How did you decide to do fashion?
My fashion journey wasn’t a straight path but rather a process of discovering how much I’m drawn to storytelling through clothing. Growing up, I’ve always been fascinated by how garments could transform someone’s perception—it’s like creating a personal mythology with fabric. Over time, I realized that fashion was my way of communicating complex, sometimes difficult, emotions in a tangible form. I simply love creating and designing, and every aspect of it brings me pleasure and fulfillment.
You are one of the Masters of the Royal Academy of Fine Arts in Antwerp. This winter—how was it for you to study in such an institution? Did you know about the Antwerp Six before you started your studies?
Studying at the Royal Academy of Fine Arts in Antwerp has been intense, but it’s also been one of my life’s most creatively stimulating experiences. The level of critical thinking expected of students here is immense, and the program challenges you to push past aesthetic choices and interrogate the „why“ behind every design decision. It’s a place that teaches you not just to design but to defend your design with clarity and conviction.
Yes, I did know about the Antwerp Six before I started my studies. Their work—particularly the way they subverted traditional norms of fashion—was part of what drew me to the Academy. It’s inspiring to know that I’m walking the same halls that shaped some of the most influential designers in fashion history.
Tell us more about your collection THINKING KILLS THE FEELING and the process behind it.
Normally, my approach to designing a collection is very thoughtful and deliberate. However, THINKING KILLS THE FEELING was unique for me because I decided to take a different approach. For this collection, I allowed myself to work instinctively, leaning into intuition and the freedom to create without overthinking. It was a way to let go of control and experience a new sense of creative freedom.
The collection was inspired by the works of Vanessa Beecroft and Sarah Lucas, with shapes emerging from freehand ink drawings. The process followed my natural obsessions, allowing ideas to flow without doubt or self-censorship. The spontaneous use of color guided the designs, bringing openness and fluidity to the collection.
This instinctive approach gave the collection a deeper meaning that emerged naturally rather than being imposed from the outset. It was an entirely different way of working for me, but it was incredibly rewarding. This process taught me the value of letting go, and it opened up new creative possibilities. In contrast, my master’s collection has returned to a more thoughtful, deliberate process. However, the experience of working instinctively showed me the value of balancing both methods.
Tell us about your collaboration with the brand Essentiel Antwerp. What did the process of working together look like? What are the pieces we can explore?
Collaborating with Essentiel Antwerp was an enriching experience. It was an opportunity to step outside of my usual conceptual process and work within the parameters of a commercial brand—a new but exciting challenge. The process involved a lot of dialogue, with clear and open communication throughout. One of the most rewarding aspects of this collaboration was the way the brand consistently listened to my vision and respected my creative direction. Whenever changes were necessary, they informed me and always sought my permission before moving forward. This thoughtful approach made the entire process feel like a true partnership rather than a compromise.
The experience taught me a great deal about collaboration, production logistics, and maintaining a shared creative vision. It’s the kind of collaborative dynamic I hope to replicate in future projects. Together, we created a capsule that still holds true to my aesthetic—playful yet introspective—while maintaining Essentiel Antwerp’s approachable, everyday luxury ethos.
And your collaboration with Jente Fleerackers, jewelry designer—how was it different for you to work in the design of jewelry and not clothing?
Collaborating with Jente Fleerackers has been a truly special experience because we’ve been friends for a long time. This personal connection brings a unique dynamic to our creative process.
I’ve always had an interest in jewelry, so working with Jente has been especially fulfilling. Designing jewelry required me to think more symbolically about form and material. Unlike clothing, which revolves around movement and space, jewelry condenses meaning into smaller, more intentional elements. I feel like a good piece of jewelry can say so much. It can be very conceptual, and that’s what I like about it.
Do you have a sketchbook? Can we see a page from it?
Yes, I absolutely have a sketchbook—it’s a vital part of my process. My sketchbooks are where raw ideas are born. They’re filled with drawings, fabric swatches, color tests, and even personal notes or reflections. They’re not „perfect“ pages, but they’re honest. I’d be happy to share a glimpse of it, as I believe it shows the evolution of my collection in its truest form.
Are you more of a shoes or a bag-as-a-statement-accessory kind of person?
I’m more of a „shoes as a statement“ person. Shoes have such a sculptural quality—they’re like wearable architecture. I’m drawn to footwear that transforms an entire look with its shape, height, or texture. A bold pair of shoes can change the energy of an outfit completely, and I’m always drawn to that kind of power.
Are you a lover of vintage and secondhand clothing?
Absolutely. I’m constantly scrolling through vintage and secondhand apps like Vestiaire and Vinted in my free time. If I had to choose between Instagram and these apps, I’d pick Vestiaire or Vinted any day. They’re my guilty pleasure because of the sheer uniqueness they offer. Each scroll is like a treasure hunt, and it’s endlessly inspiring to see all the distinctive pieces. There’s so much more individuality in these finds compared to fast fashion, and it’s a constant source of creative fuel for me.
Who is Paula Van Dyck’s perfect client?
My perfect client is someone who’s unafraid to embrace contradiction. They understand that femininity can be soft but also sharp, vulnerable but also powerful. This person values storytelling in the clothes they wear and sees fashion as an act of self-expression, not just self-decoration. They’re drawn to craftsmanship, texture, and thoughtful design—they want more than just „a look,“ they want a feeling.
Paula Van Dyck – www.instagram.com/paulavandyck/
Paula van Dyck is a 24-year-old fashion designer from Belgium. She is currently pursuing a master’s degree at the Royal Academy of Fine Arts in Antwerp. As a designer, she strives to create work that is thoughtful, emotionally resonant, and conceptually driven. Her goal is to design garments that not only tell a story but invite people to feel something deeper.
Photos: Lennert Madou, Hair and makeup: Sanne Schoofs, Set design: Jens Burez, Light assistant: Alvin Vyvey, Models: Teline Feerie and Lynn Walinga
