I am driven by innovation.
My designs are developed through 3D softwares such as Clo3D and Rhinos3D. Modelling my garments digitally is a necessity for me in order to communicate my approach to design in a comprehensive way. Digital movements allow me to push the boundaries of reality, such as the levitation experiments I had tested in reality with the magnetic forces — the natural impulses of the garment induced by the walk in the reality is being magnified in an animated show.
During my creation process, I conduct numerous experiments on materials and technics, building on my scientific background to explore possibilities with a structured protocol — researching all types of resins, inks, drying processes for bio-leather, etc. I also make use of specific architectural technics, for instance to make an anamorphic illusion I used a light projector in a black room and a remote turning table.
Regarding the garment manufacturing process I use both classic hand-crafted embroidery and state-of-the-art technologies such as laser-cut and 3D-prints. I develop all files with specific softwares and personally manage the making-of. The laser-cut requires the fabric to be prepared before hand with a very rigorous and precise process in order to get it stabilised and make sure that I will obtain the desired flexibility while supporting a certain level of rigidity, taking into account the desegregated effect of the laser-cut on the fabric.
My material choices are very important as they have to match my concept approach and be innovative, contemporary and environmentally aware. For this I use materials such as: neodymium magnets, recyclable resin, recycled 3D filament, bio-leather made from plants cellulose. I also make smart fabric choices in consideration of their place of production, the savoir-faire, the importation distance to europe, toxic dyes they may contain, fibres quality and their affiliation to certain norms.