Lacroix on Belgium: ‘France with Kind and Funny People’
Renowned French fashion designer Christian Lacroix has described Belgium as “France with kind and funny people” in an exclusive interview with Belgian public broadcaster RTBF. The wide-ranging conversation, conducted by journalist Françoise Baré, covers Lacroix’s deep ties to Belgium, his career as a costume designer, and a major new exhibition of his drawings in his hometown of Arles.
A Belgian Homecoming
Lacroix’s affection for Belgium is rooted in a formative chapter of his career. In the 1980s, he began working as a costume designer at the Théâtre Royal de la Monnaie (De Munt) in Brussels, one of Europe’s most prestigious opera houses. It was there that he discovered his true calling. “I owe to La Monnaie my true profession,” Lacroix told RTBF. “I am not a couturier, I am a costume designer since always, but I didn’t know it.”
His connection to Brussels runs deep. “Brussels, the passion of my wife Françoise and myself,” he said, reflecting on the city he and his wife have cherished for decades. That personal bond culminated in his now-famous characterization of the country: “In Belgium, it’s France with kind and funny people.”
From Costume to Couture
Born in Arles on 16 May 1951, Lacroix studied art history at the University of Montpellier and the École du Louvre, initially aspiring to become a museum curator. His entry into fashion came almost by chance when he showed his drawings to couture houses. According to Wikipedia, he worked at Jean Patou from 1985 to 1987 before founding his own eponymous haute couture house in 1987 with backing from Financière Agache.
Lacroix’s debut collection was an immediate sensation, defined by bold colors, mixed patterns, and baroque influences. He invented the “pouf” skirt and became known for a theatrical, exuberant style that stood in stark contrast to the minimalist trends of the late 1980s. Despite critical acclaim and celebrity clients, the house never turned a profit, accumulating losses of over €44 million before entering administration in 2009. In 2025, Spanish company Sociedad Textil Lonia (STL) acquired the brand.
Throughout his career, Lacroix has maintained that his heart lies in costume design rather than fashion. “I am a man of costume, not a man of fashion,” he told RTBF. “I think I would have left something in couture, but no in reality.”
A Major Exhibition in Arles
The interview coincides with the opening of “Lacroix: Dessins, gribouillages et graffitis” (Drawings, Scribbles and Graffiti) at the Musée Réattu in Arles, running from 4 July to 4 October 2026. The exhibition is the largest ever organized around Lacroix’s graphic work, showcasing over 50 years of drawings — from childhood scribbles to fashion sketches, theatre maquettes, and digital works.
The exhibition is organized around four themes: Arles, Provence and Camargue; drawing fashion; drawing costume; and the metamorphoses of drawing. A companion catalogue published by Gallimard is available for €35. Lacroix has also deposited thousands of drawings, sketches, and graffiti with the association “Archives et Patrimoine Monsieur Lacroix” in Arles, which will now be studied and catalogued by researchers.
The Art of Drawing
Despite his reputation for colorful, exuberant fashion, Lacroix’s drawings are predominantly in black and white. “At night, I dream in black and white,” he explained. “All the notebooks I’ve found, they are in ballpoint pen, felt-tip, never colored, never, never, never.”
For nearly 20 years, Lacroix used a graphics tablet for his drawings, but he has recently returned to hand drawing. “I rediscover the pleasure of the gesture that I am relearning, a child’s pleasure,” he said. He describes his style as instinctive rather than classical. “I never learned to draw, nor to paint,” he told Objectif Gard. “I don’t know how to do something classical, like drawing a realistic portrait, and I never will.”
A Reflective Moment
At 75, Lacroix is in a reflective phase. The establishment of his archives foundation and the current exhibition represent a formalization of his artistic legacy, positioning him not just as a fashion designer but as a significant graphic artist. His return to hand drawing, after years of digital work, speaks to a desire to reconnect with the fundamentals of his craft.
For Belgian audiences, the interview offers a warm portrait of a French cultural figure who holds their country in genuine affection. As Lacroix himself put it, his connection to Belgium is not merely professional — it is personal, rooted in decades of friendship, collaboration, and shared passion for the arts.
What to Watch For
The exhibition at Musée Réattu runs through 4 October 2026, and questions remain about whether it will travel to other museums afterward. Meanwhile, the future of the Lacroix fashion house under Spanish ownership remains an open question, as does Lacroix’s own next chapter — one that, if his recent return to hand drawing is any indication, will continue to be defined by the simple, joyful act of putting pen to paper.