01 — 1990s Minimalism

I am primarily inspired by 1990s minimalism, with its stripped-back approach and rejection of superfluous decoration.

I am drawn to the silhouettes of Jil Sander, Helmut Lang, and Prada for the way they make the garment rest on the essentials: cut, material, proportions, and the movement of the body.

I like the idea that a piece can appear simple at first glance while revealing precise construction when observed more closely.

02 — The Japanese Wardrobe

Traditional Japanese clothing, particularly the kimono, is an important influence on my work.

I am drawn to the way it constructs the garment around the body rather than trying to mold it directly. The volumes, overlaps, wide sleeves, and straight lines create a enveloping, structured silhouette.

My opaque and transparent kimonos, and my kimono jacket reinterpret this idea in a more contemporary form.

I particularly like the contrast between these ample volumes and the more body-hugging pieces in the collection.

03 — The Mao Collar and the Vertical Line

The Mao collar inspires me with its graphic simplicity and very precise construction.

Its vertical line immediately structures the upper body and gives the garment a look that is at once understated, elegant, and almost architectural.

This influence connects with my interest in elongated silhouettes, clean lines, and garments that give the body a true presence without needing to be embellished.

04 — The Body and the Waist

I work extensively with the contrast between a defined waist and more ample volumes.

I like it when a silhouette can be both highly structured and very free: a cinched waist paired with wide sleeves, a long piece that follows the body, or, conversely, a volume that envelops it.

The work of Azzedine Alaïa is an important reference in this exploration. I am particularly interested in his way of constructing the garment around the body, emphasizing the waist, and shaping the silhouette through the cut.

In my creations, I seek to recapture this tension between structure and movement, proximity and volume.

05 — The Elongated Silhouette

Verticality is very present in my aesthetic.

I like long, elongated, close-fitting silhouettes in dresses and ensembles that naturally follow the lines of the body.

Black reinforces this sense of continuity and makes it possible to focus on the silhouette rather than the color.

I seek a form of sensuality expressed through the line, the length, and the way the fabric follows the body, rather than through an accumulation of details.

06 — Volume

Conversely, some of my pieces deliberately play with amplitude.

The kimono and kimono jacket allow the body to partially disappear into the garment. The long, wide sleeves and soft volumes create a freer silhouette inspired by traditional Japanese construction.

This opposition between the very close-fitting garment and the very ample garment is essential to my collection.

I am not seeking to impose a single silhouette: I like being able to move from a body sculpted by the garment to a body enveloped by it.

07 — Metal

Metal interests me for its contrast with textiles.

Against the softness of the fabric, it introduces something colder, more rigid, and industrial. I like this opposition between a soft material close to the body and a rougher metal element.

This is notably what led me to incorporate metal hooks into certain pieces.

On the hook top and hook dress, they are not merely fastening systems: they become a visible part of the garment's construction, almost like architectural elements.