“Creativity is about being open to new perspectives: something the world needs more than ever." 

Antoine Peters began his career on the runways of Amsterdam Fashion Week before transitioning into creating designs that blend fashion, art, and architecture. His thought-provoking work, which explores the relationship between clothing and the human form, has been featured in renowned museums like NOMA, OCAT Shanghai, Bonnefanten Museum and the Fresno Art Museum. But Peters also embraces commercial endeavors, collaborating with brands like Kidscase, Karlsson, United Nude, and Eastpak. He loves bold prints, nineties icons (his studio is covered in smiley faces and Alf memorabilia), and textiles that define his unique aesthetic.

Where did your interest in fashion come from? 

AP: "For me, fashion is the ultimate form of non-verbal communication, which is essential for someone like me who isn’t naturally social. It allowed me to express myself in a deliberate, enjoyable way. Attending the art academy in Arnhem was transformative. It was there that my passion for fashion took root. I arrived at the initial audition not even knowing what a bobbin was, but I brought photos of my wardrobe and a three-meter-high smiley face I had painted on my wall. I was accepted, and that was the start of a very intense period of my life, with many sleepless nights, but it brought out the best in me. Through it all, my parents were always there for me, even if they didn’t fully understand the art world. Every Fashion Week, they'd be sitting front row, cheering me on. Their support has always meant the world to me." 

"Fashion is the ultimate form of non-verbal communication, which is essential for someone like me who isn’t naturally social.”

Why did you eventually step away from catwalk shows? 

AP: "It turned into an unsustainable cycle. I managed everything on my own, including sales, and it was just too much. I was already critical of the industry’s overproduction: so much is made but never worn. Becoming a father shifted my perspective. I realized I didn’t want to contribute to overproduction anymore. Now, I engage with fashion through art and projects that encourage people to slow down and find joy. It feels right." 

“Becoming a father shifted my perspective. I realized I didn’t want to contribute to overproduction anymore.”

We're a platform that pushes for creativity, but what exactly is your definition of creativity? 

AP: "Creativity is about being open to new perspectives: something the world needs more than ever. It’s been the cornerstone of my work since the academy: evolving and staying receptive to ideas. True creativity involves connecting with others and evoking reactions, whether positive or not. For me, it’s about spreading optimism.

I believe everyone has their own form of creativity; it just needs to be nurtured and sometimes requires stepping out of your comfort zone. My creative process can be draining, even making me grumpy at times. But I’ve learned to trust that, in the end, things will fall into place." 

Does your creative process have a structure? What sparks your creativity? 

AP: "Music is a huge part of my process, especially instrumental electronic music that helps me get into a flow. The structure varies depending on the project; sometimes, it’s abstract, like when I’m designing a hotel room. I’ve gathered ideas and clippings over twenty years that I draw from. Inspiration is easy; the challenge is turning it into something tangible." 

What do you do when you get stuck? 

AP: "Talking to someone can help break the cycle of overthinking. It doesn’t need to be a deep conversation, just enough to shift my thoughts. Sometimes, stepping back and letting things fall into place on their own is necessary.

There's a mental strain when you're constantly processing ideas and making connections. And sure, there are days when I spend all my time in the studio and feel like I haven’t accomplished anything. But that’s part of the process, and those days aren’t wasted. I come back the next day, ready to keep going. The satisfaction comes from the work itself. I’m still working with textiles, forms, and communication in a multidisciplinary way, similar to my catwalk shows where everything — from the logo to the music and invitations — had to come together seamlessly." 

Both you and your wife [ed. graphic designer Karen van de Kraats] work in the creative scene: how does that influence your daily life? How do you manage to switch off and not be 'on' all the time? 

AP: "I’m quite good at switching off. Home is home, and weekends are sacred. But creativity is ever-present. At home, even tasks like creating birth announcements or holiday cards become special projects. For us, these aren’t chores; they’re chances to make something meaningful.

We look for meaning in everything we do, even in things as simple as New Year’s cards or family football shirts. For instance, I designed shirts with a circle print symbolizing family, unity, and strength, using circles drawn by each family member. It’s not about meeting expectations but about the joy of the process. The objects in our home all have stories and personalities — they aren’t just objects, but reminders of where they come from and who made them. Some rugs are four generations old, while other items come from modern designers. It all holds meaning."

“My creative process can be draining, even making me grumpy at times. But I’ve learned to trust that, in the end, things will fall into place.”

Has becoming a parent changed your work or your work process? 

AP: “Yes, I now work within structured hours. Before, I could work any time, even late into the evening, most weekends. That’s changed, but it’s not a bad thing, it's just different. I prioritize being a father, and there’s nothing better than spending time with my sons, teaching them, or simply having fun. I’m better at separating work from family life. 

Balancing it all is a juggling act. During holidays, we often bring our oldest to the studio without a strict plan or idea and just create. We’ll put on music, toss some materials on the table, and he’ll start drawing. It’s a playful way for him to explore new things, and it’s great seeing him get creative without any pressure.

Having kids has changed my work rhythm and my outlook on life. It’s reshaped how I view work. I see it as a catalyst. It’s accelerated things I already valued, like slowing down and putting things into perspective."

"Having kids has changed my work rhythm and my outlook on life. It’s reshaped how I view work. I see it as a catalyst. It’s accelerated things I already valued, like slowing down and putting things into perspective."

Your oldest son has been making a name for himself as an artist as well. How do you juggle supporting those artistic endeavors and his talent without adding pressure? How do you make sure you don't become a stage dad?

AP: “He was always drawing, and at one point, we started to post his drawings on Instagram, which led to unexpected opportunities. He has sold some pieces and was already designing tapestries for a company like MOOOI at the age of nine. It's great, but we put zero pressure on him. There are times when he doesn’t paint or draw at all, and that’s fine.

Again, it’s all a balancing act: we don’t want it to look like we’re exploiting him, and he has to want to do it himself. So, we only post things occasionally and always include context — like a drawing session, music, or a museum visit. Beyond that, we don’t push it."

He's quite literally following in your footsteps because he doesn't just design, like you, he also teaches. 

AP: “Yes, he’s taught workshops at the art academy in Maastricht for three years in a row. I'll drive him there, and we spend the day there. We bring some candy, play some music, and go through the exercises together. We design various activities, mostly focused on intuitive drawing and disruption. The best part was that, in his first session, the students didn’t know who their instructor would be, and suddenly, they were being taught by a seven-year-old. It caught them off guard and got them to reconnect with their inner child, which is exactly what the workshop is about.” 

You teach at a number of academies: what do you enjoy about teaching? 

AP: "Teaching sharpens my own analytical skills and is rewarding. I guide students, give feedback, and watch them grow, which energizes me and enriches my work. I emphasize starting with offline inspiration: using physical mood boards to activate different parts of the brain." 

And, finally, you are a very hands-on creative, as in literally making things by hand. Do you incorporate digital media or AI into your work? 

AP: "I use digital tools for technical drawings, but they’re just tools, not the goal. I adapt based on each project’s needs. My pattern-drawing foundation from the academy is still invaluable. While I’m interested in AI and digital tools, I see them as complements rather than focal points. For example, I use Instagram, but it’s something I schedule into my workflow." 

How do you see yourself now, starting as a fashion designer and branching out into other areas? 

AP: "There's not one individual label that fits. Everything I do connects back to the body and textiles, which I find fascinating. I’m not just designing clothes anymore; I’m making abstract works, bags, and even hotel rooms. Fashion is deeply personal: it shapes how we move and feel. That’s the magic of it."