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+ GUESTS

Diane Steverlynk


Textile designer

Textiles are indispensable. They are everywhere: people wear them, carry them around, sleep beneath them and use them at the table. Aside from their obvious daily uses, the exceptional objects created by the Belgian textile designer Diane Steverlynck are chiefly inspired by gestures and actions. ‘Ideas can come from the smallest things. I clearly remember having a flash of inspiration at a market in Guatemala. A man was knotting a rope and I thought: ‘Wow! So basic.’ I went on to create a handbag based on that act of knotting’, recounts Steverlynck who, alongside handbags and textiles, has also ventured into furniture. Stories about people, materials, usage and memory are the common threads binding everything together.

+ GUESTS

Diane Steverlynk


Textile designer

Textiles are indispensable. They are everywhere: people wear them, carry them around, sleep beneath them and use them at the table. Aside from their obvious daily uses, the exceptional objects created by the Belgian textile designer Diane Steverlynck are chiefly inspired by gestures and actions. ‘Ideas can come from the smallest things. I clearly remember having a flash of inspiration at a market in Guatemala. A man was knotting a rope and I thought: ‘Wow! So basic.’ I went on to create a handbag based on that act of knotting’, recounts Steverlynck who, alongside handbags and textiles, has also ventured into furniture. Stories about people, materials, usage and memory are the common threads binding everything together.

Right from the start,
I wanted to make objects
that would be useful

"The final look of an object is ultimately determined by variety of elements materials and structures "

Right from the start,
I wanted to make objects
that would be useful

"The final look of an object is ultimately determined by variety of elements materials and structures "

Despite having studied textiles at La Cambre, you certainly don’t limit yourself to a single discipline?

Yes, nearly always. It’s nice to wake up, get dressed and put make-up, perfume and jewellery on. When you look good, you feel much more professional. It’s not the same when you’re wearing pyjamas. Sometimes clothes do make a difference. Because when you’re struggling with something and you’ve got a lot of work to do, and then you put a fantastic outfit on, you feel much stronger and in control.

Some of the details are strikingly colourful. Does colour play an important role in your work?

When I’m working with colour, I have a clear idea of what I want to achieve and I approach it from an intellectual perspective. I regularly collaborate with Anne Masson and Eric Chevalier, both of whom have a more spontaneous approach to colour than I do. Combining these two approaches is a positive thing. We have launched a new brand together — Laend — offering blankets, cushions and carpets, and we’ve drawn our inspiration for it from a landscape that is continuously changing. Colour is important, but it’s really the individuality of the pieces that makes the label so unique.

Despite having studied textiles at La Cambre, you certainly don’t limit yourself to a single discipline?

Yes, nearly always. It’s nice to wake up, get dressed and put make-up, perfume and jewellery on. When you look good, you feel much more professional. It’s not the same when you’re wearing pyjamas. Sometimes clothes do make a difference. Because when you’re struggling with something and you’ve got a lot of work to do, and then you put a fantastic outfit on, you feel much stronger and in control.

Some of the details are strikingly colourful. Does colour play an important role in your work?

When I’m working with colour, I have a clear idea of what I want to achieve and I approach it from an intellectual perspective. I regularly collaborate with Anne Masson and Eric Chevalier, both of whom have a more spontaneous approach to colour than I do. Combining these two approaches is a positive thing. We have launched a new brand together — Laend — offering blankets, cushions and carpets, and we’ve drawn our inspiration for it from a landscape that is continuously changing. Colour is important, but it’s really the individuality of the pieces that makes the label so unique.

Blue is a colour that crops up regularly in my wardrobe

Knitted sweater

No13 / Collection one

Blue is a colour that crops up regularly in my wardrobe

Knitted sweater

No13 / Collection one

There may be plenty of colour in your work, but is the same true of your wardrobe?

I don’t have any one specific style and since I’ve had children, there’s less time. ‘Casual with a touch of practicality’ is a fairly accurate description. I love combining new clothes with second-hand items. I might take a piece by Yamamoto and a lovely pair of leather gloves given to me by my grandmother, and finish it off with a raincoat, jeans and a pair of classic English shoes. One day I’ll be dressed from top to toe in black, and the next day I’ll be wearing bright blue, a colour that crops up regularly in my wardrobe. I always try to contrast a neutral outfit with a strikingly coloured accessory, a single accent that gives my outfit a twist, and it’s the colour or the motif that makes it special. Furthermore, as a textile designer, I must confess to having a weakness for knitting.

Has the combination of living and working in the same building influenced your clothes and your look?

My whole world revolves around this place. This is my house and my workshop, the place where I both live and work. It’s a large house and we always have plenty of visitors. If I know I’m going to be making things, I’ll dress practically, whereas on other days I’ll dress up.

Your house contains a colourful mixture of vintage objects and your own products.

The products you see here are mainly prototypes. I make everyday objects and putting them in my house means that I use them all the time. The renovation of the house is a slow process, because we’ve decided to tackle it ourselves, and we’re slowly progressing from the bottom to the top. The main renovation work is finished, and we just need to finish off the small jobs now.

There may be plenty of colour in your work, but is the same true of your wardrobe?

I don’t have any one specific style and since I’ve had children, there’s less time. ‘Casual with a touch of practicality’ is a fairly accurate description. I love combining new clothes with second-hand items. I might take a piece by Yamamoto and a lovely pair of leather gloves given to me by my grandmother, and finish it off with a raincoat, jeans and a pair of classic English shoes. One day I’ll be dressed from top to toe in black, and the next day I’ll be wearing bright blue, a colour that crops up regularly in my wardrobe. I always try to contrast a neutral outfit with a strikingly coloured accessory, a single accent that gives my outfit a twist, and it’s the colour or the motif that makes it special. Furthermore, as a textile designer, I must confess to having a weakness for knitting.

Has the combination of living and working in the same building influenced your clothes and your look?

My whole world revolves around this place. This is my house and my workshop, the place where I both live and work. It’s a large house and we always have plenty of visitors. If I know I’m going to be making things, I’ll dress practically, whereas on other days I’ll dress up.

Your house contains a colourful mixture of vintage objects and your own products.

The products you see here are mainly prototypes. I make everyday objects and putting them in my house means that I use them all the time. The renovation of the house is a slow process, because we’ve decided to tackle it ourselves, and we’re slowly progressing from the bottom to the top. The main renovation work is finished, and we just need to finish off the small jobs now.

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