Based in the Netherlands, Studio Dennis Vanderbroeck's spatial design is manifested internationally in various contexts and disciplines such as theatre, fine arts, fashion and music. With its hyper-aesthetic visual language, the studio creates physical spaces where the dialogue between the designed space and the visitor is key. We talked to Dennis Vanderbroeck about his practice and his work.
Interview: Onur Çoban
How would you define your design philosophy? As someone with a performance background, how do you make a difference in your approach to spatial design?
I believe the core of our practice is always the physical encounter between the guest and whatever is on display—whether it's a theater play, a fashion show, or something else. It’s always about the designed space within that physical environment. We don't focus on set design or creating spaces for digital purposes; our work is firmly rooted in the physical realm. My philosophy, and where my background in performance comes into play, is centered on the idea that everything we do exists only because of the presence of people—guests who are there, witnessing something. Our work comes to life through the physical presence of the audience.
This approach is also part of our methodology: we always start from the guest experience rather than what might look good on Instagram. It’s truly about what you experience as a guest when you walk into a theater or a fashion show—what you see, and how it unfolds. I think this sets us apart from other studios or spatial designers. Our work is always narrative-driven; that is, the story behind the space is the most important aspect. It’s never just about the aesthetics.
Mugler Fall 2024, Studio Dennis Vanderbroeck©
How do you define the relationship between stage design and spatial design? Are there moments when you find inspiration at the intersection of these two fields?
My practice is all about intersections. I believe it only exists within the intersection of one discipline with another. At some point, a long time ago, I decided to use the term "spatial design" because it represents where performance art meets fashion, or where fashion meets theater. I believe all these disciplines share the same social codes, and these codes form the foundation of our designs. This is why we can operate across various disciplines—because they all engage with similar ways of perceiving the world.
Our work in fashion influences our theater projects, and our theater work, in turn, influences our fashion endeavors. I see these intersections and the interdisciplinarity they bring as central to our practice, both externally in our projects and internally as a source of inspiration. It’s not just about the audience or the projects we create; it's also about how we work and play with these intersections in our process.
WECANDANCE 2024, Studio Dennis Vanderbroeck©
"I try to push our theater work towards a more aesthetically driven, perhaps even a "sexier" kind of look, while I infuse our fashion work with more concepts, narratives, and dramaturgical elements. This elevates the fashion pieces, making them richer in meaning. The two disciplines play off and riff off each other very well, creating a dynamic synergy."
WECANDANCE 2024, Studio Dennis Vanderbroeck©
You work on a wide variety of concepts in different projects. So, how would you define the creative approach or philosophy that distinguishes your studio from others in this diversity?
I think I never really compare myself directly with others. Everyone has their own way of doing things, so I can only speak for myself in that sense. We are a very small team—intentionally keeping it to just six people. I’m not interested in the idea of running my practice as a company, per se.
It’s important to me that we maintain a certain energy within the team, one that feels like a group of friends having fun with what they do. That’s something I want to preserve for as long as possible, rather than letting things become too serious. Of course, it is serious—don’t get me wrong—but there’s a unique energy within the team that is reflected in our work and brings a dynamic quality to it.
Our approach, or what I’d call our methodology, is consistent across every project. While the deliverables or some contextual elements might change, the essential part of what we do stays the same. I think it’s an interesting way to approach our work.
Maybe compared to other companies—now I realize I'm making a comparison after all—our process is different. The biggest part of our work happens right at the beginning. Honestly, I always say that the design phase—literally sitting behind the computer designing—is the most boring part of my job. I’m much more interested in what happens before that stage: the conversations with clients, figuring out an aesthetic, and building a narrative. That’s where the real work happens for us. We are deeply involved in creating a strong concept and narrative even before we begin the design itself.
Dries Van Noten Spring 2025, Studio Dennis Vanderbroeck©
For me, design is just a tool—a tool to initiate other collaborations with lighting designers, to start showcasing a collection or a play. Design is simply the bridge between an idea and what comes next. It’s how we communicate a story or create an engaging experience. I think many people underestimate that part; they imagine me sitting behind my computer, surrounded by swatches and samples. But the reality is that most of my job, and the part I enjoy the most, involves conversations with people, visiting incredible locations, and having the chance to work with some truly amazing individuals.
That is what makes our practice unique. We don’t focus solely on the design itself. It’s more about telling the story as a whole.
You mentioned that you have six people in your studio. What disciplines do they come from?
It's actually like a crazy, diverse pool of people. There's no linear profile or anything like that, which is something I’m not particularly interested in anyway. We have team members who have worked in architecture, someone with a design background, and another who is much more technically oriented. It’s very varied in that sense, which I find extremely interesting.
I’m not a trained architect or stage designer myself, so I don't have a linear path that brought me to where I am today. I think this diversity makes our internal conversations really engaging because everyone approaches things from a different perspective and lens. It enriches our designs, rather than having everyone share the same education, perspective, or references. If you look at our mood boards, they draw inspiration from all over—architecture, fine art, theater, opera, performance art, fashion—it’s a whole spectrum. I'm really interested in collecting and integrating all of these viewpoints.
KASSL Editions, Studio Dennis Vanderbroeck©
I believe this approach is also the future. When I started out, these fields were very much confined to their own spaces—art was art, fashion was fashion, and theater was theater. I always thought it might be possible to make these boundaries more fluid. Now, I think there’s a general shift in the landscape where these disciplines intersect, collaborate, and coexist in a far more interesting way.
For me, collaboration has always been the key to the future of the creative industry. I don’t believe in being overly contained and isolated. That’s why we openly share our processes with everyone, allowing people to see how we develop an idea and translate it into a design. I’m not a big believer in keeping that secret; to me, sharing is caring.
For example, just last week, I ran a workshop at a school, and I love doing that. It gives me the chance to engage with the younger generation, who inspire me and challenge my practice in ways that my own team might not anymore. I’m very open to new ideas and always looking for new collaborations.
How do you make sense of your clients' brands when working with them? How do you make design decisions that reflect the identity of the brand, especially in large-scale projects?
I think if you invest a great deal into understanding your client before you start designing, it makes a huge difference. It was funny—we’re currently working on a project, and we were discussing the idea of correction rounds. The client asked us, "What do you do if you present something and the client doesn't like it? How do you approach that?" And I told her, honestly, that never happens to us. It’s not to brag, but rather because we invest so much time in having meaningful conversations with the client, truly trying to understand where they’re coming from. We use empathy to position ourselves within their universe.
We usually create a reference deck—a collection of references to illustrate what we understood from our conversations. We then ask, "Does this resonate with you?" By doing this, you almost can't go wrong. We've already put so much of our creative energy into understanding the client, so the design becomes a natural outcome of those conversations. If you see the design process as completely separate from those conversations, of course, it’s harder to hit the mark because you haven’t tried to put yourself in the client's shoes. But if you do, then the whole process becomes much easier. You understand the client, and you understand what they’re looking for.
The goal is always to surprise them with something they couldn’t picture themselves doing. I think people underestimate the power of using empathy to align with the client’s vision. It’s about setting aside your own ego. If you truly want to do this in a sincere way, you have to put your ego aside, because it’s about the client. I love that challenge—setting my ego aside and really getting into the client's mindset, then making a translation that fits both our aesthetic and their vision.
That’s how I approach clients' expectations—I try to listen and stay curious. I believe curiosity is the most valuable asset you can have.
Diesel Spring Summer 2023, Studio Dennis Vanderbroeck©
You have collaborated in many different projects so far. Which collaboration was the most special or memorable for you?
I really believe in the idea that you are only as good as your last project, and it’s always about what’s coming next rather than looking back. I’m proud of all of my projects because they are all a part of the building blocks from which I’ve built this universe. I needed every single one of those individual bricks and projects to reach where I am now, where we are now.
I remember the first Diesel show we did—it was a project I was extremely proud of. Not because it was Diesel, not because it was so big, but because I was incredibly proud of my team. It was our first really big fashion show, and it may have been too big for us at the time.
We were aware of the significance of having such a major client with such a large exposure, but we didn’t let it intimidate us. We just went along with it. I’m most proud of that project because of how well my team worked together. I’m proud that we managed to establish that dynamic. So, it’s not even about saying, "I did Diesel"—I don’t care about that. It’s about the work itself.
That project was an important milestone because it prepared us for where we are now and for the scale of the projects we’re currently working on. It was more of an internal milestone than something to boast about. All of the projects are equally important to me.
When you visit our website, you’ll see all the projects displayed equally, side by side. A big fashion project is right next to a small theater project—they all hold equal weight. You can’t even distinguish whether a project is fashion or theater because it all exists within the same universe. That’s what I stand for. It doesn’t matter if it’s for a fashion brand or a theater production, whether it’s a big client or a small client, a large budget or a small budget. In the end, it’s about the work and the idea.
I aim to eliminate the distinction between high and low, big and small, or artistic and commercial. It’s all part of my universe, our universe, and we’ve approached every single project with equal effort and integrity.
Time Will Teach Us, Studio Dennis Vanderbroeck©
Çalışmalarının arkasındaki ilham kaynaklarından bahseder misin? Bu alanda ya da farklı disiplinlerde merakla takip ettiğin isimler kimler?
I think inspiration is very specific to the project we’re working on. I can't speak for the entire team, but my mind works in a very visual way. When I have a conversation with a client, I immediately start thinking of references—like, "Oh, that makes me think of this," or "Did you see this performance?" My mind is like a catalog, constantly filled with new information. It might sound corny or cliché, but I truly find inspiration in anything.
For example, just a couple of weeks ago, I was eating a dessert after dinner at a restaurant, and as I was eating it, I suddenly got an idea for a stage design because of how the dessert looked. It sounds silly, but that’s how it sometimes happens for me. It's not always that direct, but more about letting ideas sketch themselves out naturally. You can't force ideas—they come when they come. Through extensive discussions with my team and the people I work with, we come up with good ideas together.
It’s not like I always look to a particular artist or fashion designer for inspiration. No, it’s always specific to each project. In my spare time, I’m much more interested in exploring new sources of inspiration rather than always revisiting the same references, as I want to stay relevant. I aim to keep moving forward and progressing, rather than becoming stagnant.
I think if you stay curious and open to everything, it’s easier to keep moving towards new places, new people, and new, cool artists. My approach is not linear. Of course, there are artists I admire and look up to, but each one is meaningful to me for different reasons. So, my sources of inspiration are broad and varied.
Before After, Studio Dennis Vanderbroeck©
Are you excited about the future? What are your plans?
I think we are at a very interesting point in our career right now, because a lot has shifted over the last year and a half, especially after Mugler. I feel like we've gained much more global exposure, which has propelled us into a new orbit where we receive more features, like this one, as well as new clients and projects.
It’s difficult for me to sketch out a long-term plan because I’m very focused on the present. I believe this is a moment where it's easy to make mistakes, so it’s crucial for me to stay true to myself and to the core of our practice, rather than expanding too quickly, selling out, or taking on random projects.
I find myself in a phase where I’m more inclined to retreat than to grab every opportunity that comes my way. I feel this is a pivotal moment, one that will shape the next 10 years, so I prefer to make well-thought-out decisions rather than doing anything and everything. It’s about prioritizing quality over quantity. For example, even though we could easily expand the team from six to 10 or 15 people, I don’t want to become just a manager whose role is focused solely on calls, emails, and logistics.
Just a couple of weeks ago, I mentioned to one of my team members that I felt like I’ve been stuck in administrative tasks, without having the time to design, take a breather, and come up with fresh ideas due to the current pace. That’s something I don’t enjoy. I want to hold onto the essence of everything I've discussed so far, and right now, I just want to stay put and focus on the work itself.
My priority is to make more internal movements rather than focusing on external expansion. If that makes sense. It’s a big question, and one I’ve been contemplating a lot. It’s not something I take lightly, thinking about the future is challenging. I'd rather remain a bit uncertain about what’s next than commit to a rigid business plan for the next decade. A set plan would limit our flexibility. We’re a very light and agile team, which allows us to take on projects that span longer periods of time. I want to maintain that flexibility.
Right now, it's a matter of being careful—protecting myself, protecting our universe, and safeguarding everything we’ve worked so hard for. I don’t want to risk losing it too easily.
The Discomfort of Evening, Studio Dennis Vanderbroeck©
A Masterpiece, Studio Dennis Vanderbroeck©
