This June, Amsterdam Fashion Week will make history with a runway on the A10 Ring — the first fashion show ever to take place on a Dutch highway. As part of this citywide celebration of Amsterdam’s 750th anniversary, three established designers have been invited to coach emerging talents toward a collective 60-look show. Among them: Renée van Wijngaarden, founder of 1/OFF. Today we introduce her chosen talents whose work reflects two distinct but equally powerful forces shaping the future of Dutch fashion: Emma van Engelen and Vince Reece Hale.
Whilst Renée’s label 1/OFF has gained international recognition for turning vintage garments into high fashion, her commitment to circular design extends beyond her own practice. With Emma and Vince, she’s found two designers who each push the conversation forward in their own way. “Emma and Vince represent two essential powers within the future of fashion: idiosyncrasy and craftsmanship,” she says. “Emma has a strong, unique perspective that you feel immediately; it’s bold and original. Vince brings a deep dedication to technique, with an eye for detail and material. Together, they show just how diverse talent can look, and how vital it is to nurture both ends of the creative spectrum.”
Their shared project for the Ring show centers on Levi’s® repurposed denim inventory. A material steeped in history but rarely used in couture, it becomes a springboard for experimentation, reimagining denim as a medium for transformation, storytelling, and new technologies.
You’re both working with Levi’s® repurposed denim inventory—a material rich in history, but not an obvious choice for couture. How did you approach denim in your collection, and what surprises or challenges did you come across?
Emma: “Denim definitely isn’t the most obvious choice for me, but I actually enjoy the process of working with new materials to see where they lead me creatively. I’m planning to laser-cut the denim into scales, drape it, and dip it in liquid latex to create wet-look textures. I’m genuinely excited to challenge myself and create something new and personal out of a fabric that’s widely used but doesn’t exactly scream ‘Emma’.”
Vince: “For me, it’s all about the washes, that’s where my love and passion for denim lies. I see denim as a canvas, a multidisciplinary material. You can use it in art, in clothing, in sculpture; it’s endlessly versatile. It takes colour easily and offers a lot of sustainable options. That’s why I focused so much on fabric selection, all sourced with sustainability in mind. It’s something I’ve been educating myself on for years. The biggest challenge with the Levi’s pieces was that I’m used to working with deadstock fabric, not existing garments. It’s harder to create a couture aesthetic from that, but I embraced it fully. I went all in on experimenting with washes to create unity across the final looks, and I’ve even incorporated the denim into my 17th century-inspired accessories.”
You’re being mentored by Renée van Wijngaarden from 1/OFF. How has her vision and coaching influenced your process, and in what ways does that show up in your designs?
Emma: “It’s amazing to be mentored by her and it’s such an honour to collaborate with someone who’s already walking the path I hope to follow. What I find especially interesting is how she creates new garments from existing ones. I have mainly worked with deadstock fabrics so far, so watching her completely reconstruct garments is really cool. It’s a very different way of designing. I do find it quite challenging to work with existing items, but I’m definitely up for it, and there’s so much I can learn from Renée in this area.”
Vince: ”We already knew each other through a previous collaboration. At the time, I was the operator in the Laboratory at Denim City, and I helped her with denim washes for her collection. We immediately clicked. She really values my creative thinking and understands my vision for sustainability. At the very start of this project, she asked if I’d be willing to push my own vision forward. I’m used to staying behind the scenes, shining more through collaborations like the ones I’ve done with Botter or Masha Popva. I knew straight away this was an opportunity I had to take and I’m honoured she asked me. She believes I can bring something to Amsterdam’s creative scene that’s not there yet because of the laundry experience.
Both of your collections combine historical elements with innovative techniques—whether that’s 3D printing or advanced denim treatments. Since you both are selected as the future of Amsterdam and its creative scene, how do you see the role of innovation and technology in the future of fashion?
Emma: “I believe technology is the future of the fashion industry, especially since the current system is so damaging to the environment. I’m seeing a lot of exciting developments that could really improve how we produce clothing today. As designers, it’s our job to show what’s possible with new tech. I’m especially excited about 3D printing because it allows for made-to-order production and even localised manufacturing. I’m currently working on printing in the same country where the order is placed. There’s already so much you can do digitally to minimise waste. What’s also amazing about 3D printing is that everything can be melted down and reused to create something new.”
Vince: “I think the future lies in biodegradable/biobased fabrics, and in that area, we’re making good progress. I believe in innovation and in creating awareness as a designer about the possibilities for setting true circular processes in motion. Water use is another critical point, within the denim industry: producing a single pair of jeans requires around 3,500 liters of water. Given the level at which we consume today, that’s simply not sustainable. “Innovative denim companies, fabric mills or trim or laundry options. Thats is where it all starts”
Emma, your collection explores the tension between inclusivity and exclusivity—denim as a working-class fabric versus couture as a luxury industry. How did you express this contrast in your designs?
Emma: “That contrast was actually my starting point. Denim is a fabric that everyone has in their wardrobe and that’s what makes it so interesting. You can find jeans in almost every size and shape, and they’re not necessarily tied to any specific class. I love the idea of taking such a conventional fabric and giving it a couture twist. I wanted to explore how I can present denim as a luxury item.”
You aim to create garments that are adaptable and allow for size diversity. How do you translate that into the construction and techniques used in this collection?
Emma: “For this collection I’ve started working with 3D printed mannequins in a range of sizes. Plus-size or curve mannequins are quite hard to find and there’s so much variation within those categories, so I started making my own. This allows me to approach construction much more accurately because I can create patterns directly from those mannequins. This really helps me do justice to designing for a variety of bodies.”
You’re known for your innovative use of materials and for combining traditional techniques with new technologies. How have you applied 3D printing in this collection, and what does it add to your design vision?
Emma: “I think 3D printing will always be part of my design process. For this collection however, I was particularly inspired to work with the 3D pen. It allowed me to print my mannequins and sketch my designs directly onto them. I wanted to explore how to translate 3D printing into fabric. For example, I’m digitally creating exaggerated silhouettes, like a sculpted hip, and printing those shapes as a sort of harness that I can place on the mannequin to drape over. I’m also using 3D printing to create embroidery. Right now, I’m really inspired by garments that don’t necessarily feel like garments, like the scales I’m making for this collection. This way of working greatly expands my possibilities.”
Vince, your collection ‘Gouden Bouquet’ is a tribute to Amsterdam’s 750th anniversary and draws inspiration from the extravagant fashion of the 17th century. What draws you to that era, and how did you translate those historical elements into a modern collection?
Vince: “My goal is to be a couture/prêt-à-porter designer, and my practice is multidisciplinary — I love jewellery design, sculpture, painting. I want to bring all those skills into this collection. That’s why the 17th century resonates with me: it was such a rich, opulent time. You see it in the culture, the tailored jackets, the skirts, the suits. I was drawn to the variety in silhouettes, the design complexity, the colours, and the layering. The floral elements in my collection are also a key part. They come from my love of flowers. You see that in 17th-century still life paintings, from Van Gogh to Vermeer, where bouquets symbolised wealth. I’ve been passionate about floristry since childhood because of my mum, so I wanted to incorporate those floral motifs into both the detailing and the denim washes.”
You’re working with Officina +39, Advance Denim and House of Denim to treat denim in innovative ways. How have these partners helped you translate your vision into your designs?
Vince: “the project truly made my ideas come to life through collaboration. Officina +39 has a huge range of dyes, some of which are made from up to 60% recycled T-shirts (recycrom). With that, I’ve been able to achieve all the washes and colours I wanted. I’ve been lucky to work directly with their main operator to invent also completely new ideas. I had the chance to experiment in their Italian lab, working directly with their team to explore natural contrasts, floral patterns and waterless techniques. Their creative input really elevated the collection.
House of Denim has a special place in my heart. I spent over two years working there, both as head operator and educator. Coming back to them for this project to also play with their machines in their lab felt like a full-circle moment. Their ethos around sustainability, craftsmanship and education aligns deeply with mine.”
During your show, you want to present fashion as a sensory experience — through smell, touch, and visual richness. What can we expect from this multidimensional approach?
Vince: “I want the audience to experience my vision on every level. Not just visually, but through touch and scent as well. Expect goodie bags filled with an collection themed floral seed from UpperBloom, garments where real and denim-crafted flowers bloom as extensions of the designs, and accessories like hats and bags sculpted from floral foam. Beyond the runway, there will be immersive sensory elements woven throughout the show to create a world you can fully step into.”
Show Op de Ring
In just a few weeks, Emma and Vince’s collections will take to the A10 in what’s set to be a landmark moment for Dutch fashion. For Renée, the opportunity to coach young talent on such a stage feels deeply personal. “Amsterdam is the city where I grew up, where my love for creation and contrast was shaped,” she says. “A place full of history and renewal. I consider it a huge honour to offer a platform to the next generation in collaboration with Amsterdam Fashion Week and 750 Op de Ring.”
Above all, Renée sees this moment as an invitation, not to conform, but to choose your own route. “There’s no single right path. The freedom to walk your own, outside the tempo of algorithms, may be the most valuable shift we can make right now. There’s room for difference — and this show proves that.”
