To briefly retrace my background: I studied fashion design until 2016. That was the initial and decisive factor for me. It was already very clear at an early age that this was what I wanted to do; I had been pursuing this goal since I was 13. After graduating, I first went to Paris and completed an internship at Voyomi, a Korean brand that shows in Paris. After that, I spent five years working at a design agency in Cologne, which was extremely formative because the work was highly interdisciplinary. Although I was responsible for the fashion-related aspects, the agency operated holistically, covering brand communication, retail design, product design, and packaging design, among other fields, for clients such as Rolex, Dior, Givenchy, and others within the luxury segment.

This experience was particularly valuable because it enabled me to look beyond the boundaries of fashion design. While I maintained interfaces with fashion, I worked across a wide range of projects, from packaging design and art direction to brand definitions for more commercial clients and beauty shootings. Essentially, all areas of design were covered.

During the COVID period, the decision was made to pursue my own brand. It was initially developed alongside my agency work, before the transition to working independently was made. The first presentation of the clothing took place in June/July 2023 during Fashion Week, in a gallery in Neukölln. This was a fully self-initiated project with the first collection. Everything that followed then took place within the framework of Berlin Contemporary.

What has been particularly formative during this phase has been a strong process of trial and error. A fashion design degree provides a solid foundation, but it does not fully prepare one for the realities of the industry, especially with regard to business structures and economic mechanisms. This was particularly evident within the German context, at a time when Berlin was only just beginning to re-establish itself and redefine its position. A decisive factor in my development was the connection to Berlin and the Fashion Council. This applies not only to my own brand, but to many younger labels involved in initiatives such as Berlin Contemporary. The increased international visibility of Berlin is largely due to this institutional support. Without the work of the Fashion Council and the Berlin Senate, the current level of support would not exist. This, in turn, makes it possible to move beyond national or press-related establishment and take steps toward international platforms, such as showrooms in Paris.

Alongside these milestones, the process remains strongly shaped by trial and error. Decisions made in the first season are often revised later. The work on each collection is highly reflective: an ongoing evaluation of what functions, what still feels authentic after the season, and which elements may have been driven more by marketing or effect. The objective is a continuous sharpening of the brand’s own line and identity.

The work is fundamentally conceptual. The first two collections, for instance, were entirely dedicated to the theme of companions along one’s path. Having worked for five years at a design agency, my creative output had always been guided by the artistic direction of others. Upon returning to independent work, one of the central initial questions was therefore how my own signature could be defined.

This led to an examination of which influences had shaped my visual language from an early age and how these influences still manifest, often subconsciously, in my work. A recurring element is a strong engagement with historical references. From childhood onward, there has been a fascination with historical architecture, castles, costumes, and period films. As a result, my mood boards are more likely to reference traditional garments, folklore, or historical clothing from various eras than contemporary minimalism or 1990s references. These elements consistently resonate throughout my work.

The current collection is based on very few visual references. The driving force was an intuitive feeling experienced while engaging with social media. Reading comment sections often evokes a sense of helplessness and shock in response to current societal tendencies, the spread of hate, and the handling of misinformation and fake news.

This led to reflections on political developments, as well as on the role of artificial intelligence and misinformation. It is striking how often opinions are expressed without any attempt at verification or fact-checking. Information is accepted arbitrarily.

A pop-cultural example involved AI-generated images of Miley Cyrus circulated under the title “what happened to her before and after.” Despite being clearly artificial, many reactions treated the images as real. A single click would have sufficed to verify their falsity, yet the algorithm was further reinforced through engagement.

This phenomenon extends beyond pop culture to politics and society at large. It evokes parallels to the period prior to the Enlightenment in the 16th and 17th centuries, when questions of reason, rationality, human rights, freedom of belief, and separation of powers were central. Today, similar dynamics can be observed: increasing proximity between religion and politics, rising fundamentalism, and emotional rather than rational argumentation.

The crucial difference is that knowledge is now readily accessible, yet often remains unused or unquestioned. This is perceived as a dangerous tendency. The collection responds to this atmosphere and situates it within the context of the aestheticization of capitalism through social media. Historically, parallels are drawn to the Rococo period and the French Revolution, a peak of elitism followed by bourgeois uprising. The present moment feels comparable to a renewed brewing of class struggle, and these reflections are integrated into the collection.