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Respect to the resources
It was never a deliberate rule, and still most of my work uses waste and deadstock materials. This choice comes naturally. Waste is an uncomfortable material, a physical indicator of extravagance, the ugly cost of creation. And it pushes the boundaries of creativity. In fact, in limitation, even in decay, something still wants to emerge. I find it a form of resistance and a calming thought that creation is always possible.
Deconstruction
In my practice, both experimental and in costume design, I use deconstruction as a technique and a tool, not only as a way to reveal the beauty of construction, but also its vulnerability. Stripping away the layers, showing the undone, I cherish the active and living part of a garment as an object that attunes to the body it holds.
I am also fascinated by "alien" elements, irrational materials that interact with the fragile and soft. This proves fruitful in projects where I use wires, electric cables, fish nets and similar, which correspond well with waste not only as a resource, but also as a philosophy.
Intuition
Every piece made in my studio takes many hours of meticulous handwork and requires knowledge from different disciplines and perspectives. And still, I never underestimate the intuitive way of working, of being guided by the material itself. I plan, but I leave the door open for what arrives on its own, with no need to suppress it.
Outsider perspective
Coming from fashion design, I enter costume design from the body outward. I start by asking about this particular body we are portraying; its history, identity, expression, and then I look at where it meets in the world we are creating. Or where it doesn't. That tension, between a body and the world it inhabits, is where I find the most interesting choices. It keeps me away from the obvious, from the costume that illustrates rather than inhabits.