In 1960, De Bruyne won a prize with chair designs in the European Arflex - Domus (magazine) competition in Milan.

[1][2][3] On the occasion of an exhibit in the Saint Peter’s Abbey in Ghent in 1976, Jan Pieter Ballegeer writes: “But what is the message of De Bruyne’s furniture?

However, De Bruyne’s deformation is not characteristically expressionistic, not mainly meant to be understood immediately, but rather delicately mysterious and complexly aesthetic, ingeniously manneristic.

The many traits in common with the postmodern Italians should not obscure the fact that De Bruyne had already started this type of work in 1970, whereas Studio Alchimia and the Memphis Group only developed their activities a decade later.

[5] De Bruyne was paid hommage in the exhibition Postmodernism: Style and Subversion 1970–1990 in the London Victoria and Albert Museum (2011–2012), where his Chantilly cabinet (1975) took up a prominent place.

In 1985, De Bruyne comes up with spectacular results: he supposedly found the key to the secret canon and deciphered the underlying laws of Egyptian furniture, painting and sculpture.

De Bruyne plans a book with the results of his studies by the end of 1985, but finds some obstacles in his way that complicate the completion of his work.

[8] De Bruyne's furniture has been exhibited both at home and abroad, including Los Angeles, London, Mainz, Zurich, Bari and Amsterdam.

In 2022, the property received national and international attention with the publication of an article in the specialised magazines Interior Design(US) and the German Häuser.