend is an interesting place because of its history. It used to be the bathing resort of the Belgian royal family and has a lot of historical buildings. And the Belgian colonial past, especially with King Leopold, is a controversial one. [Editor’s note: Ostend has an equestrian statue of Leopold II.]
Interesting. And then you work in Ghent, at the Luca School of Arts. How do you approach your teaching?
I like focusing on both the technical aspects of textile techniques and the conceptual side. I prefer for my students to reflect on their relationship to textiles and explore their potential beyond sampling, crafts, and techniques. Like, ‘How do you bring together all these different aspects of the medium?’
You created Streams for us. Can you walk us through your creative process?
Processes are very important to me. I really wanted to understand where the denim comes from and the steps it goes through. That’s why I decided to visit the G-STAR headquarters in Amsterdam, and tour the distribution center to see how everything is packed and unpacked. I wanted to create something entirely out of denim, and needed a strong structure to support my vision. It was important to me that my methods and craftsmanship made sense. That’s when I chose to work with rope. It’s something that’s very sustainable and strong. It connects things, and when you twist it, it intertwines. Ostend has a harbor with a lot of fishing and sailing boats, and seeing objects like rope and fishing nets washing up on the shore inspired me a lot.
The whole fashion production process is intricate. It involves so many steps and goes through so many people, from the cotton plant to the consumer. I wanted to reflect this complexity in my piece, which is represented by the rope. By twisting it, you can form a net structure and create the metaphor of the network. Finally, I wanted to have different shades of denim. I always use textiles in a very painterly way. I work with loose threads, hooking them to my canvas. Everything I create is made from leftover materials.
Your art piece looks so intricate. How long did it take you to build it?
I used about 200 jeans to make this. The whole process took about two months. I began by cutting the jeans into strips and hand-twisting them into ropes that formed a net structure. It was so meaningful to me, as it symbolizes the complex journey of denim from production to the end consumer.
Processes are very important to me. I really wanted to understand where the denim comes from and the steps it goes through. That’s why I decided to visit the G-STAR headquarters in Amsterdam, and tour the distribution center to see how everything is packed and unpacked. I wanted to create something entirely out of denim, and needed a strong structure to support my vision. It was important to me that my methods and craftsmanship made sense. That’s when I chose to work with rope. It’s something that’s very sustainable and strong. It connects things, and when you twist it, it intertwines. Ostend has a harbor with a lot of fishing and sailing boats, and seeing objects like rope and fishing nets washing up on the shore inspired me a lot.
The whole fashion production process is intricate. It involves so many steps and goes through so many people, from the cotton plant to the consumer. I wanted to reflect this complexity in my piece, which is represented by the rope. By twisting it, you can form a net structure and create the metaphor of the network. Finally, I wanted to have different shades of denim. I always use textiles in a very painterly way. I work with loose threads, hooking them to my canvas. Everything I create is made from leftover materials.
Your art piece looks so intricate. How long did it take you to build it?
I used about 200 jeans to make this. The whole process took about two months. I began by cutting the jeans into strips and hand-twisting them into ropes that formed a net structure. It was so meaningful to me, as it symbolizes the complex journey of denim from production to the end consumer.
You kept some of the original logo tags, zippers and pockets. Was this intentional?
Yes. I included the logo and things like seams and pockets to add layers of meaning to my piece, connecting it back to its origins. It helped retain the identity of the fabric and symbolized the human presence. I only used jeans that were worn and collected from the Return Your Denim program. While I was cutting them, I noticed things like paint stains. Some jeans were completely torn apart. With jeans, you wear them for a while, and then once they get stained or ripped you might use them to clean your house. I love that. These jeans lived so many lives.
How does water relate to your work, specifically when it comes to Streams?
Water is a vital element. Not just in the production of jeans but in life itself. My work explores this relationship and the cycles of resource usage, making it a significant aspect of both the material and the conceptual focus of my piece.
This was your first time collaborating with a brand. What made you want to work with G-STAR?
I chose to work with G-STAR because of its commitment to sustainability and transparency in production processes. I also saw this collaboration as an opportunity to engage with a wider audience and bring attention to sustainable practices in the textile industry. Initially, I was curious to see how this collaboration would influence my practice. It made me reflect on the different making processes and methods. It pushed me to create a different type of work. Which will leave its traces in my following projects.
What was the collaboration like?
I appreciate the artistic freedom G-STAR gave me. It allowed me to approach my work without any restrictions. The process fosters creativity and supports a genuine artistic dialogue.
Yes. I included the logo and things like seams and pockets to add layers of meaning to my piece, connecting it back to its origins. It helped retain the identity of the fabric and symbolized the human presence. I only used jeans that were worn and collected from the Return Your Denim program. While I was cutting them, I noticed things like paint stains. Some jeans were completely torn apart. With jeans, you wear them for a while, and then once they get stained or ripped you might use them to clean your house. I love that. These jeans lived so many lives.
How does water relate to your work, specifically when it comes to Streams?
Water is a vital element. Not just in the production of jeans but in life itself. My work explores this relationship and the cycles of resource usage, making it a significant aspect of both the material and the conceptual focus of my piece.
This was your first time collaborating with a brand. What made you want to work with G-STAR?
I chose to work with G-STAR because of its commitment to sustainability and transparency in production processes. I also saw this collaboration as an opportunity to engage with a wider audience and bring attention to sustainable practices in the textile industry. Initially, I was curious to see how this collaboration would influence my practice. It made me reflect on the different making processes and methods. It pushed me to create a different type of work. Which will leave its traces in my following projects.
What was the collaboration like?
I appreciate the artistic freedom G-STAR gave me. It allowed me to approach my work without any restrictions. The process fosters creativity and supports a genuine artistic dialogue.
In your work, do you draw inspiration from other artists?
Yes, artists like Sheila Hicks and contemporary textile artists have definitely had their influence. But I prefer to get inspired by the materials themselves rather than being influenced by any artist.
What challenges or stereotypes have you encountered as a male artist working predominantly with textiles?
I've faced many questions regarding my role as a man in a predominantly female field, which is interesting because I see myself simply as an artist working with textiles. I believe this stereotype can be quite limiting and does not reflect the powerful potential of textile art. Many people think textile is a soft medium, while often the opposite is true. In fact, the creation processes are very time-consuming and physically demanding. And I often work with textile materials that are very rough.
What else can we expect from you?
I’ll keep on developing new works, searching for ways to express the complex relationship of us humans with our surroundings. Like for example, the environmental implications of denim and textiles. I believe it's time to push the boundaries and amplify the conversations around sustainability in the fashion industry.
Yes, artists like Sheila Hicks and contemporary textile artists have definitely had their influence. But I prefer to get inspired by the materials themselves rather than being influenced by any artist.
What challenges or stereotypes have you encountered as a male artist working predominantly with textiles?
I've faced many questions regarding my role as a man in a predominantly female field, which is interesting because I see myself simply as an artist working with textiles. I believe this stereotype can be quite limiting and does not reflect the powerful potential of textile art. Many people think textile is a soft medium, while often the opposite is true. In fact, the creation processes are very time-consuming and physically demanding. And I often work with textile materials that are very rough.
What else can we expect from you?
I’ll keep on developing new works, searching for ways to express the complex relationship of us humans with our surroundings. Like for example, the environmental implications of denim and textiles. I believe it's time to push the boundaries and amplify the conversations around sustainability in the fashion industry.