I began designing clothing using silk which I knotted in a Japanese shibori method, which, when coupled with several dying and surface treatments, allowed me to create large bubbles and protuberances in fabric which could be altered and changed through movements during the course of a performance into an unlimited amount of shapes and forms.

Keeping with this idea of flexibility, I was drawn to a contemporary ‘futuristic’ tone as I developed materials. The collaboration with the design studio “Flexible Design” enabled me to explore various plastics and the technique of vacuum-forming over a mold.

In a systematic way, I began to use complicated incisions and intrusions on the geometric vacuum-formed polyurethane shapes, their possibilities examined thoroughly by each of shape’s changes on my own body. I registered these form sequences in photographs and the final pieces became a series of dance costumes for Paula Abdul’ performance to the song “Vibeology”, for her 1992 world tour.

This led very naturally into my next major project, a collaboration with sculptural sound computer artist Trimpin. In addition to other movement and design aspects, the costumes for the dance piece “D.R.A.M.A. ohno” had to be capable of producing sounds – bringing us many interesting technical challenges. Again I used vacuum-forming to create the shells of each of the three costumes, which was first sculpted in clay and then made into an elaborate series of molds over which the closed-cell foam was vacuum formed. This process was very labor intensive, but the result was a very hi-tech and intriguing costume.

The relation between finding new materials and the development of the designs on the human body, created for me a very natural connection between clothing and costume design.

At the same time I had some exhibitions with these high tech costumes in Asia, I came in contact with various types of hand weaving in silk. A new area opened up: a world of color and patterns, which I could add to shape and textures where careful control would result in very unique innovations.

The flexibility in the set up of these traditional weavers enabled me to explore totally different areas of clothing design, something which is hardly possible in the larger factory settings in the Western world, and gives me a tool against the endless repetition of the past fashion trends.

In collaboration with Dosa, multiple techniques and designs have been explored, providing an economically relevancy for the people in these countries whom we are working with; sample production was and is rewarded with production.

I was able to experience many aspects of clothing design, which for me were very valuable, I always felt working with other designers was a very enriching experience.
My ideal at the moment would be working within a true collective of various designers, because I feel more interesting ways of working could be developed and these benefit the qualities of designs.

My mind is not closed to any kind of material for clothing although the market demands a certain amount of “expected” conformity as to wearability, washability, comfort and so on. In this regard, I demand that my clothing be elegant, well made with attention to detail.
– February 2004