Controversial Faceless Nativity Scene Draws Outrage in Brussels

A newly unveiled Nativity scene in Brussels has ignited significant controversy, with critics condemning it as an affront to Christian traditions. The installation, described as “inclusive” by the city government, features faceless figures crafted from recycled materials. This artistic choice has led to widespread calls for its removal, with detractors asserting that it undermines the core values of the holiday season.

On November 28, 2025, the Brussels city government presented the Nativity scene at the Grand-Place, the historic market square in the Belgian capital. Mayor of Brussels, Philippe Close, a self-identified secularist and member of the Socialist Party, stated that the previous Nativity scene had deteriorated and was challenging to transport. The design was entrusted to the Cathedrals of St. Michael and St. Gudula, which selected Brussels-based artist Victoria-Maria for the project.

The unconventional design features figures representing Mary, Joseph, the baby Jesus, the Three Wise Men, a shepherd, and animals, all devoid of facial features. Instead, they are designed with a patchwork of beige and brown fabrics intended to reflect a variety of skin tones, promoting a vision of inclusivity. The city’s rationale behind this design was to ensure that everyone could see themselves represented within the holiday scene.

Despite the intention behind the design, the response has been overwhelmingly negative among some segments of the population. Belgian Senator Georges-Louis Bouchez sharply criticized the installation, likening the faceless figures to “zombies at Brussels stations” rather than a traditional Nativity scene. He expressed his discontent, stating, “How ugly, a society that denies its values… This nativity scene is terrible and an insult to our traditions.”

Bouchez, who leads the Reformist Movement, called for the immediate replacement of the Nativity scene or at least a redesign by the next holiday season. He emphasized the importance of preserving the traditional values associated with Christmas, stating, “An inclusive society is one that brings people together — and Christmas is THE holiday that does that.”

The controversy surrounding the Nativity scene has also prompted discussions about the influence of political correctness. Some critics, like Professor Duyck, have suggested that the decision to create a faceless Nativity scene was driven by a desire not to offend Brussels’ sizable Muslim population, which traditionally does not depict the faces of religious figures. Duyck argued, “Whoever decided to impose a hierarchy on religions in favour of the least tolerant one?” He expressed concern that such measures compromise the city’s secular values.

The Mayor’s office has defended the installation, expressing hope that it will be a fixture in the square for at least the next five years. In a recent incident, the head of the baby Jesus was reported stolen from the installation, further complicating an already contentious situation.

As the debate continues, the Brussels Nativity scene serves as a focal point for broader discussions on cultural representation, tradition, and inclusivity in public spaces. The response from the community has underscored the deep emotional ties many have to their cultural and religious heritage, particularly during the holiday season.