ANNALIE VAN DOORN: DUTCH DESIGNER REDEFINING FASHION

© Casawi

Annalie van Doorn: Storytelling Through Shape, Craft, and Fearless Curiosity

Annalie van Doorn doesn’t follow the rules. She doesn’t filter her inspirations. She doesn’t draw a line between fashion and psychology. And she doesn’t let fear stop her from learning. The Dutch designer brings a unique lens to her practice, shaped by ancestral techniques, consumer behavior, and the contradictions of status and sustainability. A graduate of the Royal Academy of Arts in The Hague and a former intern at Botter, Annalie also spent time in Japan as an artist in residence, where she learned traditional leather making methods from local craftsmen. She is part of a new wave of designers building narratives as much as garments. We asked her to break down her process.

Can you describe your work in three words?

My work is vibrant, energetic, and storytelling.

What inspires you to create?

I’m inspired by what psychologically drives people, why we value certain things, and why we act the way we do. Traveling also plays a big role. Learning about other cultures and traditions gives me the fuel to create.

What is your favorite piece from the collection?

The Takagi jacket. I made it with traditional craftsmen in Takagi, Japan. The embossing process was fascinating. I met a man with his own factory who showed me hundreds of ways to emboss leather. Leather making is a craft that has been practiced for over a thousand years. It changed my view on what sustainability can look like.

Can you tell us about your creative process?

I start with a wall of images. My teachers always told me to filter, but I don’t. Then I draw flat abstract shapes, like a saddle or anything that catches my eye. I create moulages and take thousands of photos. I filter those and select my favorites. Those photos become the base of the collection. From there, I explore how prints and forms move together.

Your graduation project still resonates. Why?

It was inspired by my grandmother and the psychology of appearances. I studied consumer behavior, social pressure, and status. One example was the Kentucky Derby, where people dress up for an event that lasts minutes. From that, I created an abstract silhouette of a jockey. Another piece was a spencer jacket made from poker chips I found in Amsterdam. It speaks to how value changes depending on context. I used deadstock fabrics and recycled horse plates for bags. Sustainability was not an extra step. It was part of the design logic.

You’ve lived in both Japan and Amsterdam. How does Amsterdam shape you?

Amsterdam gives me energy. I love the movement, the people, and especially the older locals who dress with intention. They inspire me. But I also value the quiet of my hometown. That balance helps me focus.

Who have you learned the most from?

During my internship at Botter, I learned how to take my puzzle-like shapes and make them wearable. That shift from abstract to functional was a major step forward. It shaped how I work today.

Do you live by any mottos?

Yes, two. “Feel the fear and do it anyway.” And “Don’t be the killer of your own dreams.” They remind me that insecurity is part of being a designer. My mother always said, you will never feel completely done with your work, but you have to do it anyway. We are often our own biggest obstacle.

Annalie’s work is guided by instinct, contradiction, and precision. She questions the idea that design must be polished to hold value. Her approach shows that following intuition with honesty often leads to more meaningful results than chasing perfection.