Thousands of fashion lovers, family, friends and journalists took to the halls of fashion academia to catch a glimpse of the next generation of Flemish designers. Notebook in hand, I sat with the other fashion journos in the front row at each and every one to make a distinction between the schools (is Antwerp really the best?) and to predict the next big thing.

Visiting all of the graduate shows at the end of the year is a task not to be taken lightly. Traditionally, every single student of every year gets to present what they have accomplished, so the shows tend to last up to four hours. Moreover, the themes of the different grade levels are the same almost everywhere: first-year students focus on volume and shape within one particular garment; second-years create a collection based on historical costumes; third years base theirs on ethnic costumes. It isn't until the graduates finally take the stage that you see truly free and boundless inspiration - the very identity of these new designers.

Luckily, patience was rewarded.

First up was La Cambre, the only school offering an extensive five-year education in fashion design. Yet the Brussels school is still often ranked second in place after Antwerp. La Cambre was founded in 1926 by Henry Van de Velde as an art school. Its fashion department didn't originate until the 1980s, at a time when Antwerp's first alumni - the infamous Antwerp Six - were already taking the world by storm.

This somewhat explains La Cambre's reputation of runner-up. But the school has been catching up lately, as more and more of its graduates start their own labels to critical acclaim. Sandrina Fasoli, Cathy Pill and Valeria Sinouchkina's Girls from OMSK are recent examples.

La Cambre's style is sometimes regarded as too much on the artistic side, too out of touch with the fashion world. But in recent years, students have started designing actual clothes instead of works of art, many of which can be worn straight off the catwalk. It's a slightly more commercial approach, and the younger students are still struggling with this a little, but the graduates are clearly attuned to this delicate balance. Mansour Badjoko wa Lileko in particular made a very fashionable and wearable menswear collection, and we could definitely see Lucile Puton's designs end up in avant-garde boutiques.

In the same weekend, the students of Sint-Niklaas Academy of Fine Art showcased their work. Going from one show to the other, the difference for the spectator could not be greater. Whereas the atmosphere at La Cambre was rather dark, a little mysterious and generally very serious, the vibe at Sint-Niklaas was much lighter and more spirited. The fashion department at this academy offers part-time schooling, so its students all have jobs and lives outside of their passion for fashion. To them, this is an extra, a way to channel creativity, and the show felt like the apotheosis of that creative outlet.

And yet the level of the work in Sint-Niklaas far exceeds expectations of those who consider their education more a hobby than a calling. In the final year, Lore Janssen dazzled the audience with digital prints of pearls on her unequivocally feminine styles. And the third year is looking very promising: Joëlle Meerbergen and Michiel Aerts are names to remember next year. Berit De Geyter was the lone student finishing her extra fifth year, showing a collection of bathing suits both humorous and elegant.

Fun though we had, what we're all really waiting for is the show at Antwerp's Royal Academy of Fine Arts. It's no secret that these students invest a lot of money in their final collections, and they are backed by Antwerp Sixer Dries Van Noten, who donates copious amounts of luxurious fabric each year.

This doesn't mean the creations of these students are therefore somehow better or more imaginative, but it does mean their collections almost always look like they cost a million. Admittedly, it's hard to remain objective when watching models swathed in expensive silk and wool swish by.

But even focusing only on the work itself, Antwerp never truly disappoints. Their schooling is such that they leave the academy true designers. But this year we were rather surprised by a sort of tameness on the catwalk. Normally one conceptual silhouette after the other walks by - the kind of designs that are rarely considered actual clothes. This year, we were jotting down feverishly which silhouettes we wanted to add to our wardrobes.

Perhaps making wearable clothing is how this generation of students hopes to attract the attention of future buyers and get a head start at their own clothing lines. If that is the case, we hope to find the wonderful geometric shaping of Alexandra Verschueren and the chic dresses of Stefanie Bösl in shops this fall.

Last in line was the Ghent Academy of Fine Art. I'll be the first to admit it must be tough to be the closing act, but we were a little disappointed after this show. Almost like an anti-climax, the students and models were not particularly enthusiastic after the show, nor was the audience. Perhaps it was because some of the collections were downright uninspiring or ill put together?

But then again, some of them were exciting and promising: Sarah Bos, for instance, who's already inked a deal with Ghent pop band Soulwax to design a special series of shoes and who is in the process of starting up her own brand with Cleo Baele. And Han Mannaert we won't forget because she's made the most covetable stockings we'll see all year.

Too bad there's not some kind of initiative or shop that sells the work of these graduates. We're pretty sure we'd break the bank in order to own a unique piece made by tomorrow's top designers.