PROSPECTS: MARIE ADAM-LEENAERDT

BEYOND NOISE SITS DOWN WITH THE BUDDING BELGIAN DESIGNER TWO YEARS AFTER THE LAUNCH OF HER EPONYMOUS LABEL.

By Sanj Patel

Belgian designer Marie Adam-Leenaerdt embodies a spirit of defiance, in both her work and persona. She consistently questions established norms, reinterpreting the world through an unconventional lens. Playing with proportion with styles that can be reversed, cinched, or even zipped off, the 28-year-old, Brussels-born LVMH finalist cut her teeth working with brands like Balenciaga and Givenchy, before launching her eponymous label in 2023.

Her pieces, innovatively tailored, shift effortlessly between functions—skirts that double as coats via draping, dresses that fold into bags—offering wearers the freedom to style themselves in a variety of ways, practical or imaginative. By virtue of their adaptability, they retain a timelessness, attracting all sorts of dressers to the budding Adam-Leenaerdt universe.

Now into her fifth season, having recently shown at Paris Fashion Week, Marie continues to embrace classic tailoring with a hint of the avant-garde: think refined layering, contrasting wools, and fluid use of viscose and satin. For this month’s Prospects, Beyond Noise sits down with the up-and-coming talent, breaking down her approach to modular design, her emphasis on wearability, and her subversive creative philosophy.

SANJ PATEL: Can you share a bit about your early relationship to fashion?

MARIE ADAM LEENAERDT: I’ve always been quite creative, but it wasn’t until I moved to Antwerp at 18 to study that I visited the Museum of Modern Art and realized I wanted to become a designer. With no background in art, I attempted La Cambre’s entrance exam and failed. The teachers advised me to take a year of artistic studies and try again. In the following year, I reapplied—and this time, I passed.

SP: How have your experiences at La Cambre Mode[s], along with your time at Balenciaga and Givenchy, shaped your approach to building your own brand?

MAL: For my final collection at La Cambre Mode[s], I proposed a range of garments, shoes, and accessories—but soon realized that working across all these areas wouldn’t be possible at larger fashion houses. So I made the early decision to establish my own brand. Having my own label allows me to oversee every aspect—from design to sales to even marketing—while developing a clear vision. Over the past two years, I’ve learned so much, far more than I believe would have been possible working elsewhere.

SP: You've mentioned that your work goes beyond creating garments and serves as a commentary on fashion itself. What are the key ideas you find yourself revisiting in that exploration?

MAL: For me, it’s really important to challenge established norms, no matter what sector you are working in. I’m not interested in doing things purely for aesthetics. What interests me is bringing an extra dimension to a garment and allowing people to see it from a unique perspective.

SP: Can you walk us through your design process? Where does an idea typically begin, and how does it evolve into a finished piece?

MAL: It really depends. I can be inspired by a misplaced object, a mess, or even a garment draped over a chair in a way that creates a new shape. For the skirt collection, I was inspired by a skirt improperly placed on a jacket hanger—which then became a dress. Sometimes I find images on platforms like Vinted, where someone has unintentionally photographed a piece of clothing in a way that distorts its form. I find that these moments spark questions about the hierarchy of clothing and the different stages of a garment’s life.

SP: Many of your pieces can be worn in multiple ways. Is functionality a response to consumer habits, sustainability, or something else entirely—and how important is it to your designs?

It has very much become a part of the brand’s DNA. Often, it comes as a surprise to our clients, as they don’t necessarily know this when they buy from us. In a way, it’s my approach to making a garment less tied to a specific time. Many of the pieces can be worn in a very classic or more conceptual way depending on your mood, and they appeal to a wide range of audiences.

SP: How do you balance conceptual innovation with wearability?

MAL: Wearability is key. I don’t want to create conceptual garments just for the sake of being conceptual. I want to design pieces for a variety of women. I am really interested in real-life situations. The way I choose locations for shows, for example, reflects this—everything has to feel authentic. I’m not an artificial person; for me, fashion is about real life, and I want my garments to be a part of that.

SP: What traditional fashion conventions do you find most limiting, and how do you challenge them in your work?

MAL: Fashion is one of the most creative fields, but at the same time, it has lots of codes and conventions. As a young designer, I really enjoy challenging the status of each garment. Yes, it is important to conform. But I often ask myself questions—such as whether to respect the seasons or fit clothes into certain categories.

SP: Do you think fashion is moving toward more modular, multifunctional pieces?

MAL: I don’t know how fashion will evolve, but this is my way of looking at it. As with many things in the world, there is a sense that we have reached the end of the model, and it’s time to reinvent things.

SP: What excites you most about what’s next—whether it’s a new collection or a creative challenge you’ve yet to tackle?

MAL: It has to be the new collection! But what really gives me energy is seeing the brand grow, gaining greater exposure, and knowing that clients appreciate my work. I think what excites me most is unexpectedly spotting people on the street wearing the brand.