I worked also with one, and it was a nightmare. So, then there were some costume designers here in Germany. Unfortunately.īut as I said, I lost touch with fashion. It was a shame to see he doesn’t really have a place in the fashion industry anymore. I liked Vivienne Westwood, Jean-Paul Gautier, Issey Miyake. So, I was fluttering when I was younger from one to the other, sipping honey everywhere. There is really an overlap between fashion and me. I was looking for what can I use with it. Mostly I'm walking around this room and searching. I wander around here in my workshop or I wander through my experiences, memories. The next step is searching for a co-player, a partner for the new encounter and I'm looking for fabric that is to connect, that brings form and gives space. So, it's very difficult to describe this. This process can take a few second seconds or several days. If it's warming or cooling, if it makes me nervous or if it triggers some emotions, thoughts or stories. Based on mutual touch - I am examining the weight. We touch the outside with a huge fiber network from the inside. The nerves and the fascia gets into the body so you can really come into a conversation and connection with the plant.
And so, I learned in the fingers it's the whole body.
I also make Asian healing practices with my own body. The finger and the hand is for me the most important laboratory. I take them to my studio and there I do experiments, I don't like the word experiment so much in the meanwhile because it distinguishes between an object and a subject, and I prefer of getting into a conversation. At the moment, I can't take anything because there is not enough. There are a lot fewer flowers due to the lack of rain for months. That feeling of freedom and infinity has never left me. I had this feeling also when I was a child, and when I was up, it was so huge, without any boundaries yet. It's like the flowers I am attracted to here in a meadow. Meanwhile, when I look into the starry sky, I see a meadow. You can be quiet, and everything changes around you. In a town, you must go out and you have to move to see the differences. And it's also a magical world because it moves, it changes all the time. I have a longing for them, I'm looking for them, but they are very rare. The different flowers, the insects, the animals. If you walk as a child, through a meadow where your feet are in the water and the plants tickle your legs, you are left with a lasting closeness to the environment.
And there was a flat, river plain with two big, huge meadows, that were often flooded. I grew up in the outskirts of a town in a really lonely area, so I was often outside. Did this start in childhood, or was it something that kind of grew as you got older? So, you have seemed to have quite a close relationship with the natural world, especially the world around you. When I saw that one of your dresses was made from hair, I was intrigued, but it looked beautiful, so I can see why you kind of gravitated towards that. Yes, I love to work with fibers that touch a variety of senses in me that I can feel myself as a whole person. And then all the plants, the moss, and the fibers I found around me. So, hair is a joy for the fingers and for the nose. So, both are very tactile professions, and I have a great affinity for everything that can be discovered by touch and by smell. Among my ancestors were dressmakers and bakers. This is something that I think, has stayed with me as I have aged, this love for transparency and for silk and natural materials. And I remember that I sketched veils, and I glued two papers, each one to another, and I painted the veil like hair over two pages of paper. As a child I already glued flowers on the paintings. I think I gravitated toward nature ever since I was a child. Yes, hair is one of the materials I used, and I don't know exactly why I used it.
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