Sebastian Hoffmann: I worked in the art trade for quite a bit, as a co-gallerist organizing exhibitions and programs. Two and a half years ago, two friends and I founded an interior firm called Tadan – we like to call ourselves “decorators”. So I’m surprised curating has remained a part of what we do and as important to me as before. The spectrum between decorating and curating is narrower than I thought. They’re really not the same, however, they’re both about relating things to each other and spaces, situations.

We’d done a couple of smaller projects before, including a loan for the brasserie upstairs – black-and-white photographs by the Latvian artist Edgars Gluhovs, of a wine tasting and paired with a quote from “Breakfast at Tiffany’s”: “Anybody with their nose pressed against a glass is liable to look stupid.“ After that, I jokingly ended an email with: “Next up – the windows…”

That kind of joke you wish becomes a reality. And then, a few weeks later, they somehow picked it up and asked if we could talk about it. KaDeWe had collaborated with artists before, but I wanted to do something with no products from the store. Then we had the idea to align it with Gallery Weekend. That’s why all participating artists are represented by galleries involved in the festival’s program.

I’ve been going there since the ’90s – mostly with my grandmother. Whenever she said her lipstick had run out, I knew we were going to KaDeWe. In hindsight, it was probably just an excuse, no lipstick’s gone that quickly – but it becamone of our rituals. I live nearby now, still go often, even just to wander around.

Very much. They were in for all the irritation. And it works – if you hang around the storefront for 20 minutes, you’ll see all kinds of reactions from passersby and learn so much. Highly recommended!

Each window is a different case. Benjamin Heisenberg’s video piece, for example, runs on old TVs – like in a vintage electronics store. Isabella Ducrot’s large-scale painting functions like a stage set. Every window required its own approach.

You reach people who didn’t actively decide to look at art. Most come across this exhibition by accident. Sometimes one person stops and others follow, changing the dynamic entirely. That’s also why we wanted the windows to be as heterogeneous as possible.

Very thin – and that’s what makes it exciting and adds more potential to the works shown. Pamela Rosenkranz’s “Pour Yourself“, a set of Evian bottles could easily be mistaken for a product display. John Miller’s “Dress Rehearsal for the Revolution“ is a band consisting of mannequins, this band is entirely confusing in all their dead-pan glory. For this work, the project is a „homecoming“, somehow.

Some names and even works came to mind immediately – Josefine Reich, John Miller, Saâdane Afif who, with his ready-made approach, created a minimal yet effective work using reflective road sign foil – even the windowpane becomes part of the piece.

Artists like Warhol, Rauschenberg, or Jasper Johns worked with or for department store windows with creative freedom of sorts but always with products from the stores.

It’s a gift. The displays are especially striking at night – with movement, light, reflections. The city becomes part of the work. People are more focused, less distracted. The viewing experience is different at every part of the day.

New meanings emerge. Alexandra Bircken’s window shows a sculpture containing motorbike gas tanks, hair, fire – familiar but disorienting elements. It catches people and that tension between recognition and confusion creates engagement.

Optimism. The collaboration was smooth – with all the galleries, especially the artists and the store. And it’s a reminder: irritation is a good thing. It opens doors, especially outside traditional spaces.

People actually stopping, really looking – maybe even missing their bus. Or the father who came with his daughter three days in a row to pick a new favorite window each day. That’s the best thing that could happen.

Emanuele Coccia: It’s the second exhibition Olivier and I are doing. In this case, the theme was extremely clear. The overall intention was to produce a sort of new cartography of fashion to explore, on one side, how fashion invented and created a new language that is globally and planetary relevant. Unlike many other artistic artifacts, fashion produces objects that are perfectly readable and understandable from Beijing to Los Angeles, from Dakar to Sydney, from Paris to Buenos Aires. Of course, the process of becoming planetary has gone through violent and problematic phases, but it’s clear now that this is not something accessory to fashion because, in a way, fashion is the exercise of adding something new to your body or mixing your anatomical identity with something completely exterior. Some pieces are recognized as more intimate than your own body. It’s always this exercise of trespassing the border of your skin, and because of that, no other border becomes relevant.

Emanuele Coccia: It’s the second exhibition Olivier and I are doing. In this case, the theme was extremely clear. The overall intention was to produce a sort of new cartography of fashion to explore, on one side, how fashion invented and created a new language that is globally and planetary relevant. Unlike many other artistic artifacts, fashion produces objects that are perfectly readable and understandable from Beijing to Los Angeles, from Dakar to Sydney, from Paris to Buenos Aires. Of course, the process of becoming planetary has gone through violent and problematic phases, but it’s clear now that this is not something accessory to fashion because, in a way, fashion is the exercise of adding something new to your body or mixing your anatomical identity with something completely exterior. Some pieces are recognized as more intimate than your own body. It’s always this exercise of trespassing the border of your skin, and because of that, no other border becomes relevant.

What was interesting for us was to show how a kind of artificial universality is produced because, in a way, unlike other representations, universality in fashion is always produced by sewing elements together or by composing different memories, traditions, and nationalities. With our selection, we wanted to show garments that embody or unify different memories, traditions, genders, and silhouettes. That was the criterion for the choice of objects. It was extremely important for us to stress that, for fashion, every identity is a mixture or hybrid of different identities. There is no pure identity.

Yes, this was the second element. We wanted a young photographer who excels in still lifes of garments without human beings. The point was to grasp those basic forms that fashion has invented, like jeans, t-shirts, gloves, trench coats, etc., which are also universal in the sense that they are used by both the wealthy and non-wealthy, by every gender, and by every designer. In a way, they are forms available to everybody, but they are already meaningful or significant. The trench coat expresses a sort of urban mystery but can also signify much more. Items such as trench coats are basic elements of the universal language of fashion, and Gabriele was extremely talented in understanding this idea. He managed to express the almost Platonic essence of each garment. The choice of black and white emphasized this idea, depicting the garments as something anonymous. We see these forms every day, but they are becoming almost invisible; Gabriele made these forms in their strangeness visible again.

First of all, in a way, fashion is the only medium capable of crossing the limits of time. You cannot paint like we did in the 20s; it would be considered kitsch if you tried. In fashion, you can genuinely take past events and reinterpret them, liberating the past from its original context. You give these forms a new power to disrupt the present. It’s very strange since the chemical treatment of time allows us—through fashion—to escape from our life, both from the past and present.

Yes. There are many good examples; for instance, when Yves Saint Laurent in the 70s started using forms and styles from the 40s, it wasn’t an assertion that we should return to the 40s; rather, during the 40s, women were particularly powerful—men were off to war, so women were in control of the city. His idea was to use these forms to embody empowerment for women. The treatment of time and this characteristic of being borderless—not just in spatial terms but also in temporal dimensions—gives fashion incredible power. No other art form has this capacity. Of course, paintings, sculptures, and architecture are all practices that offer us freedom, but fashion grants us freedom every single day, in a public form, for every single body, because everyone is meant to be dressed.

Sometimes we forget that for a long time, garments were made from animal skin; thus, having a garment meant, for centuries, putting oneself under the skin of another life form. From this perspective, there are potentials that could allow fashion to reinvent our relationship with nature. Even among this year’s finalists, there are at least three projects truly focusing on this aspect. I believe it’s an issue that more and more young designers are considering in their work. I think that because of fashion’s universality—being an inescapable art, everyone must pass through it—fashion holds a vast potential for renewing our relationship with other life forms and allowing us to understand what it means to be under the skin of another.

This is actually something fashion radically engaged with in the 50s and 60s: when haute couture brands decided to open ready-to-wear lines, it marked the final divorce from the notion of fashion as an instrument of distinction, a class, or proof of economic and social superiority. There is a stylistic line that transcends all classes, so what fashion must do is not distinguish classes but capture the spirit of the time. That was the main idea and what granted fashion its enormous democratic potential. However, unfortunately, in the last decade—let’s say the past 20 years—a lot of companies have tried to revert to the idea of fashion as luxury, which is exactly the opposite, limiting access to very few people. This is an extremely conservative and reactionary idea. Luxury is not fashion. Fashion can, of course, embrace and include luxury, but luxury is not necessarily fashion. What those groups are doing together is extremely dangerous because it’s not just about economic politics; it’s an attempt to kill the spirit of what fashion is.

Let’s start with this institute here. It is so important because it does not follow the same model as other competitions like ANDAM, LVMH, or even HYRÈS, which tend to select candidates who share the same core profile as those at the helm of big companies. Here—you saw the candidates this year—you can find much more diversity. Some candidates do not produce with the intention of entering the industry. They create passionately and in a very diverse manner. This is also happening on different scales in different countries, in the sense that many students coming from fashion schools do not want to work in these large industries. They are trying to invent new commercial networks where, for instance, their creations are sold in art galleries, rather than in this huge retail system. So, that is one aspect. Another is that perhaps we should discuss new generations more—magazines shouldn’t solely focus on big names, but on the fashion produced by every single human being. We should really extend the discourse around fashion.

Yes, we finally need to integrate fashion into education at schools. Fashion is the only art that is not significantly taught at schools or universities, unless specified. Every person studying human and social sciences is expected to know a bit about the history of painting, sculpture, and architecture, but society tolerates ignorance regarding the history of fashion. This is also a fault of the big brands because, in a way, they are responsible for the lack of discourse surrounding fashion. They do not produce interesting discursive elements such as art galleries or books; they do not encourage people to write essays on their products. In essence, fashion companies are never interested in discourse; they assume that consumers who buy fashion are entirely illiterate. Just to give you an example, the fact that Miuccia Prada opened the foundation in Milan and showcased everything but never garments evidences their belief that fashion is simply business and not art. Otherwise, they would have displayed some of it.

Of course. If you promote and push certain values, then everyone will resist attempts to identify fashion with luxury. This ignorance also impedes people from appropriating fashion. That’s why it is also their responsibility. It is a crime that Chanel or other big companies like Balenciaga do not open their archives. Coco Chanel, it is evident, advanced humanity; she liberated many women. How can it be that the owners of this heritage hide it in the suburbs of Paris, believing they cannot show it for fear of being copied? It is such a ridiculous and irresponsible attitude from a cultural standpoint. These companies should finally recognize that they have cultural responsibilities to the global population, not just to the cities where they are based.

Yes, it is a very strange strategy, even from a commercial viewpoint. It’s clear that no one will ever possess the force and genius to create like Alexander McQueen. It would have been far better to take that money and invest it in some young designers rather than trying to produce a cult around a deceased person, which is purely necrophilia. It’s not just about countries; it’s also a major mistake from an economic perspective. Some of our past great designers were so significant—they contributed immensely to the globalization of fashion and initially had very strong successors, like Galliano, for example. But then, at a certain point, they became extremely reactionary. They are genuinely trying to kill fashion at the moment.

We’re completely lost, and the system will likely break down. You can welcome a designer but don’t expect them to dream the dreams of someone else. There are many new designers from China who do not encounter these cumbersome problems and focus more on genuinely innovative design. Those groups should operate more like art galleries.

Well, they could do that very quickly if they wanted.

Yes, but artificial intelligence is not an automatic instrument. When everyone uses artificial intelligence, the results become homogenized. It is a tool that cannot replace creativity, invention, and imagination. It allows us to go faster and create more, but we will always need people behind those instruments—in the same way that computers did not eliminate the need for someone to operate them to choose, decide what to do, or design what to wear. This is something special to fashion; we truly need to like the pieces we wear. One must, in any case, reinvent styles and reclaim one’s own freedom.

I would actually like to enter the industry to change the landscape a bit. It’s not easy, but there is significant resistance to culture in general. I’m working with the Fondation Cartier in Paris, trying to develop spaces where fashion can be discussed. It’s absurd that there’s no venue in either Paris or New York where fashion could be debated.

Kim Peers: I’m most excited about bringing Skemer to life on stage – preparing backstage, creating new looks that capture our world, and crafting moods and stories to share with the audience. I want each performance to resonate deeply. This tour, our longest yet, spans three weeks and marks our second collaboration with our booking agency, Swamp. It’s also our first partnership with the French booking agency Personata Grata.

I’ve met many of my closest friends in clubs. It’s where I connect with like-minded people, and we come together to dress up and dance. Most of them feel like family to me.

I feel very much at home in Berlin and feel like I fit in there even more than in Belgium. A few years ago, I considered moving there, but meeting Mathieu, my partner, kept me in my home country. Now, I just enjoy visiting from time to time.

A long time ago, I used to drink, smoke, and occasionally do drugs, but eventually, it just got boring. I have so much more fun being sober now. The only time people might assume I’m not sober is when I’m dancing non-stop – and I’m not shy about dancing right up on stage next to the DJ! I’m actually not very aware of my strong presence.

Making music began as a creative outlet that I really needed – it brought me comfort and a sense of safety. That’s why, at first, I mostly made music just for myself. Now, I feel more at ease, and while music remains very important to me, it has become more of a creative playground, with a bit more ambition and vision.

My inspiration comes from my inner library and moodboards. I observe everything around me – it just has to resonate, and I’ll absorb it somehow, eventually using it as inspiration. When I’m writing lyrics or performing on stage, I draw directly from this source.

Working with Mathieu is going very well, we each bring our own strengths, skills, and experiences. When I create, I draw from a vivid, visual source of inspiration, while Mathieu works from a kind of blank slate or void. Of course, he’s also inspired by external things, but I tend to be more complex in my process. This difference sometimes makes it challenging to understand each other, but it mostly leads to a balanced, complementary dynamic.

When our first album came out, Skemer was still fairly new. There was already an identity, but with the second album, that identity grew, evolved, and became clearer. Inspired by De Brassers, I wrote two tracks with lyrics in Dutch, my native language.

I appreciate seeing the truth, even when it’s dark, as it offers a more honest perspective. I’ve experienced a lot of darkness in my life, but I’ve chosen to move forward, transform it, and carry it with me. I’m not afraid of darkness or of taking a difficult, confrontational path. In fact, there’s a certain peace that comes from accepting that and even finding beauty in it. Eroticism can evoke a sense of power and freedom. While some may view it as purely erotic, for me, it’s about the freedom to be who you truly want to be.

Geen mededogen.

Geen ontkomen.

Overgave die me niet loslaat.

Translated:

No compassion, No escape,

Surrender that won’t let me go.

It’s a powerful realization that the only thing a person can truly control is their own surrender.

I’ve been involved in fashion for most of my life, literally growing up alongside many people from the fashion world. As a result, it has had a huge influence on me. One of my biggest inspirations is Inge Grognard’s approach to makeup, along with the work of other talented makeup artists. I’m fortunate to have many friends in the fashion industry who are also designers, such as Sehnsucht Atelier, Judassime, and Wouters & Hendrix. I love incorporating their creations into the world of Skemer.

Actually, no. A strong interest in music is essential for me – not just passion, but also a vision that aligns with decisiveness and a grounded mindset. Aesthetic is crucial for my peace of mind, especially in my home. As I write this, I realize just how lucky I am to have Mathieu in my life! Haha.

When I started in fashion, I didn’t feel a strong connection to it, except with the Belgian designers and Alexander McQueen. I still have pieces in my archive from Jurgi Persoons, A.F. Vandevorst, Haider Ackermann, Veronique Branquinho, and others. There are so many exciting designers and brands now. I really love what Stefano Gallici is creating at Ann Demeulemeester and am a big fan of Glenn Martens at Diesel. They bring a fresh perspective to these established brands.

The makeup products were heavy, often caked with thick facial powder. Now, the focus has shifted to skincare, with much lighter products. Photoshoots were done on film, with just a few Polaroids to check the lighting. I’ve kept a collection of those Polaroids because, at times, I loved their vibe even more than the published shots.

I’m also pleased to witness more diversity among models, though I believe there’s still work to be done, as the size range remains too limited.

Instead of trying to follow trends too closely, it’s more important to stay on your own path and focus on a long-term vision. A strong personality stands out more than ever. Nowadays, images pass by so quickly that having a distinctive personality or image is crucial. My agencies ( Noah Mgmt, Elite NY and A-Mgmt) respect my personalty and even see it as an asset.

Before social media, my booking agent primarily managed my portfolio. I was fortunate to be booked for interesting projects most of the time, but I occasionally grew tired of the one-dimensional images that people created for me – mostly androgynous or rock ‘n’ roll styles. Since the rise of social media, I’ve taken control of my image and what I choose to share with the world, as well as the type of people I want to connect with. It’s a wonderful experience to engage with others all over the globe. I’m also very selective about the projects I choose to engage in. I say no to anything that strays too far from what I want to represent.

In my early days, fashion and music were separate worlds for me. I didn’t want to compromise my music, as I created it mostly for myself. It was my own thing, and I struggled to connect the two. With Skemer, it’s the first time I’ve allowed both worlds to come together. Perhaps the timing was just right, and it felt natural. We create a lot of our videos ourselves, and I love approaching this process with my experience in fashion. The artwork, promotional materials, and merchandise serve as playgrounds where I can infuse that experience as well.

I must admit I have many of these moments. Every experience, big or small, helps me evolve and grow. One experience that stands out is when I performed together with Delfine Bafort in a theater piece called “Truth or Dare, Britney or Goofy, Nacht und Nebel, Jesus Christ or Superstar” by Lies Pauwels. The improvisation involved in the initial process was truly eye-opening for me, and bringing the piece to the stage is an experience I will always cherish. It significantly inspired my performances with Skemer.

Additionally, my experience with modeling for fashion shoots has been interesting to incorporate into my performances. There’s a unique awareness of how to move your body that comes from that work. I also attended a performance by Christine and the Queens, now known as Rahim Redcar, which left a lasting impression on me. The way he expressed real emotions alone on stage in a theatrical setting was incredibly touching.

From a young age, I had a strong sense of who I was, which sometimes made it hard to fit in. Even when I tried, it just never seemed to work. I grew accustomed to being quite solitary, but over time, I learned to embrace this part of myself. In recent years, I’ve found a close circle of friends who accept me as I am, where I truly feel I belong. It’s an amazing feeling.

To further develop a strong sense of self, I stay focused. It’s not just about ideas in my head, images online, or discussions about concepts, it’s about taking action and creating tangible things. This process requires time, energy, and effort, and it’s largely independent. I don’t wait for others, I simply start doing it. The more I engage in these activities, the more they become real and something I can work with.

It’s important for me to care for myself, but also to care for others. I strive to be mindful of how I balance my time and energy, continually assessing my priorities – what and who truly matter to me.

That’s a difficult question for me because I rarely look back, I just keep moving forward. I do have to admit that sometimes, aspects of my past feel like they belong to another life or another version of myself.

Similarly, I don’t look too far ahead. I prefer to remain open to possibilities and changes. Right now, I’m focused on enjoying the moment and the journey, wherever it may take me.

Tjioe Meyer Hecken: So far, we’ve mostly exchanged flyers and materials

Loretta Würtenberger: I’m glad we’re finally speaking directly. Building something like you and I are doing – essentially from our own means and resources, while presenting a demanding and recognised programme – is something where you really appreciate having allies.

Loretta: I’m disheartened by the lack of political attention, which is so contrary to the attention and support we receive from people from all over Northern Germany and especially our neighbors from Schwante and other nearby communities. We’ve invited the Ministry of Culture over and over again, we informed them about all our activities. International publications such as The Guardian and the FT have written about us, yet, in Potsdam, we are ignored. It’s quite astonishing given our regional impact, attracting thousands of visitors each year.

Tjioe: I entirely agree, we bring internationally renowned artists with impactful messages to northern Brandenburg, yet receive no support and have even faced attacks on our art.

Tjioe: We are not discouraged by this; iconoclasts exist everywhere. We remain unrestrainedly positive. We want Brandenburgers to be involved in the region. We work with schools, with children, with the new generation. And it can be said: We are open to everyone. We are here in the north of Brandenburg and embrace mondialité as a posture of worldliness to unite people and cultures.

Loretta: We aim to create a place in which nature and culture come together on equal terms, while keeping the park open and inviting. In the center of our activities is the 20 hectare Schlossgut Schwante sculpture park with its wide range of international artists. With our program of accompanying events, such as music, yoga, meditation, family workshops, we invite not only visitors who are interested in contemporary art but also those who want to simply enjoy such activities, bringing openhearted people together.

Tjioe: We have a lot in common but position Wehrmuehle as a museum and a community-driven, artist-centred institution. We focus on artist residencies and community involvement. Whether we have a rave in the forest by Julian Rosefeldt, which is actually part of an art production for the Opera Antwerp, or conduct a children workshop with Maryam Keyhani: it always comes back to the artist and the art. Plus: What can the community contribute? How do people want to get involved, and how can we expand and utilize our platform for this?

Tjioe: We’re very Berlin-affine, with many visitors from the city seeking weekend escapes. We offer a cultural space for people to explore contemporary art, and experience it in an interdisciplinary way. The museum fosters a connection between art and nature. 

Loretta: What defines us both is definitely that people usually travel a distance that is not necessarily different in time from a trip from Wedding to Kreuzberg, but it is an active decision to linger there. More active than within the city, where you’re used to the distances. You don’t drive three-quarters of an hour outside Berlin only to rush through in seven minutes. This benefits the perception of the exhibited art greatly.

Tjioe: We host three shows a year and more. We have been curating projects internationally and have had the pleasure of running an Offsite in Berlin for two years. Here, we host performance art (Göksu Kunak, Young Boy Dancing Group), experimental dance (Ylva Falk, Amanda Donato, Soraya Schulthess), and music (Labour Studio and Kaan Bulak). In recent years, we’ve found that an accompanying programme – even related to the city – really draws people out, and we’ve unintentionally specialized in that.

Loretta: This stems from my own belief that experiences such as body-conscious breathing and yoga within art integrate into the spiritual space provided by nature and art, and this combination  makes visitors more receptive to their surroundings.

Tjioe: It is always refreshing to see women in the forefront of the male-dominated art world. Whether on the art market, at fairs, in museums, or galleries. At the same time, I believe that places like ours need a host . It’s not a feminine characteristic, but I think Loretta has it, and I think I do as well. Perhaps that is a coincidence.

Loretta: I want to separate the question from gender and add what I believe is necessary: our activities require a strong intrinsic motivation and sensitivity to the spirit of the place we are entrusted with. A sensitivity to ensure that art does not compete with its surroundings. That art is not aggressively set against nature, but that both are seen as emerging from the same creative force. Lastly, you need to be able to think and act ong term since places as such we manage  are not established in two or three years. But rather need a vision which goes far beyond, to grow into its environment.

Loretta: Definitely, but I would view the gap as leaning towards Berlin, not Brandenburg. I first came to Berlin in the early 1990s. The city was an absolute wasteland – in the best sense of the word! Where everything could develop, where everything could happen, where there was no financial pressure, where gentrification debates did not exist, where people from diverse backgrounds could meet. Looking at today, I’m discouraged by the development in the last 10 years. There are unbearable financial aspects, but also questions of self-constitution: Who am I in Berlin? Where do I locate myself in Berlin? Personally, I feel much freer in the countryside of Brandenburg, where I have found many of the positive aspects I so much enjoyed in Berlin many years ago, now outside Berlin.

Loretta: Things are less heated, less contextualized, because the urge to conceptualize is less. Many of our artist friends find inspiration in the nature around Berlin. Not only are the residency artists with us, but also artists who come “unofficially” and realize individual projects here. They all take a deep breath when they arrive. We are grateful that the metropolis of Berlin is within reach. I frequently go to Berlin. I am grateful for the Philharmonie, the Komische Oper, Tanz im August. But I no longer want to live there. I feel that I can breathe, think, and be creative much more freely here. A bit like Berlin in the 1990s.

Tjioe: In the end, I am still a city person. (laughs) Although I have spent a considerable amount of time in nature and traveled extensively for research due to my degree in behavioral ecology. Perhaps, we are just a bit closer to Berlin, gradually bringing Berliners closer to the enthusiasm for the surrounding nature. Showing them a bit of deceleration.

Loretta: Due to our location facing near to the Hamburg autobahn, our focus is on all of Northern Germany, integrating visitors from places such as Hamburg or Hannover. Some even come from far abroad, quite a lot of visitors from the United States, often coming in patron groups of American museums or other renowned institutions.  

Tjioe: We remain open to new ideas and perspectives. This exchange has been vital to our growth and development. Wehrmuehle is the center of our activities, and it has become customary to refer to Berlin as our Offsite. When we say, ‘We are going to the city,’ we acknowledge that Berlin is, indeed, our Offsite in Brandenburg.

Tjioe: We celebrated our season finale during Art Week Berlin in partnership with ArtReview, showcasing renowned DJ/producer Nina Kraviz. As we transition into winter, we’re maintaining a more intimate profile with exclusive dinner events and invite-only art happenings. Our residency program continues year-round, and we are actively planning international collaborations and Offsite programmes to keep our community engaged.

Loretta: Our situation is different from yours, because we don’t have an indoor public space. And I must confess, I also need that winter break. For me, it’s not a desirable goal. I feel connected with the cycles of nature and have no problem retreating and reflecting in winter, and then starting preparations again in the spring. When the blossoms come, we too blossom again.