Frans Molenaar Prize 2025

Balance

Artists

At the end of the sixties, Frans Molenaar permanently exchanged the fashion city of Paris for Amsterdam. There he seeks the company of the avant-garde in visual arts, design and architecture. For example, he often collaborates with architect Cees Dam and his wife Josephine. His collaboration with sculptor André Volten led to one of the most sensational designs in Molenaar's oeuvre: the famous 'Ball' dress, which Molenaar designed especially for André's wife Sophie in 1970.

< logo designed by Josephine Dam-Holt

Balance

artists

At the end of the sixties, Molenaar permanently exchanged the fashion city of Paris for Amsterdam. There he seeks the company of the avant-garde in visual arts, design and architecture.

His collection of mainly geometric-abstract works by artists such as Bob Bonies, Ad Dekkers and Jan Schoonhoven is growing steadily. Molenaar's preference for functional design and architecture took shape during that time. This results in a number of artistically very fruitful cross-pollinations.

Architect Cees Dam designs the sleek, calm interior of his building on Van Baerlestraat.

Dam's wife Josephine designs the corporate identity, including the characteristic black-and-white logo that adorns the façade and clothing labels for a long time. With sculptor André Volten, it even leads to a joint design, the famous 'Bal' dress, which Molenaar designs in 1970 specifically for André's wife Sophie.

André Volten distinguishes himself with bold abstract sculptures in public spaces. His enormous formats are often impossible to ignore. The granite 'sitting circle' at the entrance of the Amsterdam Stopera is a characteristic example.

Like Molenaar, Volten is a master of omission and had a sense of scale and proportion. All components and every detail are essential elements of the overall concept. Their collaboration leads to one of the most remarkable designs in Molenaar's oeuvre.

Their joint creation consists of two fabric panels of creamy white woolen crepe with rounded corners, completely in line with Molenaar's other designs at the time. Eye-catching are the two long shoulder straps that hang far over the shoulders, with two small balls of shiny stainless steel attached to them. These counterweights, according to Volten's idea, should keep this evening dress or 'Robe Bascule' in shape. The latter was quite a challenge according to the owner. A major balancing act that is still controversial.

Credits

1970 - Ball dress or Bascule dress

Joint design

Frans Molenaar & André Volten

Photo: Bart van Leeuwen

978 – Residential interior Frans Molenaar

Oranje Nassaulaan 13, Amsterdam

Designed by Cees Dam

Photo: John Vaughan

1974 - Front of

Frans Molenaar couture house

Van Baerlestraat 14, Amsterdam

Designed by Cees Dam

Photo: Frits Huyse

1974 - Salon

Frans Molenaar couture house

Van Baerlestraat 14, Amsterdam

Photo: Anton Veltkamp

1976 - Frans Molenaar

Frans Molenaar next to the logo

designed by Josephine Dam-Holt

Logo

Designer: Josephine Dam

Balancing

Artists

At the end of the sixties, Frans Molenaar permanently exchanged the fashion city of Paris for Amsterdam. There he seeks the company of the avant-garde in visual arts, design and architecture. For example, he often collaborates with architect Cees Dam and his wife Josephine. His collaboration with sculptor André Volten led to one of the most sensational designs in Molenaar's oeuvre: the famous 'Ball' dress, which Molenaar designed especially for André's wife Sophie in 1970.

< logo designed by Josephine Dam-Holt

Balance

artists

At the end of the sixties, Molenaar permanently exchanged the fashion city of Paris for Amsterdam. There he seeks the company of the avant-garde in visual arts, design and architecture.

His collection of mainly geometric-abstract works by artists such as Bob Bonies, Ad Dekkers and Jan Schoonhoven is growing steadily. Molenaar's preference for functional design and architecture took shape during that time. This results in a number of artistically very fruitful cross-pollinations.

Architect Cees Dam designs the sleek, calm interior of his building on Van Baerlestraat.

Dam's wife Josephine designs the corporate identity, including the characteristic black-and-white logo that adorns the façade and clothing labels for a long time. With sculptor André Volten, it even leads to a joint design, the famous 'Bal' dress, which Molenaar designs in 1970 specifically for André's wife Sophie.

André Volten distinguishes himself with bold abstract sculptures in public spaces. His enormous formats are often impossible to ignore. The granite 'sitting circle' at the entrance of the Amsterdam Stopera is a characteristic example.

Like Molenaar, Volten is a master of omission and had a sense of scale and proportion. All components and every detail are essential elements of the overall concept. Their collaboration leads to one of the most remarkable designs in Molenaar's oeuvre.

Their joint creation consists of two fabric panels of creamy white woolen crepe with rounded corners, completely in line with Molenaar's other designs at the time. Eye-catching are the two long shoulder straps that hang far over the shoulders, with two small balls of shiny stainless steel attached to them. These counterweights, according to Volten's idea, should keep this evening dress or 'Robe Bascule' in shape. The latter was quite a challenge according to the owner. A major balancing act that is still controversial.

Credits

1970 - Ball dress or Bascule dress

Joint design

Frans Molenaar & André Volten

Photo: Bart van Leeuwen

978 – Residential interior Frans Molenaar

Oranje Nassaulaan 13, Amsterdam

Designed by Cees Dam

Photo: John Vaughan

1974 - Front of

Frans Molenaar couture house

Van Baerlestraat 14, Amsterdam

Designed by Cees Dam

Photo: Frits Huyse

1974 - Salon

Frans Molenaar couture house

Van Baerlestraat 14, Amsterdam

Photo: Anton Veltkamp

1976 - Frans Molenaar

Frans Molenaar next to the logo

designed by Josephine Dam-Holt

Logo

Designer: Josephine Dam

Balancing

Artists

At the end of the sixties, Frans Molenaar permanently exchanged the fashion city of Paris for Amsterdam. There he seeks the company of the avant-garde in visual arts, design and architecture. For example, he often collaborates with architect Cees Dam and his wife Josephine. His collaboration with sculptor André Volten led to one of the most sensational designs in Molenaar's oeuvre: the famous 'Ball' dress, which Molenaar designed especially for André's wife Sophie in 1970.

< logo designed by Josephine Dam-Holt

Balance

artists

At the end of the sixties, Molenaar permanently exchanged the fashion city of Paris for Amsterdam. There he seeks the company of the avant-garde in visual arts, design and architecture.

His collection of mainly geometric-abstract works by artists such as Bob Bonies, Ad Dekkers and Jan Schoonhoven is growing steadily. Molenaar's preference for functional design and architecture took shape during that time. This results in a number of artistically very fruitful cross-pollinations.

Architect Cees Dam designs the sleek, calm interior of his building on Van Baerlestraat.

Dam's wife Josephine designs the corporate identity, including the characteristic black-and-white logo that adorns the façade and clothing labels for a long time. With sculptor André Volten, it even leads to a joint design, the famous 'Bal' dress, which Molenaar designs in 1970 specifically for André's wife Sophie.

André Volten distinguishes himself with bold abstract sculptures in public spaces. His enormous formats are often impossible to ignore. The granite 'sitting circle' at the entrance of the Amsterdam Stopera is a characteristic example.

Like Molenaar, Volten is a master of omission and had a sense of scale and proportion. All components and every detail are essential elements of the overall concept. Their collaboration leads to one of the most remarkable designs in Molenaar's oeuvre.

Their joint creation consists of two fabric panels of creamy white woolen crepe with rounded corners, completely in line with Molenaar's other designs at the time. Eye-catching are the two long shoulder straps that hang far over the shoulders, with two small balls of shiny stainless steel attached to them. These counterweights, according to Volten's idea, should keep this evening dress or 'Robe Bascule' in shape. The latter was quite a challenge according to the owner. A major balancing act that is still controversial.

Credits