His work is defined by an inherently asymmetrical approach, working directly from the human body, with no pattern piece ever mirrored. When meeting the Berlin-based designer at his collection launch in Berlin, he told us about his work and his clothing line, LEB, a distilled, more focused line that concentrates on the most essential elements of the main collection. In conversation with Numéro Berlin, we got an insight into who he is as an artist and designer and into his way of thinking.

In times of political distress and a general anxiety hovering about us at all time, it seems we want to be anywhere but in this time. Whether it be GmbH taking us back to Germany´s design past of the 1920s, Martin Quad reminiscing Woodmans work of the 70s or Haderlump inviting to a luxurious hotel stay in the 1930s: They all take their audience along travels back in time. Dagger and UNVAIN turn to the innocence of youth, evoking a time when everything seemed possible. 

So just for a moment, lets forget about the now and delve into these looks of times that were probably not simpler, but perfect to romanticize and take inspiration from. 

GmbH SS27

Against common misconceptions, fashion remains deeply political — and at times, even historical. GmbH chooses to resist in an increasingly tense political climate. For their 10-year anniversary collection, the Berlin-based label uncovers an overlooked chapter: the city’s own fashion history, while (re)claiming fashion as a serious form of cultural expression in Germany.

The designers of 1920s Berlin have largely faded from collective memory. GmbH looked back to these forgotten pioneers, drawing inspiration from historical silhouettes such as those of Clara Böhm, whose designs were featured in Die Dame in 1934.

Dusted off and brought back onto the runway are selected original archive pieces dating from 1910 to 1960, transforming forgotten garments into a contemporary statement.

The result is a collection of powerful, structured looks, predominantly rendered in shades of black, white, and grey, almost resembling a uniform. This strict elegance is interrupted by moments of playfulness and unexpected sportswear influences — creating a dialogue between meaningful references to the past and a fresh, contemporary perspective.

Dagger SS27

For his SS27 collection, Luke Raine brings us back to his youth on Ireland’s coastal shores. Basking in memories of the past, this collection is about teenage firsts: first jobs, first drinks, first cigarettes, first kisses, and first heartbreaks. The unbeatable optimism of youth is directly translated into these bold looks — the magical conviction of being able to do and be anything you want to be.

Drawing from the skate scene of the early 2000s, VANS contributed a new series of customized Slip-Ons to the looks. Inspired by queer culture and working-class experiences, this collection is loud and colorful. Prints and generous layering enhance the youthful flair, alongside edgy scribbles on skin and clothes, and makeup resembling the aftermath of a fight in a pub.

A special accessory — and probably the ultimate Gen Z symbol — completes the story: an iPhone. Creative director Luke Raine explains:

Selected models walked the show holding a phone, while wearing AirPods Max 2 headphones around their necks. The entire show was shot exclusively on iPhone 17 Pro, continuing the approach established during last season’s debut presentation.

MARTIN QUAD “WOODMAN PT. 2”

With “Woodman Pt. 2”, Martin Quad pays homage to the mystic work of the late American photographer Francesca Woodman. As part of Intervention by Reference Studios, Creative Director Martin Juncker continues his exploration of fashion as a medium that extends beyond textiles and garment-making. In conversation with Numéro Berlin, Juncker explains:

“With the performances, it was really always about the clothes — I wanted to show them from a new perspective and put a story into them. For a brand as small as ours, it’s hard to keep that performative element going, but we try to hold on to as much of it as possible and keep telling the story through the clothes.”

Mirrors are a recurring element in Woodman’s work of the 1970s — Juncker translates this into the technique of mirroring as an ongoing theme throughout the collection. Garments are duplicated, displaced, inverted, and fragmented through manipulations of classical tailoring. Clean lines and clear shapes are maintained, while the function and placement of pieces are reimagined: jackets drape around the hips, while trousers and skirts feature unusually high waistlines.

Martin Juncker also offers closer insight into his creative process and the role of collaboration in his work:

“I like to find the concept first and then work from there with the medium. I work closely with Julian-Jakob, Inter Agency, and Tim Haydock — it’s an ongoing process, and because we know each other so well, we make each other better. Their perspective is sometimes different from mine, and often that’s exactly where the better solution lies.”

On inspiration, he shares with Numéro:

“There isn’t really a place that inspires me in Berlin. But in Copenhagen, the Royal Theatre — the inside of it is so beautiful, and I keep coming back to it. If I had to imagine Martin Quad as a place rather than a brand, it would be exactly that: the Royal Theatre in Copenhagen.”

These contrasts are carefully woven throughout the collection: harsh leather — all sourced from deadstock — against soft skin, dreamy feathers paired with distressed denim, and sheer fabrics layered beneath button-ups.

The careful carelessness of the looks radiates youth, leaving you curious to discover more than just one sentence about these characters. Walking out to “Wild World” by Cat Stevens, mirroring the season one finale of Skins, the collection captures everything that is beautiful and devastating about being young.

These contrasts are carefully woven throughout the collection: harsh leather — all sourced from deadstock — against soft skin, dreamy feathers paired with distressed denim, and sheer fabrics layered beneath button-ups.

The careful carelessness of the looks radiates youth, leaving you curious to discover more than just one sentence about these characters. Walking out to “Wild World” by Cat Stevens, mirroring the season one finale of Skins, the collection captures everything that is beautiful and devastating about being young.

UNVAIN SKINS

For their second runway show, Creative Director Robert Friedrichs and the team behind UNVAIN have set the bar high. Their collection “Skins” went beyond the garments themselves: accompanied by original music and scent installations created in collaboration with RYOKO, the show transformed into a fully immersive experience.

The name carries multiple meanings. On one hand, the looks and their conceptualization are inspired by the British cult series Skins. The show introduced a raw portrayal of teenage life and its everyday struggles at the beginning of the millennium. Each episode focuses on one character, creating an intimate portrait of their individual world.

UNVAIN took inspiration from this approach: every look is tied to a character, expressed through a single sentence:

“We wanted to go the other way around. Usually you design a collection and then choose the models, but we wanted to choose a persona first and then design an outfit for that persona. We created these personas, turned them into little sentences, and they became the inspiration for the outfits, styling, hair and makeup, and casting. Everything came from that. Because of it, everyone was aligned on what we wanted to create with each look. I think it’s a concept we might keep every season, even if the theme changes.”

But the collection’s name also refers back to UNVAIN’s founding premise: beauty that does not require polish, fashion that is un-vain. Looks that remain authentic to their wearer, like the often-cited idea of a second skin. For Creative Director Friedrichs, the ambiguity of his designs might be the most important element.

HADERLUMP ATRIUM

For Haderlump’s SS27 show, the chosen venue was nothing less than the Hotel Adlon, located directly next to the Brandenburg Gate. And that was for good reason: Creative Director Johann Ehrhardt reflects on his past in the hotel industry through this collection:

The audience is placed in the centre of the prestigious hall, while models bustle around them like overwhelmed hotel staff. The collection tells the story of 28 different characters, ranging from the concierge and the bellman to guests such as a night wanderer wrapped in a fleeting blanket. Inspired by grand hotels of the 1930s, the collection quietly reflects on status, social roles, and the intimate absurdity of constantly crossing paths in a hotel space while never truly acknowledging one another.

The key becomes a recurring motif throughout the designs – another nod to the hotel world – while button lines inspired by concierge uniforms are repeated in various forms. The signature HADERLUMP coat is expanded with new details: a shawl collar and notched lapels further elevate the silhouette.

Accessories include belts with metal hardware, handbags, and leather boots created by Matthias Winkler, further emphasizing the practicality and utility required within the world of work.

The makeup was supported by Anastasia Beverly Hills and coordinated by Haebmau Atelier. Johann Ehrhardt reflects on the collaboration:

“They really matched the concept because we have stories about employees and guests. Sometimes you have a hard day, so we involved more rough makeup because you are tired. On the other side, you have the chic guests with nice details. That’s why Anastasia Beverly Hills was a great fit, and we’re really happy about this collaboration.”