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FAVOURITE HANGOUTS IN ANTWERP OF HENRI DELBARRE AND GERALDINE 'GIGI' JACKMAN,FOUNDERS OF ST.VINCENTS GALLERY

Based in Antwerp, the acclaimed St Vincents gallery strikes a fine balance between a design store and gallery. Built on the principles of provenance and craft, the collection unfolds within the historic walls of a restored late 19th-century printing house. Founders Henri Delbarre and Geraldine Jackman host an idiosyncratic mix of objects that transcend stylistic boundaries, inviting you to appreciate the sheer intent and thoughtfulness instilled by their creators. “We’ve always been drawn to designers whose entire body of work feels cohesive and meaningful. Brian Thoreen and Studio Haos are great examples—we truly admire Brian’s clarity, and Studio Haos’ constant exploration and experimentation feels very aligned with us. The same goes for Wentreck Zebulon, who we’ll be representing this year.” Check the interview on the ‘end of the gallery model’ and the importance of IG and brick 'n mortar in our print spring edition.

→ @stvincents

01.

→ andy - Amerikalei 82→ @andyroasters

02.

→ black and yellow - Nassaustraat 7→ @blackandyellowcoffeebar

03.

→ tango bar - Sint-Paulusplaats 26→ @tango.bar.antwerp

04.

"Vrijdagmarkt 6 is a great vintage clothing store—we almost always find something we like."

→ Vrijdagmarkt 6 - Vrijdagmarkt 6→ @vrijdagmarkt6

05.

"We never leave Sugar Pie Records without a good recommendation."

→ Suger Pie Records - Gierstraat 3→ @sugarpierecords

“The old gallery model was built on scarcity and prestige. The new one runs on access and attention,” a recent article on ArtNet noted. How do you position yourselves within that shift?

“Oh, that’s a tricky question. We’ve never really operated as a traditional gallery. Our path has always been instinctive, built through relationships rather than a formal model. We’re not a digital-first space either; we understand its importance, but the energy it requires rarely matches the return. The core of our work still sits in direct, long-term relationships with clients and with the designers we represent.Referencing that article on ArtNet, design moves differently from art, but we feel the same pressures. The shift from scarcity to access is real, and it can work for you or against you. For us, the tension isn’t visibility itself—it’s how direct-to-studio sales often rest on groundwork that galleries quietly put in place. When a collector mentioned buying directly “to support the artist,” it reminded me how vital it is to share our role: we exist to multiply that support. Public recognition often celebrates the creator, but overlooks the ecosystem that allows their practice to deepen and endure. It’s a sentiment that transpires and the concerning part isn’t competition; it’s the misunderstanding of value. A gallery isn’t a “store”, but a cultural partner, a patron. Galleries provide context, uphold craft, and frees the designer to focus on their work instead of the administration that surrounds it. Some artists manage a public presence with ease, but visibility alone doesn’t secure longevity. What endures won’t be a trend-driven exposure, but the slow, intentional building of a practice. Clients eventually return to places that offer clarity, not noise. In the end, galleries aren’t resisting the future; they’re restating something fundamental: creative work grows within ecosystems. Those are the ecosystems we aim to build—whether online, onsite, or the space between.

Location doesn’t dictate relevance in the way it once did. Even though most conversations now begin online, a physical space remains central to how we work. Our identity has grown around a space, and it continues to anchor how we think, curate, and connect. We also believe the pieces need to be seen; they can’t live fully in a digital frame. Antwerp is small and doesn’t always carry the energy or density of larger cities, yet that scale creates room to stand out. The concentration of strong ideas here is unusually high, and you can build a world without being pulled into the pace or pressures of a heavier market.We’re sometimes envious of nomadic galleries—their freedom, their lightness—but there are pros and cons to every model. For us, the physical dimension still matters. It gives the work context, and it gives our world a place to live.

Can one say that Instagram has fully taken over the role of a fair?

"I would say the roles are very different with some overlaps. Instagram has taken over the speed and reach of a fair, but it hasn’t taken over the role of one. Fairs aren’t just about visibility; they bring collectors, buyers, institutions, galleries, and curators into the same room and allow them to see pieces in real life. None of that translates to a feed. Where things get complicated is with the growing number of lower-tier fairs that can’t deliver those conditions anymore. When a fair can’t bring in the right audience, the right context, or the right level of engagement, Instagram can easily take over its function. There’s simply too much happening at once, and the saturation dilutes attention and sales while increasing the financial risk for both galleries and designers.Instagram shows you what’s out there, but a strong fair helps you understand where the work sits and why it matters. That setting still gives a certain weight, a form of validation, that digital platforms can’t replicate."