Identities

Was this your very first collaboration with another company?
On this scale, I think so. I had worked with other people before, like a shoemaker, and someone who worked with metal, small things like that with a business. But this was the first time on this scale, and it was really nice. I think what’s so cool about Labels & Things like that is that they really open your horizon about what’s possible. It’s genuinely inspiring as a designer to come and look at all the sample books.

I spent a whole day going through all those amazing books. So much fun. I understand that a lot of people find it very overwhelming, because you have this idea of “okay, let’s make a label,” and then you see all the options and it’s like, “ah.” Actually, when we had to make the label, that was the most overwhelming part, because when you’re going for one specific thing and there are so many different options. In school I made some enamel pieces with them, more jewelry and hardware. But later, when we made the brand label, that was really overwhelming. In the end we went for something very classic, but beautifully made. That was cool.

How did you get started in fashion? Was it something that began in your childhood?
Yes, when I was twelve. It actually came from music. I loved different emo bands and was really a little emo kid, and I think that’s how I got into dressing up and style in general. At some point I remember realizing this is what I want to do. My parents put me in touch with a woman in my village who could sew, and she gave me some sewing lessons. Once a week I’d go to her and she taught me to make a hoodie, make trousers. That’s how it started.

How was your experience at the academy?
It was very tough, but amazing. I learned so much about myself and discovered who I am during that period. I arrived when I was 19. I think that’s exactly the age when you really form your identity, and I think I grew as a designer and as a person hand in hand — the more I got to know myself, the more I got to know my [design] language. It was an incredible, truly life changing experience. I wouldn’t trade it for anything. With all the hardships, and with everything that maybe could have been different or is different at the academy now, I’m really grateful for this experience. It was truly inspiring and it also made me strong. And it proved to me that I can do anything.

What was your path after graduating, did you always know you wanted to start your own brand?
No. It wasn’t really about starting a brand, more that during my time at the academy I organically discovered my own practice, quite autonomous. Not autonomous in the sense of doing it alone, but I found my place as a director. I also discovered my interest in cinema and performance art, and my approach to fashion, which was already very specific at school. Then in the master’s I really allowed myself to do exactly what I wanted, very theatrical, very narrative with clothing, not very wearable. When we finished the collection I looked back at it and thought, “I don’t really think I can apply for a job at a fashion house with this.” And then I saw the kind of life my colleagues in Paris were living when they were just starting out in the industry, and I realized that wasn’t exactly what I had studied for or what I wanted to do. So I realized I wanted to develop my own practice in some way, this was also partly why I stayed in Antwerp.

How does your design process begin?
Always with images and films. I’m always collecting images, it’s a constant search for visual material, but not only visual, it can come in other forms too. But it eventually crystallizes into an image, and I do this very intuitively. Usually when I see something that catches my eye, I photograph it or save it in my folders. And every now and then I go back through this material I’ve collected, and I usually realize there’s a common thread running through everything, a feeling that holds it together. And then that develops into the concept of the collection. Meditation is also a big part of my creative process, I meditate a lot on these images, and a lot of connections come up through that. And then I can show you, I make these kinds of books that I call visual poems. It’s always something like two images next to each other, in a certain order, and that tells, in a certain way, the story or the intention behind the collection. This idea comes before we really start developing it, and then it grows into a collection.

Where do your images come from?
They come from everywhere. None of the images are photographs I took myself. I mainly work with found photography, images that resonate with me because they are connected to cultural heritage, human history, and traditions from different communities. I’m fascinated by the way customs, rituals, and visual languages are passed down through generations, constantly evolving while carrying traces of the past.

Do you make these books for every collection? Is it one book, or several?
Usually it’s one, as a starting point, and then of course we eventually make the collection book. They start scattered on a board, and then eventually come together in this little booklet. It’s nice to have.

Is every book different? Do you see a common thread?
Of course you see a common thread, some images repeat. Actually I don’t think anything really comes back from previous collections in this one, but in the previous three books I made, there were images that kept coming back again and again, because in some way they’re still inspiring and still an important part of my search.

How do you think your background has shaped the way you create?
Definitely. I grew up in a place where many different religions come together and live side by side, so my cultural landscape is very diverse. The fact that all of this coexisted in some way really left something in me. I also grew up with a lot of objects from the East in my house, because my father traveled a lot, and I think this also became an important addition and fascination with objects, objects that carry meaning in a certain way.

Which emotions drive your creativity the most?
A longing for beauty, I think. I think it’s always about beauty and pain, how they go hand in hand and how they’re an inevitable part of the human condition.

What part of yourself shows up most clearly in your work?

I think the part of me that shows the most is how detail-driven I am. I’m an extremely detailed person, and that definitely comes through in my work. I believe those small touches transform a garment and make it truly special.

Do you also see that in your personal life?
It’s mostly a work thing, but of course I’m also quite organized in my personal life.
If you would ask my friends, they would probably say they recognize that same precision. They sometimes know me better than I know myself. And I think it makes sense, if you are meticulous at work, you tend to be structured in life too. I definitely am. At the same time, I’m trying to be a bit freer.

How has living in Stockholm influenced your creative rhythm or sensitivity?
A lot. I’ve learned so much working at Acne Studios, and naturally I’m influenced by the aesthetic there, especially the denim culture. 
In this collection, I was directly influenced by the city. Many pieces and characters are based on the people around me in Stockholm. The minimalism you find here also resonates with my own aesthetic, so it blended naturally into the collection.

Do you still use the same creative rhythm at Acne Studios, or is it very different from making your own collection?

I worked at Acne while developing my own collection, so they overlapped. They are different contexts, but both are part of me as a designer. My collection is very personal, while at Acne I work with as part of a team, though the way I approach design feels the same.

Is your way of working the same, or does it differ a lot?
I’ve learned so much at Acne, especially from working with different designers. It helped me grow. For example, I get inspiration from vintage garments, which we also explore at Acne. Ultimately, everything influences everything. I try to stay open to new methods that push me further.

In your first collection you used Photoshop and distortion. Did technology shape this collection as well?

Yes, but differently. The previous collection was very software-based. For this one, I didn’t want the software to limit me, so I approached it in a more analogue way; more sketching, more hands-on experimenting. Still, the final looks ended up having a digital feeling, which was intentional. Photoshop is one tool to redefine garments, this time, I wanted to explore more directions.

Does your creative process always start from a different angle?
This collection is still a continuation of the previous one, not analogue, but designed more analogically. I’m open to change. Fashion is about constant change anyway.

How did your experience at Hyères this year differ from last year’s win? Did you feel the pressure of presenting something new?

Of course it was stressful, but it also gave me extra motivation. Hyères is an incredible platform and I wanted to show my best work at this moment in time. I’m happy with what I presented. Sure, there are things I would improve, but that’s always the case.

Did materials like leather, elastic and metal influence your design decisions?

Those elements already exist in garments, that’s why I use them. A buckle belongs on a belt; I wanted to reinterpret that. That’s why I collaborated with Vania and Labels&Things, to create my own versions. For me, these details need to be special, because they shape the movement of the garment. If a piece needs elastic, I want to rethink what that elastic could be. Same with the denim patch on jeans, it’s familiar, but that’s exactly why it needs to be distinctive.

What role does denim play in shaping the narrative of your collection?
Denim is probably my favorite material, it surrounds both collections. I’m a denim guy. It’s what I wear, what I see, a key part of my life.

For a collection based on casual wear, denim is essential. It’s familiar, universal. And because it’s so familiar, it creates room for disruption. A small shift can restructure everything.

Do you always start your collections from a fabric?
Not really. It usually starts from an archetype, a character. For example, I wanted a biker look, so I tried to study that way of dressing. Or an American denim dude. That’s the starting point.

Do you always have people in your head while designing, or does it just flow?

The previous collection was more of a fantasy about certain characters. The latest one is more grounded in real people. Some pieces are directly influenced by people in my life. It made the collection more personal.

What did you learn while working with Labels&Things?
It was my first time developing something like this. I learned a lot about materials, trims, and hardware. With the buckle, for example, the challenge was figuring out how the bridge should fall. I didn’t construct it myself, but I learned a lot about buckle construction and how to rebuild one in a completely new way.

If you could summarize the collaboration in one word or emotion, what would it be?
Innovative and inspiring.

If the future were a fabric, what would it feel like?

Indigo-dyed denim, soft, worn-in, torn and mended, showing the passage of time.

What do you want to be when you grow up?

A creator.

Your collection was born from a dialogue between mountains and cities. Where do you personally feel most at home, in the stillness of nature or the energy of the city?

That’s an interesting question. Honestly, both. I live mostly in the city and I really enjoy that lifestyle, but when I go back to my parents’ hometown in the mountains, it’s incredibly grounding. Even a weekend there gives me so much energy. So yes, the city feels like home, but returning to the mountains is essential for me. At the moment I’m still based in Brussels, though I’m looking for a new atelier, so things are quite open.

Do you want to stay where you are now, or are you considering moving?

I’d like to move, probably to Paris or Milan, depending on job opportunities. At the same time, I’m still working on several projects in Brussels, so I’ll always go back and forth between Paris and Brussels.

You often talk about balance: between utility and elegance, structure and comfort. How does that idea of balance show up in your daily life?

Functionality is essential for me. Every garment I have created purposefully placed pocket, sometimes a creative one, sometimes multiple. I work like that because functionality is very important also in my personal way to dress, I know exactly where I keep each object. That system gives me comfort and structure.
 Life as a designer is intense: long days, late nights. So moments for myself are crucial: running in the park, reading, simply being outside. Even the daily walk to school used to be a moment to breathe. When I no longer had that routine, I realized how important those ten minutes of fresh air actually were.

What connection do you see between Gamper’s exploration of variation within a fixed object and your own approach, generating multiple outdoor-inspired garments from a single pattern piece?

I spent a long time studying not only his work, but also his way of thinking. His project “100 Chairs in 100 Days” particularly inspired me – the idea of hybridation, of combining two typologies to create something new.
 That became the starting point for this collection. I asked myself: “what happens when different kinds of typology meet?”. The first reflexion was: “could a down jacket meet a trench?”. And so, to go further I asking myself: “how the technical winter sport garment can meet (or encounters) a classic contemporary menswear wardrobe?”. That question guided me toward the parka, anorak, down jacket, and so on – all translated through one shared component.

Why did you choose Gamper as an inspiration?
I’ve been fascinated by furniture design for years. When I was younger, I discovered the Bauhaus movement, which had a big impact on me. Since then I’ve kept exploring designers furniture, architect, interior design, object… all kind, and Gamper was someone whose work I saved long ago. For this collection, it simply felt like the right moment to transcribe his universe more deeply.

I can imagine that clothing first felt functional to you. What was the moment you realised fashion could be poetic as well?

It happened when I was young. I was very shy. One day I went shopping with my father and chose something that felt bold for me. The next day at school, people came up to me, talked to me, complimented me. It was the first time I noticed how clothing can open conversations, how it can change how people approach you and the real impact of the clothes on the society. That moment showed me the emotional power of clothes, and it stayed with me.

How did you then actually enter the fashion world as a designer?
It took time. I only started fashion and design studies around 23. Before that, I studied business management in France, but after graduating I knew immediately: this is not my path. I worked for a while at Smets Store, a luxury boutique in Luxembourg. Being surrounded by fashion confirmed that this was where I wanted to be — but not as a salesperson. I wanted to create. So I moved to Brussels to study fashion design, and I’ve been here ever since. It was absolutely the right decision.

At that point, did you already dream of starting your own brand, or working for a house?

I had no idea. My only motivation was to learn how to make a garment. My grandmother was a seamstress and taught me the basics before I moved to Brussels. That really sparked everything. Whether I will start my own brand or join a house, I’ll see where life takes me. The important thing is to create.

The title ‘Outdoor Encounters’ suggests discovery. What did you discover about yourself through this project?

It was my first time working outside the structure of school. I had to create my own work environment, rely on myself. That was challenging. It was also the first time I worked with people from different fields and different countries at the same times. I had to learn to communicate clearly, to trust others, to delegate. That was a major learning experience.

Winning Le 19M Métiers d’Art Prize comes with significant support. How do you see it impacting your creative process or professional journey?

First, I really hope to work again with Atelier de Verneuil. The team was incredibly kind, talented, and inspiring. I even spent two days in the atelier to help create one of the bags myself, an amazing experience.
 I might focus more on accessories for a while, though that could change. What matters most is discovering new métiers d’art, new techniques, new people. The budget goes fast in such ateliers, but I want to explore as much as I can.

With your collections, do you always search for new fabrics, techniques, or innovations?

Always. Early in the process I think about materials, fabric manipulations, construction details, colours… Sometimes a design completely changes because I discover a new technique or textile. That evolution is part of my process.

Isn’t that difficult, considering how fast the fashion industry moves?

It can be. Especially when I work alone. This year one of my friends work with me (S/o to him), which made it easier to think from different angles. But innovation takes time, and time is limited. Still, research moments are where I learn the most, even if I can’t explore everything at once.

We worked together on the cap, metal endings, the shoe bag and smaller details that reflect your world of utility and refinement. What made you choose these specific elements?

The trench strap became a key element of the collection — almost a red thread. It appears everywhere, so I wanted the metal hardware to feel personal and unique. We didn’t have time to finish the buckle, but we developed the metal endings, which gave the strap a new identity. Designing the cap with you felt natural too. I knew you had the technical expertise, and I wanted to learn. I couldn’t produce a high-quality cap on my own, so collaborating made perfect sense.

How do collaborations like ours push a designer’s boundaries?
Because they expose you to new knowledge. You and Vania introduced techniques from the factory that I had never seen before. Without the collaboration, I wouldn’t have discovered them.
Working with others forces you to think differently, to learn more, to welcome advice. It expands your world.

If our collaboration were a material or texture, what would it be?

Metal, without hesitation. We spent so much time developing the metal pieces. They really represent our collaboration.

What do you want to be when you grow up?
Right now, I dream of being a fashion designer — and maybe I already am one. But in this world you have to fight every day, keep learning, keep creating. Maybe one day I’ll design furniture like Gamper or something different from Fashion. But a part of me will always belong to fashion.

Your work plays a lot with contrast: soft vs. structured, fragile vs. solid. Do you think that balance also shows up in who you are?
I love that you notice that!
Doing a collection is very just an excuse to try as many things as possible and study the thing that tickles me at that moment. I love free draping as much as I like tailoring. I love balloon art as much as I like patterning. Those contrasts are simply the summary of those experimentations, and the different outcomes just happen to live simultaneously in the same body of work.

You often turn everyday things into something magical. Are you someone who’s always observing?
Definitely, it’s amazing how complex and inventive all of the stuff surrounding is. Even the most overlooked tiny cheap object is the result of centuries of fails and attempts. We live among the work of unknown geniuses and it’s beautiful to think how much we’ve perfected the early tools like baskets and shaped stones.
There’s something quite overwhelming at times, a similar feeling to when you don’t know what to pick at the buffet, but at the same time everything feels like a playground if you are a curious soul.

When you start a new piece, do you follow an idea in your head or just let your hands and materials lead the way?
It always start with a strong and challenging idea. It usually takes a bit of time to get THE idea that would lead the whole research. The rest of the collection is usually a play around the same motive. I start with a rough idea of what I want to achieve, and the rest of the process is solution finding and execution. That obviously comes with a big amount of free draping and accidents, but they happen within limits that are already established

How was your experience at the Hyères festival? Can you tell us a bit about the atmosphere, the other artists, and what made this moment special for you?
It’s a crazy adventure, really fun and intense. You spent 10 days with fellow fashion designers and you have all those different appointments and crazy schedule in this idyllic South of France town. I don’t think there is a single similar experience anywhere in the world, like a lighthearted fashion bootcamp.

What does it mean to you to have won the Hyères festival, and how do you see this victory influencing your future plans or career?
It’s definitely the biggest step in my career as well as the highest compliment one can receive as a young fashion designer freshly graduated. I’m not a brand, all I do is tiny scale and still the collection convinced this impressive jury, only Hyères can offer such a platform. I see this prize as a push, a validation to be more ambitious. I also gives me the opportunity to present another collection, which is the best in terms of learning experience.

The pieces we made together (he buttons, buckles, labels) they’re small but full of character. What do details like that mean to you in your process?
Details are everything ! They are what grounds an idea into the reality of clothes. Great ideas are just theoretical, what makes good design is when that idea is thoughtfully and creatively executed.
I wanted to bring the balloon concept into the smallest objects you can find in clothing (Buttons, belt buckles etc). Sometimes an idea can start with a small detail. The way the balloon holder buttons worked lead me to a certain typology of garments and finally lead to an entire piece in the collection.

When you think back to our collaboration, what’s the first image or feeling that comes to mind?
The back and forth with the team. Getting new ideas is a one thing but then being able to share it and explain how you want the pieces to be is very different. I had an amazing time working on these projects together and learned a lot about team work. The moment I got the pieces in my hands, I was beyond excited, and amazed on how all took form.

What makes a collaboration exciting for you? Is it the exchange of ideas, the shared obsession over details, or something else entirely?
I think collaborations are successful when we both have the opportunity to learn from each other. It’s amazing when both parts have respect for the other’s craft and by joining forces we push a common project way further. The collaboration we did together really added a layer of desirability to the collection, that I would have not being able to do by myself.

If you had to describe our collab as a texture or materials, what would it be?
Ready-mades and Facsimiles! From very early on I was amazed by the variety of techniques that Labels and Things can propose. I thought it would be funny to translate all those balloons into metal or felt, trying to create a visual pun by « simply » changing the weight of these objects.

Your work feels joyful and a bit mischievous at times. How do you keep that sense of fun alive when creating?
Humour is a tricky discipline. There’s an edge that one has to find, it’s like putting something where it should not belong, and the imbalance creates something that is either grotesque or beautiful, like a tangent surprise that feels good. That’s definitely what I try to reach. I don’t feel shame in doing frivolous things. There’s times in the process of a collection that lead to hysterical laughter and that’s usually a very good sign.

You’ve got roots in both Switzerland and Chile. Do you feel those two worlds mixing in your ways of seeing or designing?
Of course ! A lot of my references naturally come from those two different landscapes. Switzerland has a long tradition of functionality in design, think of the Helvetica font type. It’s been used everywhere in the world, almost being the default font for branding, but the actual design of the letters is very intricate and creative. This is something I respect deeply in Swiss culture, the humility to let your work speak more than yourself. Chilean culture comes from a blend of European and Indigenous influences. It has been deeply impacted by series of political shake-ups, while always remaining respectful to its traditions. That lead artists to create deeply grounded work with a whimsy and magical tones, reminiscent of mythological stories.

If one of your garments could talk to the person wearing it, what do you think it would say?
A private joke, for the sake of privacy, I can’t share it with you unfortunately :/

What do you want to be when you grow up?
A magician !!

Does your creativity spark more from a mindset, a physical space, or from moments in time?
Victor: For us, creativity mostly happens while walking.
Victoria: Yes, I was thinking the same.
Victor: When you sit in a studio for days, sewing or staring at a blank page, ideas rarely come. But the moment we walk – even just ten minute – ideas start flowing, colliding with each other.
Victoria: That’s why we often choose to walk to places instead of taking the metro or bus. Movement is essential to out process. During these walks, we organize thoughts and shape the next project.
Victor: Exactly – walking keeps ideas in motion. It’s like the first step to dynamic thinking.
Victoria: And Paris makes it easy.
Victor: Yes, the city itself invites you to walk.

Do you take notes along the way, or pictures?
Victor: Not really. We talk a lot, sharing every idea. That’s how we stay productive. In a true duo, you can’t keep things in your head – you have to say them out loud, test if they’re worth pursuing.
Victoria: Most of the time, we quickly test ideas after discussing them. That way, we know if they’re worth developing.
Victor: We don’t waste time on what doesn’t work. Whether it’s a prototype, a sample, or even the start of a new collection – we make things right away, regardless of whether it’s for six months from now or a year.

How does your creative process begin? Sketches, materials,moodboards?
Victoria: We usually start with a scenario – a storytelling framework.
Victor: Yes, but we don’t follow it religiously. For example, we once imagined a collection about a lighthouse keeper: What if he’s caught in a storm, stuck inside the lighthouse? The story must feel credible.
Victoria: Cinema influences us a lot. It shapes the way we think.
Victor: we used to create short films for every collection. We don’t have the time anymore, but the link between script, collection, and film was very strong when we were students.
Victoria: A storyline helps guide both the sketches and the experiments with fabrics and shapes. It keeps us aligned.
Victor: And it allows each of us to bring more ideas to the table.

Do you struggle to find materials that fit the story?
Victoria: Often, we actually start with the materials, so it’s not really a struggle.
Victor: But if we don’t have the right fabric or supplier, we won’t force it. I don’t sketch a silhouette without knowing the material first.
Victoria: Being a small brand, we value independence. We work with fabrics we know well and can manipulate ourselves.

Beyond fashion itself, which influences – cinema, music, philosophy, or others – continue to inspire your creations?
Both: Cinema, above all.
Victor: In the beginning, graphic novels and filmmakers like David Lynch and Martin Vaughn – James inspired us. That’s why we’re called La Cage – it’s about realism in movement.

Is there a recurring theme in your collections?
Victor: They used to be about very different topics.
Victoria: But even then, a certain thread always ran through.
Victor: Yes, often themes of wandering, walking alone, reflecting on the future.
Victoria: Also the idea of uniforms, of architectural menswear.
Victor: Clothes as testimony – like finding your mother’s wedding dress. You don’t need a photo; the garment itself tells the story.

What does craftsmanship represent for you, working within an industry that moves so quickly?
Victor: From the start, our brand has been about what we can make ourselves. If we can’t, we learn. We rely on our own skills.
Victoria: We like being hands-on, not just with samples but also with small production runs.
Victor: Every piece needs our touch. Even with something as simple as a T-shirt – maybe we fade it in the sun, or embroider it.
Victoria: That’s the beauty of small brands: each piece can be unique.
Victor: We can do things larger brands can’t – or won’t – do.
Victoria: We enjoy taking the time to add these details.
Victor: Those imperfect, human touches are what make garments special.
Victoria: You can always tell when someone has taken the time to add a single stitch with care.
Victor: And as designed, we love asking: how was this made? Which layer came first? How was it cut?

When working on a garment, how do you decide it has reached its final form?
Victor: At school, we learned to step back mid-process. We take pictures, look at the garment, and ask: Could this be the final version? It’s never really “finished” – every stage could be an endpoint.
Victoria: Sometimes accidents lead to the best results – it’s part of the fun.
Victor: In recent collections, we experimented with sun-fading and burying garments. With such processes, the ending is unpredictable. The material decides.
Victoria: And we enjoy being surprised.
Victor: Most of the time, we agree on when a piece feels complete. The only recurring difference is about raw edges – a preference that comes from our past experiences in different studios.
Victoria: But overall, we see clothing as architecture: never truly finished, always evolving into the next collection.

How do function and aesthetics coexist in your designs?
Victoria: We design “architectural” clothing – functional at the core, like a shirt that truly feels like a shirt.
Victor: Exactly. The silhouette must first feel natural, then we layer in aesthetics: embroidery, details, craftsmanship. The beauty lies in the making, but function comes first.
Victoria: The only fragile fabrics we use are for “useless” pieces – silk, decorative garments.
Victor: Fragile fabrics should feel precious. They remind you to take care, to handle them delicately.

Is it about comfort or self-expression?
Victoria: More self-expression. We like garments that confuse people: Is this vintage? Or is it new?
Victor: For us, weight matters. A jacket should feel heavy like vintage pieces. A silk shirt should feel delicate. Comfort isn’t our priority; it’s about the tactile experience.
Victor: And today, clothing is also about communication. Even if it’s not self-expression, communication is unavoidable.

Was there a defining moment when you knew this was the right partnership?
Victoria: For us, designing together was natural – we never really decided, it just happened. But the collaboration with Labels & things was the moment that truly confirmed our partnership.
Victor: Yes, with Labels & Things it felt like the right time, the right place, the right people. We were working on vintage- inspired ideas, exploring artisanal wool, experimenting with how fabrics could be transformed. It pushed us further together.
Victoria: That collection was about confusing perceptions: Is this old or new? Handmade or industrial? On our own, we could never have realized that truly. With L&T, the impossible became possible.
Victor: Exactly. Take the cap we designed – our idea was to recreate a natural sun-fading process. We literally placed pieces under the sun, then asked: Can this effect be reproduced in a factory? With them, we found a way.
Victoria: And it was seamless from the start. The very first prototype turned out exactly how we imagined it.
Victor: That’s when we knew: this collaboration was not just about one collection, but about validating our way of working together as designers.

What question do you wish people asked you more often?
Victoria: How is it made? That’s the most exciting question for us.
Victor: It comes up sometimes in showrooms, but rarely.

What do you want to be when you grow up?
Victoria: Honestly, I hope to be the same as I am now – still a designer, still deeply involved in craftsmanship – but with less pressure. I don’t want to design and then hand everything off; I want to keep developing the pieces myself. For the brand, I imagine us still producing in France, in Paris, especially with our artisanal wool.
Victor: I feel the same. In the future, I see myself spending even more time on making, on craftsmanship rather than just design. I’d like La Cage to always carry our final touch on every garment. It’s something I can imagine doing my whole life – more hours, more day, always refining the craft.

If your life were a book, what would the current chapter be called?
I would call this chapter “Restart.” This year truly feels like a new beginning: a fresh start professionally, and a new rhythm to life. After spending years working on various projects, I’m now starting a new job. It really feels like I’m stepping into a new phase of my life.

Are there any non-fashion influences that inspire your work?
Definitely. Politics is a major source of inspiration for me. I go to exhibitions and listen to music, but it’s mainly social and political events that shape my work. Even during my school years, I found a lot of inspiration in podcasts and articles that addressed current global issues. My designs are often rooted in social realities rather than stemming from pure art. Although I admire many artists, I’ve never directly translated a work of art into a design. At first glance, my work might seem light or playful, but it is often deeply grounded in societal themes. That layer is always there – sometimes consciously, sometimes unconsciously – but it’s never lous or obivous. It’s more subtle and underlying.

My focus is mostly on global issues. It’s not always politics in the traditional sense, like politicians or governments, but more about social structures and power dynamics. For instance, my “Hotel” collection explored internal systems and hierarchies within a hotel setting. It was political, but on a micro level.

What role do materials play in your creative process?
In the past, I would create a design first and choose materials afterwards. But through my experience at Hermes, I’ve come to understand that the materials can be the starting point of a design. Now, I try to think about the material first and build from there. In collaborations, that becomes even more interesting, because you work together to figure out how to best bring the idea to life through the right material. I’m always open to discovering new materials, but I don’t feel the need to constantly push boundaries. I often choose to work with traditional materials like British wool. If something feels right, i’ll use it. That being said, I’m always intrigued by unfamiliar materials, even if I don’t necessarily incorporate them into my work if they don’t fit my aesthetic.

How do you stay true to yourself in a rapidly changing world?
For me, it’s about staying true to what I genuinely find beautiful. Not every trend or new material need to make its way into my work. It’s important to know what you stand for – as a brand and as a person. Evolution is good, but you need to maintain a strong sense of your identity in your work. In a team context, it can be difficult to say no due to the hierarchy. In personal projects, it can be even harder, because you know you might be missing out on certain opportunities. Still, it’s essential to remain aligned with your vision. Not everything that’s innovative or interesting necessarily belongs in your story.

What kind of legacy do you want to leave behind?
I want to merge menswear with a surrealistic approach, sharp tailoring, and a strong visual identity. The balance between aesthetics and substance is crucial to me. People often recognize my use of color and the way I play with volume – those are elements I consciously explore and continue to evolve.

How would you describe our collaboration in one word or emotion?
“All-around.” We collaborated on everything – from garments to branding, even down to the smallest details like zip pullers. Every element, no matter how minor, contributed to the whole. It was an intense learning experience that allowed me to develop many different skills.

What was the most suprising advantage of working with L&T?
That literally anything was possible. I could come in with an idea, and the response was always: “Let’s test it.” Especially in the second year, I was able to push boundaries and try new things. There was always room for creative solutions.

How has your definition of succes evolved over time?
When I first graduated, I had a fairly classic idea of success: making it in the industry or starting my own brand. It didn’t matter how, as long as I found a place within the field. Now, after working in the fashion world for 2,5 years, I see how harsh and uneven the industry can be. Some people thrive easily, others struggle to find their footing. My perspective has shifted. I’m still ambitious and driven to grow, but it still has to make sense for me personally. If I ever find myself doing things just for the sake of doing them, then it loses meaning. I’ve seen people stuck in jobs for a decade with impressive titles at respected houses, but no joy in what they do. That made me question what succes really is.

I’m currently in a phase of reflection – re-evaluating what I want from life and what my next chapter might look like. For me, success now is more about being able to have an impact within a team, to contribute meaningfully. It’s not so much about reaching the top for the sake of prestige. I’ve had similar conversations with friends working at other fashion houses; we’re all rethinking how we want to shape our careers in a way that aligns with who we are. And yes, surrounding yourself with people you trust is essential. This industry can be competitive and even cutthroat at times. There aren’t endless opportunities, so building a network of likeminded people who you can talk to openly makes the work more sustainable – and human.

What do you want to become when you grow up?
That ties closely with what I just mentioned. I don’t know yet if I’ll launch my own brand in the next five years, or whether I’ll stay in France or return to Belgium. It’s all still open. But what I do know is that I want to contribute to something bigger than myself – whether that’s within an existing brand or my own creation. I can’t yet define the exact position or job title. two years ago, when I graduated, I never imagined I’d already be where I am now. So much had happened that I couldn’t have foreseen. That’s why it’s hard to predict the next ten or twenty years. But I do hope I’ll continue to find spaces where I can grow, share, and create meaning.

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.

Who is Valentin Lessner and how would your friends/family describe you?
Nothing if not a product of the bavarian hinterlands where I was born and grew up in, always in search for a personal, meaningful expression. I think (hopefully?!) My F&F would describe me as very ambitious and determined, but in a respectful way to my surrounding and the individuals that are close to my heart and that I work with.

What is the story behind this collection?
My collection resurrectio (Ultra Ripam Alpina) is a personal confrontation about my bavarian roots and my personal tailoring family heritage in a contemporary context with the approach of giving back craftsmanship and human made artefacts a more significant meaning in todays fast paced society.

Aesthetically, I have been trying to create this visual universe uniting a lot of personal experiences and interests merging into more like an attitude or emotion, pretty much like a metal or hardcore concert in the bavarian alps – having on the one hand this romantic love to nature and idyllic kitsch contrasting with the aggressive constant change and adaption to contemporary progression, leading into a feeling of inner fragmentation between melancholic and nostalgic indulgence about the past and the desire for innovative development and evolution in the present and future.

What were the inspirations for your trims and headwear accessories?
The idea for the caps comes actually from my grandmother, as she often wears fur hats in the winter that I aesthetically like. I wanted to have a more younger approach to it, and was focusing more on the shape of a 5-panel cap then – also deconstructing the cap in its main parts and then studding it back together, similar to how bavarian wooden clogs are made.

The balaclavas come originally from army archetypes, as I have a fable for military garments and their functionality. I wanted to give them a more fragile look, like a spider web, and luckily L&T was more then able to transform the idea into a final product.
For the trims it is pretty dull: I like metal (musicwise and materialwise). Everything else being build upon this has been just thinking about functionality, durability and finishing.

What led you to collaborating with L&T
A coincidence. Like I was browsing on Premiere Vision in February as I was looking for a collaboration partner for trims & hardware. I heard about L&T before, but only had a vague idea of what is possible working together with you.

Now to keep it real, name a positive and an extra positive note on working with L&T ?
When it comes to an idea, I am very demanding in terms of realizing it the best way possible, always reaching out for perfection. Sometimes I suppose it‘s not the easiest creations I come up with, but L&T from the beginning on always replied  “How high ?” when I kindly asked to jump.

Extra positive is that everything happens on a very friendly and respectful level, taking care also about the individual and not only about work which is not so common in the industry. I am very glad that they believed in me and my ideas, they have been really my divine saviours.

Last but not least; what do you want to be when you grow up ?
I don‘t like to have the focus on me as a person, more on the work that the team and I are able to do. I would like to continue creating meaningful products in a responsible way, anything else is not defined yet.