style

You know you’re in a city that takes its fashion seriously when even the Virgin Mary is dressed head to toe in couture. A short walk from Antwerp’s old town, with its ornate medieval guild houses and cobblestone streets, is the baroque church of St Andrews. Like many of the city’s Catholic churches, it has beautiful stained glass windows, an exuberantly carved wooden pulpit and more artworks by Flemish masters than you can shake an incense stick at. But we’re here to pay homage to an art form of a different kind.

In a quiet chapel, an elegant 16th-century wooden statue of the Madonna is clothed not in her usual blue cloak, but a dress of pale gauzy fabric, trimmed with a collar of white pigeon feathers, custom made by renowned Belgian fashion designer Ann Demeulemeester. It’s a bold statement but one that’s entirely in-keeping with a city where a love of fashion seems woven into the fabric of everyday life.

It wasn’t always so. In the 19th century this impoverished neighbourhood was known as the “parish of misery”– a reputation that endured well into the 1980s when a young designer named Dries van Noten took the plucky decision to open a shop on Nationalestraat, across the road from his grandfather’s tailor shop. Almost four decades on, the beautifully restored art nouveau building, with its curved windows, marble floor and chandeliers, is at the centre of Antwerp’s vibrant Fashion District (rebranded, presumably, because “Misery District” was a harder sell for the tourist board).

“You have to understand that there was nothing here at all before this shop opened. It changed everything,” says Yentl, a guide who is leading my daughter and I on a walk around some of the area’s key fashion sites and shopping streets.

Van Noten and Demeulemeester are both members of the “Antwerp Six” – a group of bright young graduates of the city’s Royal Academy of Fine Arts who exploded on to the international fashion scene in the late 1980s. Along with their peers, Walter van Beirendonck, Dirk Bikkembergs, Dirk van Saene and Marina Yee, they are credited with injecting new life into a fashion scene which had been dominated for decades by Paris, Milan and London.

Their story is being told in a major new exhibition at MoMu, Antwerp’s world-class fashion museum, just a few doors along from Van Noten’s flagship store. The retrospective, which runs to January 2027, marks the 40th anniversary of the group’s first foray to London in 1986, when they piled into a rented van and caught a ferry from Ostend to show their debut collections at the British Designer Show in Olympia. The young Belgian designers won over the international fashion press and buyers alike with their talent, originality and chutzpah – creating their collections on a shoestring, often from upcycled materials, championing self-expression over marketability, hosting fashion shoots in abandoned car parks, and making their own flyers and posters.

Though it suited the foreign press to label them as the Antwerp Six (far easier than typing out all of those long Flemish names), they were never a collective and it’s gratifying to see that the exhibition has given each designer their own individually curated space. From the avant garde exuberance of Van Beirendonck’s colourful creations to the dark drama of Demeulemeester’s monochrome palette, the displays are as thought-provoking and imaginative as the clothes they showcase, combining film projections, recorded interviews, a moving conveyor belt of mannequins and an evocative soundtrack.

Emerging from the exhibition into the spring sunshine, it’s clear that the legacy of this pioneering group extended far beyond the catwalk and lives on in the city. On Nationalestraat contemporary designers rub shoulders with kilo stores where second-hand clothes are sold by weight. At Labels Inc you can browse pre-loved pieces from established Belgian designers such as Raf Simons and Martin Margiela or check out the featured collections from the city’s latest crop of fashion graduates. Nearby Kammenstraat and Steenhouwersvest are lined with vintage stores, streetwear brands and independent labels such as Arte Antwerp, which specialises in sleek, urban menswear inspired by graphic design, art and architecture. Even if you wouldn’t know a Bikkembergs bag from a Belgian waffle it’s impossible not to be inspired.

“The Antwerp Six taught people how to be entrepreneurs and to follow their inner voice,” says designer Tim van Steenbergen, who did his apprenticeship with Dries van Noten, and then went on to found the social enterprise and sustainable fashion label ReAntwerp. “They showed that if you want to do things differently, you can.”

Launched as a response to the vast amount of textile waste produced by the fashion industry, ReAntwerp sells a range of beautifully tailored, limited-edition classics, from shirts to trench coats, using leftover fabric from designers such as Van Noten and Christian Wijnants. The enterprise also provides training, employment and support to refugees, who make the clothes in the on-site atelier. “I wanted the clothes to have as much meaning and value for the people who make them as the people who buy them,” says Van Steenbergen. “We have worked with refugees from Afghanistan, Syria, Pakistan, Palestine, Brazil and Costa Rica. Our common language is textiles.”

It’s a fitting motto for a city whose wealth was built, in part, on the textile trade. In the 16th-century Antwerp was Europe’s largest river port, with cargos of English wool and Italian silks, as well as diamonds from India, spices from Portugal and sugar from the West Indies, being shipped up and down the River Scheldt. Riches from this trade were poured into the elaborate guild houses and civic buildings which surround the Grote Markt, the city’s showpiece square. The story of Antwerp’s port is told at the MAS museum, housed in a strikingly modern 10-storey building in the dockside Eilandje district. Don’t miss the panoramic views across the river and sprawling dockyards from the roof terrace, or the chance to snack on street foods from around the world at the Wolf Sharing Food Market, in an old warehouse with a waterside terrace.

Not only was golden age Antwerp a great commercial hub, it was also an artistic and intellectual powerhouse, home to painters such as Anthony van Dyck, Pieter Bruegel the Elder, Clara Peeters and Peter Paul Rubens. You can see a collection of their works at the Royal Museum of Fine Arts but nothing compares to the impact of seeing four of Rubens’ huge altarpieces, in situ, at the imposing Cathedral of Our Lady.

The artist’s house and studio are now closed for major renovation work but, after a long day’s sightseeing and shopping, it was a relief to sit quietly among the displays of tulips and spring flowers in the Italian-style formal gardens which are still open to the public. We also stumbled upon some extraordinary family portraits by Rubens at the Plantin-Moretus Museum, the former home and workplace for nine generations of a family who completely revolutionised printing. The first atlas, countless scientific books and beautifully illustrated Bibles passed through the wooden printing presses here, some of which date back to the 1600s. With its dark panelled walls, leaded windows and creaking floorboards, it’s an atmospheric and fascinating place, where time seems to have stood still.

There’s just time for one last bolleke beer and a shrimp croquette in the sun-trap square next to our hotel, the charming Hotel t’Sandt, before we have to check out and hop on the tram to Antwerp’s central station for the 45 minute train ride to Brussels, where we’ll catch our Eurostar train home. The hotel, which is in a beautifully restored 17th-century mansion with polished wooden floors, a spiral staircase and beamed ceilings, has lived through many previous incarnations: banana warehouse, custom house, soap factory and sculptor’s studio. Today it makes a perfect base for exploring the city; friendly, stylish and wears its history well … much like Antwerp itself.

The Antwerp Six exhibition runs at MoMu until 17 January 2027. Admission is €13 per adult and free for under-18s. The trip was provided by Visit Antwerp. Double rooms at the Hotel ’t Sandt start from €217 a night

For Arteta, it won’t matter that his side are not producing free-flowing football – the Gunners just want to get over the line and lift a trophy this season.

They are having to produce results without a number of key players, who are injured. Bukayo Saka, Martin Odegaard, Jurrien Timber and Riccardo Calafiori were unavailable to play against Sporting.

Declan Rice did play, despite being unwell.

And now there is fresh concern for the top of the table clash with Manchester City on Sunday, as winger Noni Madueke limped off with a knee injury.

When Arteta was asked if he sees the physical strain on his players at the moment, he said: “Yes, but when I see them track back when we lose the ball, the habits that they have, it’s just amazing.

“There is a reason why we are the only English team in the competition, because this league and this schedule takes the hell out of you and it’s very difficult to do what we’ve done.

“We are not perfect, we need to improve things, that’s for sure, we recognise that. But there’s value in what these players have done because they deserve it.”

Former Manchester City and QPR defender Nedum Onuoha told BBC Sport: “The fact that they are in their second consecutive Champions League semi-final is huge. Their performance itself wasn’t perfect, but they just wanted to be in that next round, and that’s exactly where they are.

“On a different day, maybe they would create more chances, and perhaps they would actually score more goals. They didn’t create very much, but they are still in the last four.”

Onuoha referenced words from captain Rice, who said Arsenal just wanted to “go one step further”.

“They will look at this game and the things they could have done better, but the fact is there are plenty of clubs around Europe who aren’t in their position now who would be absolutely delighted to be there,” he said.

“It certainly wasn’t a statement performance like some teams around Europe have done in this last couple of matchdays, however Arsenal still have shown they have just as good a chance as everyone else.

“We’ve seen a Real Madrid side, for example, that have scored four goals across two ties and have been knocked out.

“Arsenal, they only needed one, so you can give them credit for the two clean sheets they’ve had across the two ties and that’s what they needed to be in this particular moment.”

Harry Styles is no stranger to “Saturday Night Live,” having performed multiple times with his former boy band One Direction and more recently as a solo artist. But this isn’t his first time as host either.

This week, the pop star returned to the Studio 8H to host for a second time, more than six years after his debut. That’s a long time in between, during which Styles has starred in a couple of films, “Don’t Worry Darling” and “My Policeman,” and released a trio of albums, including his latest, “Kiss All the Time. Disco, Occasionally.,” which he was there to promote.

Styles has a knack for radiating charm, honed after years in the spotlight as a musician, and now with some notable acting roles under his belt, he’s more than primed for the stage. And the timing is perfect, considering many actors are in Hollywood this weekend for the Oscars.

He delivered again with a variety sketches, including one about a prosecutor distracted by the famous comedian/lawyer appointed to defend an alleged thief, a pretaped sketch that riffed on HBO Max’s hit medical drama “The Pitt,” and a closing sketch where he played himself promoting a line of clothing modeled after some of his most famous outfits for Target.

He also excelled in parts where he could show off his vocals and dancing, like in “Sparkle of the Sea,” an infomercial about a German cruise line, and another pretaped sketch, “She’s an Irish Dancer,” where guys find out just how Irish their dates are in a nod to St. Patrick’s Day on Tuesday. Flatter, though, were sketches about a pair of Best Buy workers, and one where Styles played a drive-thru worker at a White Castle, but that’s because Jane Wickline and Veronika Slowikowska stole the skit as a pair of nerdy girls trying to ask him out to the school dance.

Styles performed his new single, “Dance No More,” after last week’s host Ryan Gosling introduced him, a fitting appearance since Styles crashed his monologue. And Paul Simon also stopped by to introduce Styles before his second song, “Coming Up Roses.”

This week’s cold open touched on the ongoing war in Iran. The patriarch (Mikey Day) of a family at a gas station says he needs to fill up their car. As a piano begins to play, his wife (Ashley Padilla) says, “Fill up? Not all the way, right?” “We have to,” Day replies emphatically. “But it’s $5 dollars,” she says before turning to her two children (Marcello Hernández and Sarah Sherman) to say they have to leave one of them behind because gas is too expensive. Why? “The Epstein files,” exclaims President Trump (James Austin Johnson), who jumps into the scene. “It’s called butterfly effect. Epstein was the first domino,” he says, miming dominoes falling. Trump goes on to introduce himself by saying we might remember him from campaign promises such as “lower gas prices” and “no more wars” (“Psych!”). “We love to make promises because a promise is a lie that just hasn’t happened yet.” As for the stock market, he puts it in a way that Harry Styles fans might understand — it’s going in one direction, garnering loud cheers and applause. He jokes about Iran’s age, saying it is old and nobody likes them, “Iran is like ballet and opera and weird Timothée Chalamet,” referring to the actor’s comments that have caused an uproar.

But Trump says he has everything under control, meeting with top minds including influencer and boxer Jake Paul, who he says was booed “very badly” at his fight against Mike Tyson. “Did someone say booze?” Department of Defense Secretary Pete Hegseth (Colin Jost) says as he emerges from the family’s car and dozens of cans fall to the ground. (“It was just a couple of road sodas, chill.”) He then thanks Trump for the “beautiful, size 16 Florsheim shoes,” a reference to the Wall Street Journal report that they are the president’s gift of choice to close friends and advisors. Hegseth goes on to say that they are “hashtag winning” the war with Iran, and as for the Strait of Hormuz, he advises that the tankers moving oil should just do what he does at a DUI checkpoint: “Close your eyes and gun it.”

In his monologue, Styles, dressed in a grey pinstripe suit and bright blue tie, said he couldn’t resist hosting when he heard they booked his favorite-ever musical guest. After his tour ended in 2023, he took a lot of time off, realizing he’d spent much of his life on the road and “making songs about fruit that people think were about sex.” He just really likes fruit — and sex. He also said a lot of people pay attention to the clothes he wears (true, see above), with some people accusing him of “queerbaiting,” to which he responded, “Maybe you don’t know everything about me, dad.” But as far as what he did in his time off, he took up boring things, like jogging (his sub-three hour marathon in Berlin was the buzz of the running world). It’s better than the alternative, he says, as the screen flashed to an image of the former Prince Andrew. But now he’s promoting his new album, “Kiss All the Time. Disco, Occasionally.”, because what’s better than kissing? He actually doesn’t want to kiss all the time, leading to a brief appearance and disappearance of cast members Chloe Fineman and Sherman, unless its Ben Marshall. He complimented Marshall’s backside, and gave him a smooch on the lips: “Now that’s queerbaiting.”

Best sketch of the night: I don’t know if your dad did this, but my dad used to pop it twice

The first sketch of the night took us into a courtroom, where a New Jersey prosecutor (Styles) rose to present his case against the defendant, Mr. Donovan (Tommy Brennan), who didn’t have an attorney. So the judge (Kenan Thompson) appointed one: comedian Sebastian Maniscalco (Hernández). It’s the second time Hernández has played the comedian, whose caricature of Maniscalco in a red blazer and black turtleneck is at turns spot on, exaggerated and completely hilarious. He chimed with retorts as the prosecutor explained the charges of stealing $5,000 in merchandise, including a belt. “Let me tell you something about a belt. When I was a kid, the belt wasn’t to keep the pants up, it was to keep the volume down,” Maniscalco says, motioning to his waist and explaining how his dad would use it. Maniscalco’s manic energy was too much for the courtroom sketch artist, though, who complains to the judge about having to draw him, showing a sketch of a blurred, multi-limbed man. Kudos to Styles who managed to mostly keep his composure as Hernández glided around him. But Styles had the last laugh with his own impression of Maniscalco, before a final sketch of him was revealed. Put it in the Lourve!

Also good: Why get real healthcare when you’ve got ‘Mahaspital’

“The Pitt,” one of the buzziest TV shows in America, has been lauded for its realistic portrayal of emergency rooms and the stresses that medical workers endure on a regular basis. So when the opening scenes of this pretape began playing, the crowd went wild. But this isn’t “The Pitt,” it’s “Mahaspital,” brought to you by producer Robert F. Kennedy Jr. and the team behind Make America Healthy Again. Styles channels Noah Wyle’s Dr. Robby, marching toward an incoming patient on a gurney as she’s pushed through the ER hallway. “What she needs is a steak,” he says. “Give me beef tallow and six raw eggs, too.” The sketch touches on many of the hallmarks of the MAHA movement: healing crystals, vaccine skepticism, raw milk and lots and lots of protein. And we can’t forget that Central Park bear.

‘Weekend Update’ winner: Battle of the heart (emojis)

“Update” anchors Michael Che and Jost focused most of their attention on the Iran war this week, but they also touched on another event happening this weekend: the Oscars. They brought in Tucker Carlson (Jeremy Culhane) to talk about the best picture nominees. Culhane’s impression of the conservative pundit was pretty impressive, capturing his cadence and habit of using rhetorical questions — I hope we see it again.

But it was Day and Hernández who stole the segment as emojis aerial tramway and heart, respectively, who joined to comment on Apple’s addition of eight new emojis. Heart emoji on the new additions: “All I know is they’re all going to be more popular than this loser,” pointing to Day. “I’m No. 1 because I’m useful. People use me for everything.” But you can’t put an aerial tramway down, who tried to explain other ways to use the emoji somewhat unsuccessfully. At least he has a solid crew of bangers: orange square, division sign, snorkel and “my boy, the goat” building with a horn on it. Day was dedicated to the bit, making Hernandez crack with muffled laughter. Don’t be surprised if you see a lot more of aerial tramway (and his girlfriend, on with two arrows) in your texts.