THE DESIGNERS’ CHRISTMAS TREES

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T H E D E S I G N E R S ’C H R I S T M A S T R E E S

4TH BELGIAN EDITION

IN SUPPORT OF

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We would like to welcome you to this exquisite occasion of the 3rd Belgian

edition of The Designers’ Christmas Trees, where 16 internationally renowned

artists and designers offer their “vision of the traditional Christmas tree” in

support of BIG against breast cancer (BIG). This has become an unmissable

annual event in Belgium, lighting up the social calendars of art and design

enthusiasts from across the country.

This year will mark the 20th anniversary of the event in Paris, originally

created by Marie-Christiane Marek. We would like to express our appreciation

for her continued support of the Belgian edition.

Growing from strength-to-strength every year, the 2015 array of artists and

designers are of an excellent standard, with themes ranging from the empty

“after-scene” of Christmas to festive childhood memories with family.

This event creates a special link between artistic innovation and the inno-

vation required to progress in the field of breast cancer research. We, at

BIG, aim to combine science and technology to innovate towards cures for

breast cancer.

A heartfelt thank you to those who have offered their vision and creativity

to the 3rd Belgian edition, as well as the chefs and partners, and to Cédric

Liénart de Jeude for his central role in making this evening a realisation. This

event would not exist without all of your talent, time and generosity. As

each unique piece will be auctioned in support of BIG against breast cancer,

we hope you appreciate the difference you are making in the lives of patients,

as we do.

Professor Martine J. PiccartChair, BIG against breast cancer

LETTER FROM THE CHAIR, BIG AGAINST BREAST CANCER

LETTER FROM THE CHAIR, BIG AGAINST BREAST CANCER

We would like to welcome you to this exquisite occasion of the 4th Belgian edition of The Designers’ Christmas Trees, where 14 internationally renowned artists and designers offer their “vision of the traditional Christmas tree” in support of BIG against breast cancer (BIG). This has become an unmissable annual event in Belgium, lighting up the social calendars of art and design enthusiasts from across the country.

The beautiful concept of The Designers’ Christmas Trees was originally created by Marie-Christiane Marek in Paris. We would like to express our appreciation for her continued support of the Belgian edition.

This event creates a special link between artistic innovation and the innovation required to progress in the field of breast cancer research. We, at BIG, aim to combine science and technology to innovate towards cures for breast cancer.

In 2016, BIG was particularly proud to share the first results of an important research programme named MINDACT: using a 70-gene signature (MammaPrint®), it is possible that up to 46% of patients with early-stage breast cancer who would have received chemotherapy in the past can be spared from this treatment and its side-effects.

The benefits of this event will go to our #AllStorks campaign in support of the BIG Time for Baby clinical study, evaluating whether it is safe for women to interrupt their endocrine therapy to attempt pregnancy after breast cancer. Specifically, the study hopes to determine whether treatment can be paused for up to two years to allow for conception without increasing the risk of breast cancer recurrence.Everybody knows about the legend of the stork delivering babies to people’s houses. Just like them, everyone can now join the community of storks in this campaign and bring good luck... and hopefully lots of babies to women that are fighting the return of breast cancer.

A heartfelt thank you to those who have offered their vision and creativity to the 4th Belgian edition, as well as the chefs and partners, and to Cédric Liénart de Jeude for his central role in making this evening a realisation. This event would not exist without all of your talent, time and generosity. As each unique piece will be auctioned in support of BIG against breast cancer, we hope you appreciate the difference you are making in the lives of patients, as we do.

Professor Martine J. PiccartChair, BIG against breast cancer

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BIG AGAINST BREAST CANCER

‘’BIG against breast cancer’’ is the name used for the public face of Breast

International Group (BIG), for outreach and fundraising activities.

The Breast International Group (BIG) is an international non-profit organi-

sation that represents the largest global network of academic research

groups dedicated to finding new ways to treat breast cancer and improve

the lives of breast cancer patients.

With 56 member groups present in over 50 countries and across 6 continents,

we connect more than 3.000 hospitals and 1.000s of doctors and researchers,

and currently provide support for more than 30 clinical trials relating to

finding a cure for breast cancer.

At BIG, we believe that global collaboration is crucial to make significant

advances in breast cancer research and enable collaboration of scientists

across borders, contributing to the faster development of more advanced

treatments.

In the past, breast cancer research was highly fragmented, with many

research groups working in isolation on similar studies. In the mid-1990s,

Dr. Martine Piccart and Dr. Aron Goldhirsch, two key players in the area who

understood the power of collaboration, joined together to form what is now

known as BIG (Breast International Group).

Today BIG is a network of research groups and their experts are committed

to breast cancer research and improving breast cancer treatments worldwide

– many practice-changing clinical studies can be accredited to the BIG

network.

YESTERDAY’S RESEARCH RESULTS IN

TODAY’S TREATMENTS AND

TOMORROW’S CURES

BIG AGAINST BREAST CANCER

‘’BIG against breast cancer’’ is the name used for the public face of Breast International Group (BIG), for outreach and fundraising activities.

The Breast International Group (BIG) is an international not-for-profit organisation that represents the largest global network of academic research groups dedicated to finding new ways to treat breast cancer and improve the lives of breast cancer patients.

With 56 member groups present in over 50 countries and across 6 continents, we connect more than 3.000 hospitals and 1.000s of doctors and researchers, and currently provide support for more than 30 clinical trials relating to finding a cure for breast cancer.

At BIG, we believe that global collaboration is crucial to make significant advances in breast cancer research and enable collaboration of scientists across borders, contributing to the faster development of more advanced treatments.

In the past, breast cancer research was highly fragmented, with many research groups working in isolation on similar studies. In the mid-1990s, Dr. Martine Piccart and Dr. Aron Goldhirsch, two key players in the area who understood the power of collaboration, joined together to form what is now known as BIG (Breast International Group).

Today BIG is a network of research groups and their experts are committed to breast cancer research and improving breast cancer treatments worldwide – many practice-changing clinical studies can be accredited to the BIG network.

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CONTENTS

01 ISABELLE LENFANT

02 WIM BRUYNOOGHE

03 GUY LECLEF

04 ANNEMIE VERBEKE

05 CLIO GOLDBRENNER

06 ALI MAHDAVI

07 ISABELLE DE BORCHGRAVE

08 JEAN-FRANÇOIS D’OR

09 ATELIER RELIEF

10 MARIE-JO LAFONTAINE

11 KRIS MARTIN

12 PHILIPPE GELUCK

13 POL QUADENS

14 FRED EERDEKENS

Auction conducted by Cédric Liénart de JeudeDeputy Chairman Sotheby’s Belgium & Luxembourg

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01ISABELLE LENFANTTodayABOUT THE ARTISTA Brussels native, Isabelle Lenfant graduated magna cum laude from La Cambre Modes in 1995, destined to distinguish herself. Her calling was to dress the soul by means of the body, and so began her designing career as a textile stylist. She worked for several designer houses and for more commercial French labels, until the day fate intervened, creating links between her imagination and her know-how.

After an artist’s ring was stolen from her mother, Isabelle wanted to replace the missing jewel. She met a jeweller who, faced with the precision of her demand, advised her to create it herself. The reconstruction, already. The pieces were falling into place, by osmosis. In the early 2000s, she designed the famous Band-Aid ring, symbolic pieces of her new career. Her artwork today includes rings, bracelets, earrings, chains, necklaces, pendants… evoking a memory, a presence, a sense of protection, forming a second skin.

ABOUT THE PIECEThe spirit of Christmas is really what made me want to create this piece. To me, its spirit is synonym of joy, love, sharing, laughing and celebrating good times… But what else is there in life?

The question I asked myself is the following: What would you do every morning if you were to live in a place where the spirit of Christmas is omnipresent at all times and in all circumstances?

The key is to live like if “today is the first day of the rest of your life”, just like in the wonderful song written by Etienne Daho (Aujourd’hui est le premier jour du reste de ta vie)…

S’aimer et ainsi, pouvoir s’ouvrir à l’autre, Vivre aujourd’hui, le moment présent, Faire de sa vie un rêve et d’un rêve, une réalité.

Never give up on the magic of Christmas, and never give up your dreams!

Frédéric Berthet describes it in his “journal de trêve”:“Que faire de ma vie ? se demandait-il ?Et il répondait: y multiplier les moments où la question ne se pose pas.”

DIMENSIONS 50 cm x 40 cm x 32 cm

ISABELLE LENFANT

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02WIM BRUYNOOGHE

ABOUT THE ARTISTWim Bruynooghe is a Belgian designer, who graduated from the Antwerp Fashion Department.

He launched his eponymous label in 2013 and opened his first Antwerp guerilla store shortly after.

In 2016, Wim Bruynooghe was selected as one of the most promising young entrepreneurs of Europe by Forbes magazine.

He has also been named artistic director of UCWHY, a new brand founded by Anne Chapelle, CEO of the Belgian fashion company BVBA 32.

ABOUT THE PIECE“Looking through a child’s eyes may just be the most honest way to look at our tumultuous world.” While designing my piece, I thought of the way I would draw these elaborately decorated Christmas trees as a child.

Our Christmas tree, which is actually a giant beanbag, captures this beautifully. At the same time, it quotes the elements that have been at the heart of the Wim Bruynooghe DNA since the very start: the diagonal decoupes that reference the ever-changing horizon of the North Sea, the play between structure and drape, the statement duchesse fabric in a sultry palette of red and black.


WIM BRUYNOOGHE

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03GUY LECLEFPapier ‘Brillant’ABOUT THE ARTISTIn his work, Guy Leclef always aims to find the essence, purity and simplicity of things. His signature eye for detail turns his art with paper into an experience. You could even refer to it as poetic recycling. At the same time, his paper collages always contain a fair amount of humour, hinting at everyday life. Pieces of paper used as paint, thick or paper-thin strokes, queer, impregnated, cut and glued.

They’re all used as the raw materials for Leclef’s art. A rich and varied oeuvre, in spite of - or thanks to - him using paper waste as the building blocks of this sparkling art. Paper, used as paint, to express life’s emotions, but Guy Leclef manages to continuously catch your eye with his playful virtuosity.

ABOUT THE PIECEPapier “Brillant” is a collage that brings together all types of paper and cuts of magazines in a language that is mine…

The papers, raw materials fixed one to another, create a graphic library, smoothly stressing the impact generated by the writing and illustrated words.To me, Christmas is colors: yellow, red, dark green, brown… and the continuity towards the infinity, translated by the movements of the paper.

The geologist in me sees ancient sediments, layers of thousands of years of culture. Paper has a soul. It has become my very own alphabet. A way to express myself and have a dialogue with the external world.

In my collages, I’m in the pursuit of rhythm and harmony without making an end to monotony and… with simplicity.


GUY LECLEF

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04ANNEMIE VERBEKEChristmas Tree, 2016

ABOUT THE ARTISTAnnemie started in fashion in 1978 as an autodidact. She had one talent to start with: drawing, sketching and painting. And a particularly sensitive relationship with colors and materials.

Quickly, in the late 70’s she gained recognition for her knitwear. In 1986, she started her own collection for 6 seasons, held exhibitions in London and Paris, and exported to the USA.

With her two small children to raise, she suspended her brand and worked as a freelance designer for more than 20 years in international environments in London, Paris and Amsterdam. She also passed on her knowledge as a teacher at La Cambre for 12 years.

In 1998, she picked up her label and managed to export her brand to New York, Japan, Russia, Germany, France, the Netherlands, Denmark and Hong Kong, designing two complete collections per year.

Annemie won the Modo price in 1999 and received an outstanding award in 2013. Her very successful flagship store in the Dansaert Street opened in 1999.

ABOUT THE PIECEImmediately apparent in her mind, the construction of the crinoline, which has been so inspiring during the 1850-1870s. It is definitely a lyrical, artificial and opulent object of desire.

Using bones in horizontal circles and vertical bows, covered by tapes and sewing the feathers on top of it, wrapped in a thin draped silk tulle, all elements are in a faux camaieux of powder pink, which reminds the fragility of the skin.The bunch of little lamps is placed to enlighten the inside towards the outside with a delicate magic quality.

The willing to confront stiffen garment to the frail feathers and the transparent draped tulle, expresses contrast like nature and culture, symbolized by the Christmas tree.


ANNEMIE VERBEKE

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05CLIO GOLDBRENNER

ABOUT THE ARTISTClio Goldbrenner’s success in Belgium hasn’t stopped growing since her first collection in 2011 and is now expanding worldwide.

Always faithful to her initial aim for elegant but relaxed women who look for a trendy yet timeless bag, she continues working with noble materials and selects the best leather for her designs.

The symbolic piece of chainmail reminiscent of her family name “Goldbrenner”, meaning the person who works with gold, is associated with the Greek mythology explaining what characterises each bag.

ABOUT THE PIECEThe Christmas Tree is growing along with the seasons, ready to be adorned with lights, candles, tinsel, laughter and song as the festive season approaches.In the past, it would have grown tall, dignified and straight in its native Ardennes soil from which it draws sustenance.

For this occasion, Clio Goldbrenner wanted to create a simple and minimalist design in pleated brass to pay homage to the beautiful original simplicity.

Leather, Clio’s main material used in her collections of bags, pouch bags and wallets, will be added to one of its branches as a reminder that it will soon be decorated. But not too much, so that it remains true to the values of the brand… and the beauty of fir trees.


CLIO GOLDBRENNER

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06ALI MAHDAVI

A photographic triptych of Monica Belluci, dedicated by the artist.

Unique edition made exclusively for the Designers’ Christmas Trees 2016.

DIMENSIONS 60 cm x 80 cm

ALI MAHDAVI

work in progress, to be discovered soon

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07ISABELLE DE BORCHGRAVEThe Christmas MoucharabyABOUT THE ARTISTIt’s true that, today, Isabelle de Borchgrave has become a name that is readily associated with fashion and paper. But her name is also closely linked to the world of design.

However, in her 40-year career, she never lost sight of the passion that has always guided her in her life: painting.

She exhibits her paintings and her large folded paper works all over the world. With an imagination increasingly stimulated by her knowledge and interpretation of art, Isabelle, entered the world of sculptures. This time, her medium is bronze.

ABOUT THE PIECEThis year, Christmas is a moucharaby Christmas tree of paper to be unfolded in front of your window. Light goes through. Black and white are for simplicity. Gold is for celebration.


ISABELLE DE BORCHGRAVE

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08JEAN-FRANÇOIS D’OR

ABOUT THE ARTISTExploring numerous materials, Jean-François D’Or brings out their beauty without ostentation. His simple, unpretentious, logical objects appeal as much for their evident, clearly perceptible design as well as their discrete poetry.Belgian Designer of the Year 2013, Jean-François D’Or confirms with consistency and rigour of a faultless carrier. www.loudordesign.be

ABOUT THE PIECEIt is with humility that I wish to donate a very personal concept; an almost confidential approach, within the intimate spheres; like the spirit of a child’s still timid voice that delivers its version.Christmas season offers a cocoon of airiness. The tree is its haven, guardian of an accomplice, soft and sensitive truce. These extended winter evenings, he embalms the room with his resinous odours and leads us to imaginary forest walks. Then comes the time when the season ends. January takes its course, chasing the dreams and dropping us back to reality: the day of the collection of Christmas trees will be on Wednesday morning. It is a sad thing to look at, those trees, hung over in the cold gutter. The incapacity to get rid of them pushes me to undress the trees of their needles, collect them and carefully place them – with a smile on my face – in little jars made of glass. A small ritual to end Christmas; a way to make those soft times last longer and to keep them, capture the spirit, smell and airiness of a moment.The idea is to perpetuate this approach for decennia until one day, a beautiful Christmas, maybe the one of my 80th birth year, the Christmas tree will be made of the superposition of all those yields. Little pieces of Christmas of past years, bits of Christmas trees that have been pontificating our house. A gigantic Christmas tree composed of jars made of glass that contain the spirit of many past Christmases.The whole is composed of 16 jars made of glass, all labelled from 2001 to 2016.The 15 first jars, all of different sizes, are filled with pine needles, relics and guardians of the spirit of every past Christmas. The needles offer an interesting colour palette going from rusty to shiny green, according to the age of the yield. Likewise, when delicately opening a jar and sniffing nostalgic air, a kaleidoscope of smell brings back the atmosphere of that specific winter. On top, like the star of the tree, the last jar is empty. It announces Christmas of 2016 and invites the acquirer to collect needles and to perpetuate this gesture Christmas after Christmas. The removable cover of this last jar has been soaked in a gold bath by la Maison Vervloet; this Christmas’ jewel.


JEAN-FRANÇOIS D’OR

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09ATELIER RELIEFChristmas ReliefABOUT THE ARTISTAtelier Relief produces “reliefs”, sculptural variations of an image, and builds its sculptures upon an image, reformed in a new dimension.

Renewing its ties to its primary reality, the image (re)covers relief.

The image-relief becomes an object, set with patterns, dressed with materials.Cut-up and then rebuilt, it changes scale. The relief creates perspective, becomes respiration.

ABOUT THE PIECEThis unique piece recreates the Christmas tree, a figure of childhood. This marriage of form and material lends a new life to a photograph.

An image of Christmas (mountains, snow, fog, blue skies), a game of patterns: The triangle, stability, unity, masculine or feminine.The rectangle, vertical, standing, arrows pointed, dynamic.The pyramid, shape of the summit.

Aluminum: grey, polished, masculine.Brass: golden brown, shiny, feminine, « hooping », never closed, a safeguard.

This relief is free-standing, an object without hooks.The relief opens the gaze, towards relief.


ATELIER RELIEF

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10MARIE-JO LAFONTAINEFlowers On My MindABOUT THE ARTIST

Marie-Jo Lafontaine was born in 1950 in Antwerp. After starting law studies, she continued her education at the prestigious La Cambre, School of Architecture and Visual Arts, in Brussels, the city she currently lives in.

Since the mid-seventies, Marie-Jo Lafontaine has been clearing a path of a demanding nature alongside the changing fashions and predominant tendencies of the contemporary art world. On the face of it, her work reveals critical observations about our society, its confusion and pending mayhem. The world and its excesses, or fault lines, are the inspiration for her aesthetic creations.

She steps through the mirror and re-emerges with her visions. Visions that offer us a crystallography of our existence, the world we live in, an investigation of the vaporous, liquid, and tangible states of a crystallized cosmos. Véronique Bergen

“The peculiarity of Marie-Jo Lafontaine’s photographic and video work is that it exposes the absolute essence of the philosophy behind the imagery, through its emotional intensity and artistic depiction.” Alexandre Castant, essayist and art critic

ABOUT THE PIECE

Crystalline structure, the vase gives birth to the flowers, encouraging life and its botanical exhilaration. In Marie-Jo Lafontaine’s realm, these flowers, launching an assault on the heavens, represent spirit and body and while the flowers embody pagan nativity scenes, they express the greater movements of existence.

Their freedom is their breath. Nothing is freer, and nothing is airier than Marie-Jo Lafontaine’s flowers. She makes them dance to a rhythm that unites stylized composition with an inflorescent savagery.Véronique Bergen

DIMENSIONS 100 cm x 122 cm x 2,8 cm

MARIE-JO LAFONTAINE

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11KRIS MARTINNatus, 2016

ABOUT THE ARTISTKris Martin’s practice is poetic and contemplative. With monumental and small-scale sculptures, drawings, photographs, performances and interventions, he draws attention to the notion of time, often by attempting to mark, halt or transcend its inevitable passing. Frequently, his work engages in humankind’s most fundamental issues with a dry sense of humor and play, reminding us of our own mortality and futility. A part of Martin’s work uses found objects that he transforms through a subtle repositioning or intervention. The result is a loosening of fixed identities, the subversion of established systems and hierarchies, and the opening up of a new space for reflection, resistance and creativity.

ABOUT THE PIECE“Natus”, meaning “born” both as substantive and adjective, is Kris Martin’s take on a Christmas tree.

The artist filled an antique bell jar with straw. Normally, bell jars are used to protect and to display valuable things. In Belgium, they are often used to protect the statues of saints or the Holy Family. Martin has used bell jars before, in his work “All Saints”, where he left them empty to symbolize absent (or immaterial?) saints.

Here, he filled a bell jar with the material that we associate with the nativity scene: straw. In this work, it takes center stage and draws attention to itself. This subtle intervention makes way for many interpretations. Used as a soft bed for the newborn, the straw itself is basically dead grass at the end of its lifecycle. In this sense, “Natus” is not only about the protection of the fragile new life, but also about the circle of life. The touchpoint of death and birth, synchronized with Christmas as a celebration of life and new hope in the darkest time of the year.


KRIS MARTIN

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12PHILIPPE GELUCKLe sapin de Noël du ChatABOUT THE ARTISTBorn in Brussels in 1954, he is a true man-band, illustrator, comedian, humourist, star of stage, waves and screen (the small one) and the French-speaking world’s most popular and successful cartoonist.

Philippe Geluck gave life to Le Cat (or Le Chat as it is written on his birth certificate) in 1983 for the newspaper Le Soir.

Since then, he has published over 30 best sellers at Editions Casterman and 13 million copies of his books have been sold across the world, mostly in Francophone countries.

ABOUT THE PIECESome people say that a Christmas without Le Chat would not be a real Christmas.

This mobile, created by Philippe Geluck, has the shape of a Christmas tree, which is decorated by several Le Chat, replacing the traditional Christmas balls.

With his mobile, Philippe Geluck brings one more piece of evidence of the veracity of this statement.

“Thank you Le Chat, Thank you Geluck, Thank you Santa.”


PHILIPPE GELUCK

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13POL QUADENSThe tubesABOUT THE ARTISTPol Quadens is a Belgian designer, born in Brussels in 1960. Faced with economic realities at the age of 20, Pol is forced to abandon his artistic studies to dedicate himself to the restoration of ancient cars. Working and crafting many different materials will appear to be the best learning school. But his artistic influences and philosophical readings eventually catch up on him, and Pol never stopped designing furniture and various objects.

His first design creation is a chair, produced in his studio in 1984 with the materials that were at his disposal. He will present the piece in a Brussels gallery and will quickly make his first sales. In 1988, he closes his garage to devote himself solely to design by, among others, the famous compact disc shelf that will be produced over 100 000 times and distributed worldwide.

Pol Quadens is an intellectual with an opinion on both politics and art. He reads a lot of philosophy and is particularly interested in Nietzsche’s work. This helps him to take distance from his work. Perpetual questioning gives him the strength to renew himself while pursuing his personal artistic road made of minimalism, simplicity, elegance, seeking balance within the imbalance.

The gallery “Futur Antérieur” located at the Sablon, will expose Pol’s brand new library “Infinity” at the BRAFA in January 2017. Number of his works are exposed by Bank Delen, presenting his pieces at various art fairs across the country.

ABOUT THE PIECEThis unique piece, a total improvisation, was made by Pol Quadens specifically for this event.

Pol used a set of interconnected steel tubes, decorated with small lamps.

His piece of art represents a tree, a Christmas tree, with a multitude of delicately shining lights.


POL QUADENS

14FRED EERDEKENSTreeABOUT THE ARTISTFred Eerdekens makes sculptures where the shadows of the objects are transformed into their “own” language by projecting a word or phrase on the edge of a table, on a wall or on the floor.

His work thereby participates in the wider discussion on the limits of signs and significance in language. Is the significance intrinsic to the word or is it in the context? Or is it the significance of things created by the glance of each one of us?

With their skilful capacity of making a jump (into beliefs), Eerdekens’ sculptures – being shadows as much as the shadows are the sculptures – cannot separate themselves physically from the object, but they possess a stupendously strong power of representation due to being transformed into “shadow-sculptures” of meaningful language.

ABOUT THE PIECEHis very sculptural body of work provides the impetus for a world which can only be imagined through words. What could be best than a tree to illustrate the Spirit of Christmas?

In the shadows, where the light fails, the story of Christmas starts.

DIMENSIONS 68 cm x 20 cm aluminium Ø 6mm

FRED EERDEKENS

Insertion TH 148x210 - Big.indd 1 2015-11-10 14:18

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Viewing 25 – 31 January 2017

RUE JACQUES JORDAENS 32, 1000 BRUSSELS, BELGIUM ENQUIRIES +32 2 648 0080 [email protected]

SOTHEBYS.COM

Surrealist Art Evening SaleAuction London 31 January 2017

RENÉ MAGRITTELe Repas de noces, 1940Estimate £900,000–1,200,000

I N F O @ A U R U M D R I N K S . C O MW W W. O R P H E E V O D K A . C O M

R E J O I G N I E Z N O U S S U R FA C E B O O K E T I N S TA G R A M

U N I Q U E B E L G I A N V O D K A

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PARIS - LYON - NEW YORK - LOS ANGELES - LAS VEGAS - BRUXELLES

WWW.PETROSSIAN.FR - WWW.PETROSSIAN.COM

EXE_pub_SAPINS_de_NOËL_des_CREATEURS_148x210.indd 1 02/11/16 10:45

De la vigne au vin en passant par la nature

Château de Bioul ● www.chateaudebioul.be Place Vaxelaire 1 ● 5537 Bioul—Belgique

BIG against breast cancer and its President Professor Martine Piccart would like to thank

BIG’s Ambassador CommitteeJessica Parser (President of the Committee)

Patsy IsraëlNathalie de Merode

Nathalie MissonEdith Roland

Frédéric Van der SchuerenCatherine Vaxelaire

All the artists, designers and their teams

Cédric Liénart de Jeude and Sotheby’s

The association “Les Sapins de Noël des Créateurs”And more specifically Marie-Christiane Marek

The chefsPascal Devalkeneer - Restaurant le Chalet de la Forêt**

Isabelle Arpin - Restaurant WY*Pierre Balthazar - The Restaurant

Joost ArijsWine selected by César Román (“Best Sommelier” by Gault & Millau in 2015)

A special thanks to Catherine van Gasteren

The Hotel. Brussels

Atelier Isabelle de Borchgravewww.isabelledeborchgrave.com

Catwalk pictureswww.catwalkpictures.com

And more specifically Etienne Tordoir and Peter Shultz

MODESIGN Academy, Belgian fashion & design management schoolwww.modesignacademy.com

And more specifically Olivier Zeegers, its Director and Founder

Sophie Pay from the Flanders Fashion Institutewww.ffi.be

Kunty Moureau

Flor Bex and Geert Bruloot

Escritoirewww.escritoire.be

Stockmans Kalenderswww.stockmans.be

A special thanks to Bruno Devos for his valuable advice

Vins du Château de Bioulwww.chateaudebioul.com

And more specifically Mr and Mrs Andy and Vanessa Wyckmans-Vaxelaire

And all the people who made this event possible

Our sponsors

I N T E R N A T I O N A L

+32 2 344 91 09 / 137 AVENUE KERSBEEK / 1190 BRUSSELS / [email protected] / WWW.ESCRITOIRE.BE

THE DESIGNERS’ CHRISTMAS TREES - BELGIAN EDITION121 Bld de Waterloo - 1000 Brussels - Belgium

Tel. +32 2 541 32 16 - IBAN : BE57 5230 8072 9135www.BIGagainstbreastcancer.org

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THE DESIGNERS’ CHRISTMAS TREES