How has your background shaped the way you see the world?
I come from a warm and loving family, and I think that’s always helped me to see the best in people. That helped during my internship. I heard horror stories about the fashion world – people being mean or cold – but I didn’t experience that at all. I’m currently interning at a place where everyone feels genuinely kind. I think that’s partly because of my background: I always try to stay focused on the good in people.

Of course, there were tough moments at school. Some people really test you, and I struggled at times. But I had friends who always supported me. Even though some teachers tried to make things harder, I never let that stop me. Otherwise, I would have quit a long time ago. In the end, there are always more people who want to see you succeed than the ones who don’t.

What’s one thing you’re proud of that people don’t always notice?
At the academy, you really need courage to make it through. In my first year, I didn’t have that yet, but by the end of those four years, I did. You’re constantly receiving criticism on very personal work, so you really get to know yourself and learn how to stand your ground. Now I know exactly who I am, how I want to present myself in interviews, and what kind of brand I want to work for. That’s made me stronger – not just professionally, but also as a person.

Is there something in your creations people often miss?
During my Master’s, I discovered I have a huge eye for detail in garments. In the early years of the academy, it was all about visual impact and bold shapes. But in the Master’s program, you really start to think about finishing: why choose this pocket, or that lining? These might seem like small things, but there’s a lot of thought behind them. I absolutely love diving into that – almost nerdy levels of detail.

What contradictions have you explored in your collection?
My work is always centered around contradictions. I really refined that during my Master’s. For example, I worked with the idea of claustrophobia, so I created pieces where a coat was literally “bursting” open, and the garment underneath was exploding out. But everything could be undone and returned to its original form – that duality was important to me.

I also mixed classic archetypes like trench coats and blazers with experimental volumes. That tension between tradition and experimentation is something I love.

Do you still use that in your current work?
Absolutely! Especially in my visual research, I love working with contrasts: what’s girly and at the same time disturbing? What’s cute but also kind of gross? That uneasy tension still fascinates me and is something I carry into my current work.

If the future were a fabric, what would it be?
A sturdy, beautiful wool in baby blue – perfect for a winter coat. Wool, to me, is a fabric that can be both experimental and comforting. You can shape it, it’s reliable and versatile. And that colour… it brings something soft and hopeful.

How do your ideas come to life?
I always start with visual research. Then it becomes a sort of ping-pong between sketching and working on the mannequin. My brain works in 3D, so just sketching can feel too flat. Then I go back to the mannequin, look at the details, and maybe sketch again. For my Master’s, I worked around my nightmares. They’re very vivid and visual for me, but you still need to communicate them to others, so I always looked for images to help convey that atmosphere.

Do you struggle with that?
Not really. I’m an open book, and I think communication has always come naturally to me.

What makes a collaboration human instead of transactional?
At Labels & Things, I felt understood right away. You took the time to look through my sketchbook, to really listen to who I am. We clicked even before talking about the project. That personal connection makes all the difference. It’s all about genuine understanding, not just the final output.

What did you learn from our collaboration?
That everything is possible! I used to think production was mostly about limitations. Of course, there are boundaries, but I found it amazing how open you were. You didn’t just say, “That’s not possible,” but rather, “How can we make this work?”

What do you want to be when you grow up?
I used to want to be a farmer! And honestly, a part of me still wants that. I grew up in an old farmhouse with chickens, so that’s deep in me. Now I dream of having my own brand someday- and maybe a few chickens in the studio. Farmer girl meets fashion designer.

So how did you end up in the fashion world?
I was always drawing as a kid, but I went to a traditional school with no creative subjects. In my third year of high school, I went to the academy’s show with my parents for the first time. I knew immediately: this is what I want to do. After that, I went to Paris for a year to study pattern making. From the third year of high school on, I was super driven. Everyone thought I was crazy, but I knew: I’m going to that school, no matter what.

The academy was a rollercoaster. I loved the first year, despite the insecurity. The second year was awful—everyone says that. The third year was amazing, I really grew. Those four years were intense: you live for the school; it’s all-in or nothing. But I’m so glad I did it. And now I’m loving being in Paris, surrounded by like-minded people.

Is the pressure to perform gone now?
Well, at least I’ve discovered what a weekend is! (laughs). At the academy, free time didn’t really exist. Now there’s more balance, but fashion is still a world where you constantly must prove yourself. I still pitch my ideas to my bosses, and that’s always a bit nerve-wracking. But I love my job – and that makes it all worth it.