Having worked closely with iconic designer Jean Paul Gaultier for years, in 2012, he moved to Jeddah and became the Creative Director of prestigious menswear brand Lomar, specialized in high-end traditional pieces with a contemporary twist. This experience was key for Beaufays who gained a precious insight into the subtleties of Saudi culture and dress, while bringing his own artistic input to Lomar as an innovative designer.

Now based in Riyadh, he’s been working on a new project named The Lab City Hub since last July. Using his industry know-how, as well as a global network of suppliers and manufacturers, Beaufays is making it possible for talented designers to produce their collections locally, while learning new techniques. In this exclusive interview, He evokes his unusual journey from Belgium to the Middle East, how he has adapted to a new culture, and why today’s most exciting talents might not necessarily come from the usual fashion capitals.

How did you discover Arab culture?

I was working for Gaultier and he once asked me to go on holiday with him to Marrakesh. I wasn’t really keen on it at the time, but when I arrived there it was a complete shock for me.

What were you struck by?

The architecture was incredible and the beauty of Moroccan landscapes really appealed to me. There was such vibrancy within Medina life as well. Back in Paris, I went to the Institut du Monde Arabe to do further research and came across this book on Yemen, which really drew me in. That was another shock for me, especially when I traveled there. I fully immersed myself into that culture and started resenting Paris and its architecture. Even the Eiffel Tower looked ugly to me (he laughs). I kept thinking how I could combine my newly-found passion for this culture with my design skills and abilities.

What motivated you to move to Saudi Arabia?

During a trip to Dubai, I met the owners of the ESMOD fashion school who offered me a one year contract. Even though Dubai was not my dream destination, I thought it would be one foot in the door. It was in Dubai that I met the owner on menswear brand Lomar who offered me to move to Jeddah in order to work for the brand. It was exciting for me to get to reinterpret the traditional thobe, as well as the accessories and footwear it is combined with.

As a designer, did you enjoy the limitations that came with traditional dress?

I did enjoy the precise framework of the thobe -and traditional Saudi dress- because it made me more creative. When it comes to design, I need to have certain boundaries in place, otherwise having no limits makes me feel lost. Restrictions boost creativity in a strange way.

Was the idea to update it through design or fabric research?

Both actually. By adding sportswear details and finishes -as well as innovative fabrics- our interpretation of the thobe became more of a statement that could resonate with a younger clientele. Lomar is rather high-end compared to its competitors, and the brand became famous by incorporating streetwear elements into the thobe, operating a stylistic fusion between the two. My role was to push this legacy further, starting with experimental fabrics developed with French and Italian suppliers.

You left Lomar last year, didn’t you?

Yes. The government wants to boost creative economies in Saudi Arabia, and that includes fashion, as well as music, cinema and other performing arts. The fashion commission launched a scheme whereby local designers get concrete help in order to produce their work locally, as well as opportunities to go abroad to showcase their designs. The Lab City Hub was therefore launched in Riyadh, allowing designers to manufacture their samples and come up with small production batches, as well as realize pieces in knit, while learning embroidery techniques. We also connect local designers with fabric and accessory companies by getting a selected number of suppliers we know to come from Europe and show their most recent developments.

You graduated from La Cambre Mode[s] in Brussels and won the Festival d’Hyères in 1999. What are the major changes you’ve witnessed in fashion over the years?

In the 1990s, there was a real passion for upcoming designers, because mainstream brands were considered stuffy and dull. Not only were department stores and independent boutiques competing for new names, you were given incredible opportunities as a young designer, too. That changed when fashion became more corporate and groups started taking over.

At the same time, social media didn’t exist back then.

That is a fundamental shift, and it’s great to see that you no longer need to show in Paris or hire expensive PR teams to make yourself known. You also see talent emerging from countries that are not traditionally associated with fashion.

That is true of Demna, who is Georgian and will soon present his first collection for Gucci. And the same goes for Ellen Hodakova Larsson, who is Swedish and won the LVMH Prize last year.

I think we will witness more talents coming from cities that are not mainstream fashion capitals. And not every upcoming designer wants to be globally successful either. There’s room for local designers to grow and make their mark, too.