THIS PAGE: Street scenes in Brussels, noting the mixture in mostly classical architecture. FAR RIGHT: Rush-hour traffic jam in the centre of town. BELOW: More images from the Grand’ Place.

   Megan Tuffery’s Brussels was beginning to fall into place for me: unique, occasionally mediæval architecture that would give endless inspiration, mixed uncomfortably with neo-classicism and eclectism. Stone and brick side by side. And the odd concession in the centre of Brussels to modernism, but done quietly (unlike London). To these, add modern conveniences that help keep this créatrice in touch with her core buyers and what she had become familiar with in New Zealand.
   This mixture arguably gives the local designers their edge, too. Brussels is well preserved, with some structures that fell in wars rebuilt to their former glory. The city wishes to move on into the 21st century, but on its terms, not those dictated by technology or the latest fads. If it could survive de Villeroy’s troops in the seventeenth century with its soul intact, then nothing could shift it save for its citizenry’s collective free will. It believes it understands what is timeless, even if sometimes the Brussels street scene tries to hark back to the days of the Brabants and their dukedoms.
   It is a beautiful city, but not in the cohesive way of the Duomo or Washington, DC, the street-level charm of Paris or the Nordic beauty of the Stockholm archipelago. Brussels’ beauty came from, firstly, a duality of accepting and resisting outside influences; secondly, from being subtle about everything.
   The designers create based on this independence and this duality. The announce­ments at the supermarket may have been French, but the people are identifiably Belgian. This independence suits Megan, a grad­uate of Wellington Polytechnic (now Massey University), whose fellow alumni are often known for taking a direction quite independent of larger cities. But New Zealanders are quicker to embrace a role in a global society. Belgians are happy to be global, but having had French and German troops march across the land over the centur­ies, it is done more quietly, their surprises emerging in unexpected ways.
   Megan might not be based in Antwerp, but she is grasping and internalizing the Belgian style. Her autumn–winter 2003 collection had a dose of the qualities that brought the Antwerp Six to the fore—with hindsight this became more apparent. There was, however, more to come, as we planned to take on the city in the next morning’s tour.

CONTINUED

Megan Tuffery’s Brussels was beginning to fall into place for me: unique, occasionally mediæval architecture that would give endless inspiration, mixed uncomfortably with neo-classicism and eclectism