5-star superior in a unique historical settingBotanic magazine March - October '26BOTA NICBRANDON WEN Fashion at its best, is never just about clothes.ANTWERP KOEKENSTADScent marketing avant la lettreBORIS VERVOORDT The Vervoordt family’s universe of art
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WelcomeDear Reader,I’m delighted to introduce myself as the new General Manager of Botanic Sanctuary Antwerp. It is a true pleasure to be part of such a remarkable place and to continue building on the unique spirit of Botanic, where heritage, hospitality and gastronomy meet in the heart of the city.In this edition of the Botanic magazine, our focus is Art, in the broadest sense of the word. Art is not only something we see in galleries or museums. For us, art is also present in fashion, in gastronomyand in the many creative expressions that shape Antwerp’s identity.In the following pages, you will discover inspiring stories such as Brandon Wen, head of the Fashion Academy, the fascinating story behind Boris Vervoordt, and a sweet tour through Antwerp with city guide Tanguy Ottomer and well-known Antwerp foodie Manon Van Hove. And of course, there is much more to explore.I hope you enjoy reading this edition as much as we enjoyed creating it.Wishing you a wonderful read.Roy TomassenManaging DirectorBotanic Sanctuary AntwerpCOLOPHONPublisher:Classy Magazine Diamantstraat 8 B4592200 Herentals+32 (0)14/391 888Contractor:Botanic Sanctuary AntwerpEntrance: Leopoldstraat 26General: Lange Gasthuisstraat 452000 Antwerpen+32 (0)3 269 0000Interviews & copywriting:KDV-Language & MoreGraphic design:Line BroeckxCover brands: Coat, dress and shoes: Natan CoutureWatch, bracelet and ear cuff: CartierBracelet and ring: Jochen LeënMore information about advertising? [email protected] Botanic magazine
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Index10 Botanic Awaken – The season rises softly in mirrored waters22 Discovering Nectar – A touch of Paris on the Leopoldplaats26 Brandon Wen – On radical fashion, intuition and courage34 David Gotlib – The art of collecting 36 Tanguy Ottomer & Manon Van Hove – Antwerp as the city of cookies 44 The Vervoordt family’s universe of art52 Fashion Antwerp – AVDW – Black Rose - Stare58 Botanic Health Spa – A sanctuary of measured wellbeing64 The Wine Cellar – Where history rests in every bottle70 Ganterie Boon – Handcrafted luxury gloves 74 Botanic Approved – Madonna76 The world through the eyes of Botanic Sanctuary Antwerp86 Explora Journeys – A new era of luxury travel sets sail92 Hästens – Sleep as the ultimate luxury experience95 News: – Open garden weekends – Welcome Belgian chef Yves Mattagne – Gourmet FestivalBotanic magazine
WWW.VANESSER.COM2000 ANTWERPEN - SCHUTTERSHOFSTRAAT 32 - INFO: 03-236 31 843500 HASSELT -KAPELSTRAAT 17 - INFO: 011-22 32 50COLLECTIEDONATELLA
Jewellery: Recarlo - TenSen Juweliers Shoes: Morobé shoesTop & Skirt: Stylist ownAwakenThe season rises softly in mirrored waters.1 1
Dress: NATAN couturenGloves: Ganterie BoonBag: DelvauxWatch & jewellery: Cartier
Dress: Natthida Watch: Longines - TenSen Juweliers Jewellery: Hulchi - TenSen Shoes: Morobé1 3
Art invites us to pause and look beyond the ordinary. In a world that often moves too quickly, it creates a moment of awareness where color, form, and imagination speak louder than words. Each piece carries a quiet dialogue between the artist and the viewer, a story told through brushstrokes, textures, and light.In spring and summer, this dialogue takes on a luminous quality. Sunlight streams through windows, casting gentle highlights on canvas and sculpture, while the air feels alive with warmth and possibility. What may at first seem simple slowly unfolds into layers of meaning, emotion, and memory, bathed in the vibrancy of the season.Art does not demand answers; it invites curiosity. Every viewer discovers something different: a feeling, a thought, a fragment of inspiration. In that moment, the artwork becomes more than an object. It becomes a meeting place between creativity and perception, where imagination blooms in full color. →Botanic magazine
Skirt & bow: Katerin TheysBags: Delvaux Shoes: Morobé Gloves: Ganterie BoonsJewellery: Jochen Leën 1 5
Dress: NatthidaBag: Delvaux Jewellery: Jochen Lëen
Skirt & bow: Katerin Theys Gloves: Ganterie Boon Bag: Delvaux Jewellery: Jochen Leën17
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Styling: Mirjam van den AkkerHair & Make-up: Elke BinnemansFotografie: LUX VISUAL STORYTELLERSTo bring this story to life, we collaborated with Belgian designer Katerin Theys, whose creations reflect both elegance and modernity. Based in Belgium and established as a true reference in Hong Kong, her vision bridges continents with effortless style. Alongside her designs, the shoot features iconic pieces from leading Belgian and international houses such as Natan, Delvaux, Cartier, and Jochen Leen. Together, these names represent the essence of refined craftsmanship and luxury. Within the historic walls of Botanic, fashion transcends the seasons and becomes part of a greater narrative: one that celebrates heritage, creativity, and the timeless art of style. •Dress & cape: NatthidaBag: DelvauxShoes: MorobéJewellery: Jochen Leën19
Building on this dialogue between creativity and expression, this edition turns its focus to art in its many forms. For this story, we collaborated with Belgian fashion houses Natan, Anna Heylen and Natthida, whose designs each reflect a unique interpretation of contemporary elegance. Rooted in Belgian creativity yet resonating far beyond its borders, their work illustrates how fashion itself becomes a living form of art.Alongside these creations, the shoot features iconic pieces from renowned houses such as Delvaux, Cartier and Jochen Leën. Each piece embodies a dedication to craftsmanship, detail and timeless refinement.Here, style becomes more than appearance; it becomes part of a wider narrative that celebrates imagination and the enduring beauty of artistic expression. •Styling: Mirjam van den AkkerHair & make-up: Elke BinnemansPhotography: LUX VISUAL STORYTELLERSBotanic magazine
Dress: NatthidaWatch: Tissot - TenSen JuweliersNecklace: Bloch - TenSen Juweliers21
Discovering NectarThe scene almost feels cinematic: the awning slowly unfolds onto the square, coffee cups clink gently on marble tables, and a freshly arranged bouquet stands proudly on the bar. Right around the corner of Botanic Sanctuary Antwerp, you can find a little piece of Paris at Nectar – not your typical bistro.A touch of Paris on the LeopoldplaatsAt Nectar, gastronomy, flowers and design merge into a carefully curated experience. A concept founded by Olivier De Croock and Hannes Lefevere, two creatives who translated their love for hospitality, flowers and aesthetics into one address.A BLENDING OF WORLDSNectar has its roots online. Before opening the doors on the Leopoldplaats, De Croock and Lefevere worked on a wide range of creative projects: floral installations, interior styling, and even ornamented Christmas trees for private homes and companies. At the same time, Lefevere was developing his own catering concept. When the building on the Leopoldplaats became available, the idea of combining all these passions suddenly made perfect sense. Today, Nectar is a hybrid destination: part bistro, part flower atelier, part interior concept store. According to the founders, that combination reflects the way HOSPITALITY IS EVOLVING. “Opening a traditional shop or a classic restaurant has become increasingly challenging”, Olivier notes. “By bringing different worlds together, you create something that feels fresh and inspiring. You see the same at Botanic Sanctuary Antwerp, which is also so much more than just a luxurious hotel.” Guests might come for lunch and step out with a bouquet of fresh flowers or buy a statement piece for their interior and stay for a cup of coffee. That blending of different worlds is what sets Nectar apart from other bistros. →23
EFFORTLESS CHICThe atmosphere at Nectar feels natural and warm, as if the space has been aged throughout the years. It might surprise you to learn that the entire interior of the building was renovated. “We didn’t want a sleek, ultra-modern restaurant. We wanted a place where people would wonder: ‘has this always existed here? Is this an authentic element?’ despite being completely renewed.” The aesthetic is shaped by Olivier’s and Hannes’s travels. Particularly cities like Paris and Milan are big source of inspiration, places where hospitality blends seamlessly with everyday life: an espresso at the bar, a casual lunch, a bouquet picked up on the way home.That EUROPEAN CAFÉ CULTURE is very much present at Nectar. Guests stop by for coffee, lunch, an afternoon glass of wine or an aperitif before dinner. Flowers play a quiet but essential role in the experience. A small but fresh selection of seasonal flowers is always on display.THE CLASSICS WITH A TWISTIn the kitchen, Nectar celebrates FRANCO-BELGIAN BISTRO CUISINE. The menu remains deliberately concise and renews roughly every two weeks, allowing both the chef and returning customers to stay inspired. Classic flavours are the baseline, complemented with subtle twists. Oysters, for instance, are a staple on the menu but are served in unexpected variations that add a playful touch to the classic.ROOFTOP TERRACEDuring the warmer months, life shifts outdoors to the terrace on the Leopoldplaats and the rooftop terrace above the restaurant where guests can enjoy the sun from the first warm days of spring well into autumn. “The location is exceptional”, Olivier smiles. “This is a true triple A location: the beautiful square, the dramatic backdrop of the National bank, the botanic garden nearby… At Nectar, everything comes together.” PR I VATE DI N I NGThe hybrid bistro is also home to a PRIVATE DINING space on the first floor, designed for intimate gatherings and small events. From birthday dinners to brand events, the team creates fully styled experiences combining food, flowers and atmosphere. Seated dinners can host up to twenty guests, while walking dinners accommodate around thirty-five people. International brands and fashion labels such as CARTIER have already discovered the charm of this venue for exclusive gatherings. CONTINUOUS EVOLUTIONPart of Nectar’s appeal lies in its constant evolution. From the flowers that change weekly to the concept store that introduces new pieces regularly and the restaurant’s biweekly new menu. New items for the interior boutique rarely come from trade fairs or industry events. Olivier prefers wandering through cities and discovering hidden places, raw talent and those unknown gems to bring back to the interior store. “In Milan, we often just cycle from one neighbourhood to another”, he says. “That’s where you find the REAL TREASURES.” •Nectar www.nectarantwerp.comTuesday and Wednesday: 9 a.m. to 6 p.m.Thursday to Saturday: 10 a.m. to 10 p.m. Part of Nectar’s appeal lies in its constant evolution. From the flowers that change weekly to the concept store that introduces new pieces regularly and the restaurant’s biweekly new menu. Botanic magazine
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On radical fashion, intuition and the courage to question the status quoA conversation withFashion, at its best, is never just about clothes. It is about ideas, discipline, a culture of critique, a language of form. Few embody that spirit as fully as BRANDON WEN – performance artist, fashion designer and Creative Director of the Fashion Department at the Royal Academy of Fine Arts Antwerp. →BRANDON WENBotanic magazine
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Fashion, at its best, should reveal beauty where you were not even looking.Botanic magazine
From a first visit to the city at seventeen to leading one of the world’s most respected fashion academies, Wen’s trajectory is shaped by instinct and a refusal to accept mediocrity. In conversation with BOTANIC Magazine, he speaks about bodies and beauty standards, artistic courage, mentoring a new generation and why fashion must reclaim its RADICAL EDGE. Brandon, when you first visited Antwerp as a teenager, did you sense it would one day shape your life? What brought you back? I was 17 at the time, attending a summer school in Paris, and one of our day trips happened to be to Antwerp. Of course, it is impossible to truly understand a city in a single day, and yet something clicked almost immediately. There was this sense of freedom here that I had not experienced before. There was humour, intelligence, and a kind of quiet boldness.I visited MoMu (Antwerp’s fashion museum) and saw an exhibition on the ground floor by the master’s student Mariel Manuel, and I remember being completely blown away. It shifted my understanding of what fashion could be, as I had never encountered work like that in LA. I was struck by the level of experimentation and ARTISTIC INTEGRITY in what many might consider a relatively small city. Was it back then that you realised fashion would be your path? No, that came earlier. When I was younger, I loved watching Project Runway, and during high school I took fashion classes on the weekends. It always felt natural to me.Even later, when I explored sculpture and film at Cornell University, nothing felt as immediate or as compelling as working with clothing. There is something about fashion that is both INTENSE and direct. It exists in movement, in material, in presence. I was drawn to that energy from the beginning.After graduating in 2015, I returned to Antwerp and interned at RA, a store on the Kloosterstraat run by young graduates who were taking real risks. They were not yet focused on business structure – and I mean that in a positive way. They were experimenting, testing ideas, learning as they went. There was courage in that atmosphere.Later, I moved to Paris, but I struggled to find a position. So, I applied to the Fashion Department at the Royal Academy of Fine Arts Antwerp. Looking back, it was one of the best decisions I have ever made.You are now both Creative Director of the Academy and designing your own collections. From that position, do you feel we are valuing clothing differently today? Patrick Robyn – Ann Demeulemeester’s husband – once told me that in the 70s and 80s, it was about → 29
having an ordinary body with extraordinary clothes. Today, it seems to be the reverse. We are increasingly obsessed with physical perfection – with working out, refining, optimising – and as a result, we present extraordinary bodies dressed in very ordinary clothes.There is a strong fixation on perfection, and in that shift, fashion has quietly taken a secondary role. If you look at SKIMS by Kim Kardashian, for example, it is often described as fashion, yet fundamentally it is about emphasising a perfected body. The garment exists to enhance an ideal, rather than to transform or question it. We are chasing beauty standards that are often unattainable, and clothing becomes merely supportive.It feels like a strange moment. Fashion, at its best, should reveal beauty where you were not even looking. It should challenge perception and create DESIRE for something you did not yet know you wanted. Instead, we often see the opposite dynamic: customers tell designers what they wish to buy, and brands respond accordingly. Even many luxury houses produce garments that feel familiar and safe. Fashion becomes reactive rather than visionary – and that, to me, is a loss.And are there still designers who resist this shift? Absolutely. Rick Owens, Comme des Garçons, and younger designers like August Barron continue to redefine the framework of what fashion can be, and they are not simply giving customers what they already want.But creating that kind of work requires COURAGE. Fashion cannot be separated from politics, identity or personal history; it inevitably reflects the world in which it exists. That is something we emphasise strongly at the Academy. We encourage our students to question where they come from, how they understand femininity or masculinity, and how the political realities around them shape their perspective.So, would you describe fashion as a form of storytelling? Rather as a fleeting form of storytelling. If you compare it to a work of art in a museum, you encounter the piece alongside its explanation; you are surrounded by context, narrative and time to reflect. Fashion does not have that privilege. When someone sees a garment, the response must be IMMEDIATE. There is no wall text, no extended introduction. The impression must be instant. That is both our limitation and our strength. We are asked to convey complex ideas through surface, silhouette, texture and movement, to tell a layered story in a single glance. →I sincerely hope their generation will shift the landscape again … and in doing so, make fashion radical once more.Botanic magazine
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Which stories or figures have influenced your work the most? In many ways, the graduates of the Academy have influenced me most. They are my heroes. Beyond people, I am mostly inspired by PHYSICAL EXPERIENCES: museums, exhibitions, books, travel. I do not rely heavily on digital tools; I believe in craft and material presence. My latest collection, for instance, was inspired by Do Ho Suh: Walk the House at Tate Modern in London. His translucent fabric reconstructions of domestic spaces made me wonder how an object can retain its beauty when translated into another material. In my case, how can an object preserve its integrity when transformed into a garment? That question became central to the collection, which will be presented at Botanic Sanctuary from June 4 to 7.You became Creative Director at a young age; how did you approach that responsibility? It was intense, and at times overwhelming. But there was no space to hesitate. I trusted my intuition and moved forward, even without having every answer.The Academy is deeply rooted in tradition, and that deserves respect. At the same time, I felt it was necessary to question certain assumptions and make room for RENEWAL. Balancing continuity with change quickly became essential.More than anything, I want students to receive the education they truly deserve; one that prepares them for the realities of the industry while also strengthening their confidence and individuality. When I see them retreat from their own vision, often out of fear or because criticism unsettles them, I worry something vital is being compromised. My role is to help them recognise the strength of their perspective and stand firmly within it.Do you think this new generation of designers will be able to redefine fashion, to make it radical again? Yes, I believe so. At the moment, the industry feels overwhelmed; there is simply too much of everything, and in that excess, it becomes difficult to stand out or to be truly different. And yet, I see something hopeful in my students. They are HUNGRY FOR BEAUTY in the broadest sense of the word. They do not conform by default, and they are eager to express clear opinions about the world around them.We encourage them to question, to take risks and to remain open. I sincerely hope their generation will shift the landscape again … and in doing so, make fashion radical once more. •
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“In fast fashion, accessories are temporary”, he says. “You wear something today, and next season it disappears. I prefer to create objects people can enjoy for decades.”This philosophy places his work somewhere between jewellery and sculpture. Each pair of cufflinks is conceived as a small but meaningful object, capable of gathering stories and emotional value over time.Thinking big on a miniature scaleDesigning cufflinks presents a unique artistic challenge: the surface is no larger than a few centimetres. Within that limited space, David must translate ideas that often originate from much larger impressions.“Inspiration comes from architecture, nature, even the way light touches a building”, he explains. “But you have to transform that into something very small. If you try to include too much, it becomes cacophony.” Proportion is therefore essential. Every element must contribute to a balanced composition. Working at such a small scale demands clarity and restraint, qualities that echo the discipline of sculpture. Materials are equally important. David insists on working only with the finest stones and precious metals. Gold, particularly in yellow and rose tones, plays a central role in his work. “Gold has warmth”, he says. “It has been valued The art of collecting David GotlibFor Antwerp-based designer David Gotlib, cufflinks are far more than functional accessories. In his hands, they become miniature objects of art: pieces designed not just to be worn, but to be appreciated, collected and eventually passed on.© Lize Rubens
for centuries and carries a natural sense of permanence.”Emotion as a starting pointDespite the precision required in the design process, David rarely begins with a purely technical idea. Instead, emotion is the true starting point. “Inspiration often comes unexpectedly” continues. “It can happen during a walk, when you notice how light reflects on a surface, or when you see something that simply moves you. If a sketch begins without that spark, it rarely survives. Those drawings go straight into the bin.”The process emerges from instinct and gradually evolves into a refined design, where emotion and proportion find their balance.A collector’s eyeDavid’s creative sensibility is deeply connected to another passion: collecting art. He grew up surrounded by contemporary art through his mother, who frequently visited galleries and exhibitions. Those early experiences left a lasting impression. “As a child, you may not fully understand what you see”, he recalls. “But the emotions stay with you.” Today, art remains a constant source of inspiration. Some of the works he collects explore materials such as copper and bronze, whose surfaces change and develop over time, a quality he recognises in precious metals. “Copper breathes and lives. I see something similar in gold, especially in yellow and rose gold, which have a natural warmth.”Artists who inspireMany artists have shaped David’s visual language, even if their influence does not always appear directly in his designs. One early inspiration was Alexander Calder. “One of the first artworks we had at home, was from Calder. As a child, I remember looking at it and thinking: ‘what’s so special about this? I could easily do that myself!’ It was only later that I understood the genius behind the artist’s balance and movement.”Another important reference is Yves Klein, whose iconic ultramarine pigment turned a single colour into a powerful artistic signature. “When you see that blue, you immediately know it is Klein”, David says. “That is extraordinary.”He also cites ARMAN, known for his sculptural accumulations in bronze, as well as American painter SAM FRANCIS,whose expressive work reflects a strong emotional energy. Closer to home, Belgian artist ANN VERONICA JANSSENS fascinates him with installations that explore light, reflection and transparent materials such as glass and plexiglass. The abstract gestures of HANS HARTUNG and the kinetic sculptures of Belgian artist POL BURY – who once created cufflinks himself – are further references that resonate with Gotlib’s interest in movement, texture and form.“All these artists inspire me in different ways”, he says. “The way they play with light, the techniques they use, the way they are free to experiment and think outside the box. That freedom is very powerful.”Collectible objectsWith such influences, it is perhaps inevitable that David hopes his cufflinks will one day be appreciated in the same spirit as art objects. “That would be the greatest compliment: if people collected them”, he smiles.Nowadays many purchases are purely practical, yet David believes there is still space for objects chosen simply because they bring joy. “You invest in something that expresses who you are”, he explains. “Not with garish bling-bling, but with a small, refined detail.” •David Gotlib – refined luxury cufflinkswww.davidgotlib.com - @david_gotlibBy private appointment, Atelier David Gotlib offers an exclusive introduction to the cufflink collection35
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SCENT MARKETINGavant la lettreAntwerp is known under many monikers: city of diamonds, harbour city, fashion capital. Yet older generations often affectionately refer to Antwerp as the KOEKENSTAD; ‘city of cookies’. TANGUY OTTOMER, expert to all things Antwerp and our very own city guide explains the origin of that tasty nickname.Antwerp and our very own city guide explains the origin of that tasty nickname. “There are three main reasons why Antwerp earned this delicious nickname, with the first one dating back to as early as the 1900s when the city was home to numerous biscuit factories”, Tanguy explains. “Two of the most prominent producers, Parein and Biscuiterie De Beuckelaer, were located near major railway stations. Upon arrival, the first thing travellers smelled was the MOUTHWATERING AROMA of freshly baked cookies.” Scent marketing, long before the term was ever coined.De Beuckelaer, best known for his Prince biscuit – an homage to Belgium’s royal family – pushed his marketing even further: “Biscuits are a delicate product, and occasionally break during production. Rather than throwing them out, the company handed these imperfect treats to arriving travellers.” And with this GENEROUS WELCOME the idea of Antwerp as the city of cookies started to live. “My grandmother used to say: you haven’t really been to Antwerp unless you brought biscuits home. And when visiting friends outside the city, you don’t bring flowers. You bring cookies.” →37
The iconic Antwerp HandThe Antwerp Hand cookie originated in 1930, when Jos Hakker, a Dutch Jewish baker, created it as a local DELICACY to promote Antwerp. The Royal Association of Master Pastry Chefs of Antwerp organised a competition to decide which Antwerp delicacy would be featured. Coincidentally – or maybe just in typical Antwerp fashion – initiator Jos Hakker won with his creation: a buttery, almondflaked biscuit in the form of a hand. The symbolism, of course, refers to Antwerp’s founding legend, in which a giant’s hand was severed and thrown into the Scheldt. Today, the unique shape, ingredients, and even packaging of these biscuits are protected by a patent. Only pastry chefs who pass the rigorous exam receive the official certification required to bake and sell the authentic Antwerp Hands, safeguarding both TRADITION AND QUALITY. Lost MondayVERLOREN MAANDAG, ‘Lost Monday’: another typical Antwerp tradition tying into the legacy of the city of cookies. On the first Monday after Epiphany, civil servants were traditionally sworn in. An official moment and therefore celebrated with a reception afterwards. Hence the ‘lost’ Monday, as there was little to no work done on this day. To keep these government officials from being (too) drunk, WORSTENBROOD (savoury sausage rolls encased in flaky pastry) were served. Affordable, hearty and comforting – providing a balance to the celebratory drinks. Interestingly, their shape closely resembles that of their sweeter counterpart: the KOFFIEKOEK, or coffee pastry. A seven-day indulgenceToday, the abundance of pastries available daily may seem self-evident. Yet, only a few decades ago, this was considered a luxury.In villages surrounding Antwerp, koffiekoeken – literally ‘coffee cookies’, though better translated as pastries – were typically only available on weekends. A visit to the ‘big city’ offered something special: the opportunity to indulge in croissants and other sweet pastries any day of the week. For many, that simple Tuesday croissant felt nothing short of DECADENT. →When visiting friends outside the city, you don’t bring flowers. You bring cookies.Botanic magazine
39Foto: Philips Biscuits
interpretations of Antwerp as ‘koekenstad’SELECTED BY HUNGRY ANTWERPMANON VAN HOVE, one of Antwerp’s most famous FOODFLUENCERS, guides her followers through the diverse and extensive culinary scene of our city. This time, she takes Tanguy under her wing and shows him where you can taste that famous cookie legacy of Antwerp.“What makes Antwerp truly special to me is the eclectic blend of traditional bakeries that put craftmanship and artisanal techniques first alongside innovative pâtissiers who keep creating, pioneering and challenging our cookie, chocolate and pastry culture”, Manon notes. “Reducing Antwerp to merely a fashion capital, ignores the sweet identity that makes us such a gastronomic destination.” 1Bakkerij FUNKOne of the more popular spots in the city, with a funky Scandinavian vibe making it especially popular with a younger crowd. “At FUNK, you can experience HYGGE all day long from 8 a.m. to 6 p.m. I taste a strong focus on craft, quality and pure ingredients. Together with their natural wines, sourdough toasts and coffee, this bakery is an absolute winner from breakfast to aperitif.” Favourites were the cardamom bun and pistachio cruffin – a tasty marriage between a muffin and croissant. You’ll have to taste it to believe it. Kronenburgstraat 41a 2000 Antwerp2Bakkerij Aldo Those seeking a mix between tradition and newer creations will be delighted by Bakkerij Aldo. “I’d like to highlight the sourdough bread which is absolutely OUT OF THIS WORLD. You can taste the craft and the precision it takes to make a sourdough of this quality.” Located inside a beautiful historic building, the interior only adds to the charm.Geefsstraat 52000 Antwerp Lange Leemstraat 388 2018 AntwerpBotanic magazine
3Philip’s BiscuitsA personal favourite of Tanguy, and rightfully so according to Manon: “Philip’s Biscuits bakes according to TRADITIONAL recipes and techniques, and such a legacy has a divine taste – there’s no other way to put it.” If you want to bring home the authentic Antwerp hands, this is the place to be: freshly baked every day in Philip’s Biscuits’ very own cookie atelier. Korte Gasthuisstraat 392000 AntwerpHoogstraat 2/42000 Antwerp4DelReyOne of the best known pâtissiers and chocolate stores of Antwerp, and a must visit if you ask Manon. “The elegant and REFINED pralines, pâtisserie and cookies on display not only confirm their position as the reference to all things pâtisserie but truly make my mouth water”, Manon says. “DelRey captures what it means to be a pâtissier in Antwerp, koekenstad.” If you’re looking for a quick bite to soothe that sweet craving, Tanguy and Manon unanimously recommend trying the little lemon tart. Appelmansstraat 52018 Antwerp 5Salon de thé ClaudeTime stands still in this classic yet charming tea room. “This is the place you visit when you truly want to savour your coffee, high tea or pastries”, Manon knows. “Tradition blends effortlessly with simplicity and old-fashioned hospitality, making it a true hidden gem for a quiet lunch or afternoon tea. One of my absolute favourite spots in the city for a brunch, even more so because of the delicious pastries of DelRey served here.” De Nieuwe GaanderijGroendalstraat 182000 Antwerp41
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A short journey from the historic centre of Antwerp, along the quiet waters of the Albert Canal, lies a place where industry has been transformed into contemplation. Towering concrete silos rise beside reflective pools, former warehouses host monumental installations, and galleries unfold within vast spaces of light and shadow. →The Vervoordt famBotanic magazine
mily’s universe of artKanaal outside overview © Jan Liégeois 45
This is KANAAL, the cultural site created by the Axel Vervoordt Company in Wijnegem – a remarkable transformation of a 19th-century distillery complex into a living ecosystem for art, architecture and reflection. At the heart of this universe stands a family whose influence on the world of art and interiors has become legendary. Yet today, much of its creative energy is carried forward by the next generation.Boris Vervoordt, son of Axel Vervoordt, speaks about the work with calm clarity. For him, the family’s activities extend far beyond collecting or designing INTERIORS. “We are not simply selling art or antiques. What we offer is a service, a way of connecting artists, spaces and people. Our goal is to create environments where art resonates deeply.”For guests of Botanic Sanctuary Antwerp, discovering the world of Axel Vervoordt offers a unique cultural encounter. One that reveals how art, architecture and philosophy can shape the way we live.A philosophy shaped by intuitionThe story of the Vervoordt family began more than fifty years ago, when Axel Vervoordt started dealing in antiques from his home in the Vlaeykensgang in Antwerp. What began as a passion for objects from the past gradually evolved into a much broader philosophy about space, beauty and the human experience. From the beginning, INTUITION guided the journey. “My parents always followed their instincts”, Boris says. “They were passionate about objects that carried history, things that had lived a life before us. Their aim was to give those objects a new future.”Rather than treating antiques as static museum pieces, Axel Vervoordt placed them within living spaces, combining ancient artefacts with contemporary art and architecture. The result was an entirely new way of thinking about interiors: rooms that felt timeless, contemplative and deeply personal. At the core of this philosophy lies a belief that a home should express the soul of its inhabitants. “A space should reflect who you are”, Boris explains. “Your ideas, your perspectives, your connection to the world.”Over time, the Axel Vervoordt Company evolved into a multidisciplinary practice with projects worldwide. Today, experts in art history, architecture, design, restoration and project management collaborate to create spaces where aesthetics and meaning come together in a constant search for harmony.East meets WestOne of the most distinctive elements of the Vervoordt philosophy is its deep connection to Eastern thought. Father Axel famously explored Taoism, Zen Buddhism and Korean philosophy, discovering parallels between Eastern spirituality and Western art traditions. From these influences emerged a lasting fascination with WABI-SABI, the Japanese aesthetic that celebrates imperfection, simplicity and the passage of time. Nature plays a central role in this worldview.“In nature, perfection doesn’t exist”, Boris reflects. “Everything is evolving, changing, becoming something else. That is the beauty of it: the perfect imperfect. This idea informs the way our family approaches architecture and interiors. Materials are often left raw or aged: plaster walls, stone, wood and linen reveal the marks of time rather than hiding them. The result is an atmosphere that feels meditative, almost sacred. Art becomes part of that ecosystem. We see life as a kind of biosphere. Art, architecture, nature and people are all CONNECTED.” →Botanic magazine
Patio Gallery with paintings by William Turnbull from 1959-1962.Temple-like space called 'Karnak'with Buddhas from the Dvaravati-mon dynasty and terracotta spheres from Bosco Sodi47
We walk on our feet every day, often in shoes that distort their natural form. Bastien’s methods restore strength, circulation, and natural beauty.‘At the Edge of the World’ by Anish Kapoor: a monumental work, a deep void of colour and space, an emotional benchmark for visitors.Anish Kapoor, \"At the Edge of the World\", 1998, Botanic magazine installed at the heart of Kanaal
Kanaal: from distillery to cultural villageNowhere is this philosophy more visible than at Kanaal. The site was originally a grain distillery and malt house built in the mid-19th century along the Albert Canal. For decades it was a place of production and industry, defined by warehouses, silos and brick buildings. When the Vervoordt family acquired the complex in the late 1990s, they saw not ruins but POTENTIAL.“I remember standing on the roof of the old factory many years ago”, Boris recalls. “I thought: one day I would love to live here.” Nearly three decades later, that vision has become reality. The former distillery has been transformed into a cultural landscape where galleries, exhibition spaces, homes and gardens coexist with monumental artworks. Its industrial architecture was carefully preserved, building a bridge between history and the future. Kanaal continues to evolve, with its own rhythm and life.Visitors entering the site encounter a sense of calm unusual for a place of such scale. Light filters through concrete structures, water reflects the sky, and art appears in unexpected places. At its centre stands one of the most powerful installations on the site: ANISH KAPOOR’s ‘At the Edge of the World’. The monumental work, a deep void of colour and space, has become a kind of emotional benchmark for visitors. When you stand underneath it, you feel the vibration of colour and space intensely. That experience stays with you. It continues to resonate. The installation acts almost like a heartbeat within the site. It is a constant reminder that art can move us in ways we don’t fully understand.A gallery as a platformToday, Kanaal functions not only as a cultural destination but also as the home of the Axel Vervoordt Gallery, which Boris helps guide. Unlike traditional galleries focused purely on selling art, the Vervoordt approach emphasises creating a platform for artists. “We see ourselves as facilitators. Our role is to place artists in the right context, to present their work with the respect and space it deserves.”The gallery programme brings together artists from across the world whose work explores materiality, spirituality and the human condition. Installations often engage directly with architecture, creating immersive environments rather than conventional exhibitions. Visitors can explore the gallery every Friday and Saturday, when the spaces open to the public. The experience often becomes a full day’s journey. Visitors may wander through the exhibitions, enjoy lunch on the site, and explore the surrounding spaces where art and architecture merge.A global perspectiveWhile deeply rooted in Antwerp, the Axel Vervoordt Gallery has always maintained a global outlook. This philosophy led to the opening of a second gallery in HONG KONG, a city whose maritime history and international character strongly resonate with Antwerp’s past.“Antwerp was once one of the great metropolises of Europe”, Boris continues. “A city connected to the world through water. Hong Kong shares that same spirit. The gallery there aims to engage with the cultural evolution of Asia, providing a platform for artists whose work reflects the complexities of contemporary society. We want to participate in the cultural conversation of tomorrow’s China. Our artists often speak critically but subtly about the world around them.”Art as healingThis season, Kanaal presents the work of Cambodian sculptor SOPHEAP PICH, whose exhibition continues until the end of the summer. His story reflects the transformative power of art. As a child, Pich lived through the trauma of war in Cambodia before fleeing with his family. Later, encounters with art offered a path toward healing. “He grew up in a time when you didn’t know who was friend or enemy”, Boris says. “That experience marked him deeply.”Today, Pich’s sculptures are often made from recycled materials connected to Cambodia’s history. Bamboo structures and woven forms reference everyday objects such as rice steamers, while gridlike structures evoke memories of confinement and resilience. His work speaks of community, survival and regeneration. →49
For him, art is a way of healing, and of sharing that healing with others.Beyond Kanaal, Boris views Antwerp as a vibrant ecosystem for creativity. The city has long been a meeting point for art and culture. Visitors can explore a rich landscape ranging from the masterpieces of the Royal Museum of Fine Arts to the fashion revolution of the Antwerp Six. Historic places such as the Vlaeykensgang, the Plantin-Moretus Museum and the city’s Jesuit churches continue to inspire artists today. “We often recommend these places to visitors”, Boris smiles. “They show how Antwerp has always been a meeting point between cultures.” A connection with Botanic Sanctuary AntwerpFor Boris, the relationship between the Vervoordt universe and Botanic Sanctuary Antwerp feels natural. The hotel itself embodies a similar dialogue between heritage and contemporary life. Once a historic monastic complex, it has been transformed into one of Europe’s most refined hospitality destinations. There is also a long personal connection: “My parents and the hotel owners have known each other for decades”, Boris notes. “They share a passion for restoring historic spaces and giving them new meaning. The Botanic project continues that tradition, transforming centuries-old architecture into a place of beauty and reflection.”Art plays a role here as well. Boris has occasionally helped introduce curators and artists to the hotel environment, ensuring that art is integrated thoughtfully into the interiors. “If a space only pursues beauty for its own sake, it risks becoming decorative. Art should CHALLENGE us, stimulate us, provoke thought. In this sense, the presence of art at Botanic enriches the guest experience – inviting visitors not only to admire beauty, but to reflect on it.” And then there is the art of hospitality. For Boris, hospitality is more than service. It is a cultural tradition deeply embedded in Antwerp’s history as a trading city. “Antwerp could never have become a golden metropolis if it had not welcomed strangers. For more than five hundred years, this region has been open to people from all over the world. That openness remains essential today. True hospitality lies in creating spaces where people feel connected, where dialogue and curiosity can flourish. Places like Kanaal and Botanic Sanctuary Antwerp bring that idea to life.”An experience to take home For visitors, a journey through the Axel Vervoordt world often leaves a lasting impression. Standing before a sculpture, walking through the quiet architecture of Kanaal, or experiencing the dialogue between art and space can shift the way one perceives beauty. That experience stays with you. It becomes part of your own story. In the end, the Vervoordt vision is remarkably simple. “We try to contribute something POSITIVE to the world”, Boris concludes. “Art has the ability to connect us: quietly, yet powerful. In the silent spaces of Kanaal, that connection continues to unfold. Guests of Botanic Sanctuary Antwerp are welcome to discover it and may also consult our team for discreet interior advice by appointment”. •KanaalStokerijstraat 19 2110 Wijnegem www.axel-vervoordt.com Check the website for the different temporary exhibitions of the Axel Vervoordt Gallery and the participations at art fairs worldwide.The gallery is open every Friday from 2 p.m. until 5 p.m. and every Saturday from 11 a.m. until 6 p.m. Tip: combine your visit with a lunch or dinner at Silo www.silo-antwerp.com.For Boris, the relationship between the Vervoordt universe and Botanic Sanctuary Antwerp feels natural. The hotel itself embodies a similar dialogue between heritage and contemporary life.Botanic magazine