When talking about fashion, models and designers often steal the spotlight, but they are not the only ones shaping the industry. It is time to look deeper. Daniel Henry, a Professional of the Year Award winner, shows us how the life as an artisan in the fashion industry looks like and shares his story. Daniel is a 48-year-old textile researcher and creator who works in Belgium, Tournai, a small city near the France border. In 2025, his little textile company will celebrate its 25th anniversary.
Photo by Vilte Karauskaite.
“Since 2000, my studio has worked with many international clients: textile industries, luxury houses, independent brands, costume designers, and editors in various fields, such as wall coverings, fashion and furnishing textiles, lingerie, accessories, and costumes. I have worked with famous brands like Chanel, Dior, and Nina Ricci, but mostly with Maison Margiela and the designer John Galliano. However, this designer is leaving the company now, so I do not know yet with whom I will work next year.”
“I was born and raised in Tournai, a city that is also famous for its tapestries from the 15th and 16th centuries. I have always been connected to textiles, so it is important for me to be based in Tournai today. I started figure skating when I was 8 years old. This art form taught me how to fall and stand up, which gave me the strength and ambition to learn from my mistakes and improve my work. Also, in figure skating, I had my first contact with costumes; I wanted to improve them, add glitter, and incorporate embroidery, which led to my interest in textiles.”
“At the age of twenty, I joined La Cambre School in Brussels. I quickly realized that the material interested me much more than the form. Moving to the textile creation department was an obvious choice. A year before graduating, I landed my first contract and became self-employed. I set up my first workshop in the family attic. I work there with one assistant because I prefer a small team.”
Photo by Vilte Karauskaite.
“For the past ten years, I have focused more on textile research and development rather than textile design. The research is long-term, and I work more with textile engineers than fashion designers. However, in the end, it is the fashion designer who will use the research. Mostly, I work with haute couture collections. I like conducting long-term research to ensure better quality and technique. However, sometimes, I get frustrated when some techniques I find interesting are not used, so I use them in my personal artwork. Occasionally, I work on my artwork in the evening after I close my workplace or on some weekends. I do embroidery, which is a slow process, so that helps me to meditate. Meditation is important because it helps me to relax, view my work from a distance, and avoid over-focusing on it all the time.”
“I won the Professional of the Year Award at the Belgian Fashion Awards 2024 this year. It is nice to have recognition. I have been working for 24 years. They considered 2024 a good year for me, but for me, it is just another year. The Belgian Fashion Awards started seven years ago, and this was the first time someone from the textile field received an award. I hope this message will make an impact in the future, especially for students in textiles, showing them that it is possible to have a voice in fashion. I think it is important to acknowledge that fashion is not just about fashion designers, artistic directors, or models because this is a vast industry. Fashion is a lot more than a fashion designer. We should talk more about all the jobs in fashion, not just a few.”
“I prefer to work less for customers and more on my own projects. I also give lectures and workshops at various schools abroad. For example, last year I was at a school in the USA, and they are inviting me for a workshop again next year. I had a great teacher at my school, and now I feel it is my mission to share that knowledge with the younger generation. It is important for me to show that textile printing is not just about decoration but about changing the textile more deeply.”
“I work a lot, but it is also my passion, not just a job, so I am not afraid of burnout. Over time, I have learned to listen to my body and mind. When one tells me to take a break, I do so. I do not really have a social life in Tournai, which is what I like about it. When I am in Tournai, I am deeply focused on my work, and when I need a break, I go see my friends, or some of them visit me.”
“The biggest challenge in my work is explaining the uniqueness of what I do. When you do not work like others, you often need to explain yourself because some people may be too classical for my work. Over time, I have found clients and customers who share a similar vision. When your profile is a bit special, you also need to find customers who are a little bit special like you. Clients are important for me because they keep me motivated in my work to try new things and create something unique.”
“For aspiring textile creators, I would tell them to believe in themselves and embrace their differences. They should not try to fit into what people expect, but develop their own personality and make it strong. Today, my biggest dream is simply to be happy with my work and keep learning in my field. I think young people also should not focus too much on money but on being happy with their work. It is important not to be a slave to a company doing what they want you to do. Work takes up so much time in our lives, so I believe people need to be satisfied with their work.”
[jetpack-related-posts]