Infinite possibilities

What does it mean to wear a sculpture? For Melitta Baumeister, it’s not just a question – it’s a mission. Known for her bold, architectural designs and groundbreaking use of materials like foam, Baumeister transforms garments into objects of art. Through her innovative vision, she pushes fashion beyond trends, challenging how we see, feel, and experience clothing itself.

hube: Your work often exists at the crossroads of fashion and sculpture, turning garments into almost architectural statements. Do you ever feel constrained by the body, or is it your playground for experimentation?

Melitta Baumeister: Without a doubt, the body comes with a set of requirements and preconceptions that can feel limiting. However, I rarely see these as obstacles. Instead, I view the body as a dynamic field full of challenges and opportunities to explore. My design process is very much a negotiation between the body and the fabric, which is why all designs start with materials draped onto the body. This approach contrasts with starting from a sketch, where there’s always the risk of forcing the material into shapes it doesn’t naturally want to take. By working with the body as a foundation, I allow the materials to guide the process.

The most important aspect, though, is that garments are meant to be worn, and that is what gives fashion its unique potential to be meaningful and transformational. It’s not so much the shape that lets us perceive something as art; it’s what it does to you.

h: The foam you use in your designs adds an unexpected softness to bold, voluminous silhouettes. Is this a deliberate attempt to challenge our preconceptions of what strength and vulnerability look like in fashion?

MB: I enjoy working with materials that naturally hold their shape or behave in distinctive ways, and foam is a perfect example of this. I love the illusion of something that appears architectural and bold being surprisingly soft and wearable. Seeing this in the context of vulnerability is exciting, even though it’s not a primary concern during the design process.

The concept of decoration also comes to mind, particularly with motifs often associated with making someone appear more girly, soft, or vulnerable. These are themes I tend to avoid in my work. Instead, the foam acts as a translator, transforming traditionally ‘cute’ elements like ruffles into strong, sculptural statements. It’s this tension between expectation and reality that I find most intriguing.

h: Your SS25 collection featured Paralympian Scout Bassett, marking a clear embrace of inclusivity. In a world where ‘diversity’ risks becoming a mere trend, how do you ensure this remains a core value rather than a fleeting statement?

MB: The ideals of beauty are evolving far too slowly for my liking, and this stagnation hinders fashion’s potential to be both transformative and meaningful. For us, inclusivity starts with the belief that garments should adapt to the individual, not the other way around. Our philosophy is simple: You bring the body, we bring the shape!

A significant portion of our collections has always been flexible in terms of size, gender, and age – a practice that has only expanded as we’ve worked with diverse models and explored new formats. Collaborating with Scout Bassett was truly an honour and has already become a very special memory.

I’ve long been fascinated by the discipline and dedication required in professional sports and how this dedication shapes the body. When looking for an inspirational athlete to open the show, Scout was the perfect choice. Her incredible story, coupled with her work as a spokesperson and role model for female athletes with disabilities, made her presence not just fitting but profoundly meaningful for this special moment.

h: Fashion is infamously transient, yet your pieces have a lasting, almost eternal quality due to their sculptural nature. Do you consider your work a rebellion against fashion’s ephemerality?

MB: Absolutely – it is a rebellion, and that sense of longevity is always my aim. I treat my own garments this way, and to me, that’s what defines good design. I also believe this spirit of rebellion exists in many design-driven and independent brands.

There was a time when following trends and embracing prosperity in an indulgent way felt, perhaps, acceptable. But today, the world demands a different approach. I believe we must take our work more seriously – proposing new ways of consuming garments that align with the realities of our time. Instead of designing for outdated desires, we need to focus on what truly justifies the time, energy, and materials we invest now and in the future.

h: Your designs often seem to embrace contradiction – voluminous yet lightweight, functional yet avant-garde. What role does tension play in your creative process?

MB: The aim is always to create something powerful and new. There’s always been a significant gap for me between the pieces we love to admire and the things we actually wear in our daily lives. I’ve never been sure if the tension in my work is a defining quality or if it’s simply a response to this gap. Either way, I strive to bridge it, to make our everyday lives a little more expressive and meaningful through design.

h: The TikTok format for your AW 24 collection film was an interesting pivot from traditional runways. Do you think the future of fashion is digital-first, and if so, how do you maintain the intimacy of the tactile in a screen-dominated world?

MB: The AW24 and SS24 films were an idea brought to life by my partner and the brand’s art director, Michal Plata. We wanted to embrace the reality of our everyday lives – constantly scrolling and engaging with social media – and work directly with these ubiquitous formats rather than offering another shiny, often unattainable dream. We were drawn to the freedom, creativity, and inclusivity that a digital-first approach allows, as well as its more democratic nature.

However, I also believe we must remain critical of this shift. It’s important to determine where moving digitally truly makes sense and contributes meaningfully to advancing the world. We should never lose sight of the need for balance, ensuring that the tactile and intimate qualities of fashion are not sacrificed in the pursuit of digital innovation.

h: You’re no stranger to fashion accolades, most notably winning the CFDA Vogue Fashion Fund. Do such recognitions elevate your vision, or do they come with expectations that clash with your creative freedom?

MB: The journey to the CFDA/Vogue Fashion Fund and the time that followed were nothing but positive. To our surprise, the process – while undeniably work-intensive – pushed us toward new creative avenues, such as focusing on moving images and exploring unconventional ways of presenting fashion and its context.

Receiving this recognition was especially meaningful because it felt like an embrace from the New York fashion community. For years, we’ve invested in establishing our production in the Garment District and showing it on the official calendar. Yet, there was always a sense that our design approach didn’t fully align with traditional expectations. Winning this award was a moment of validation that encouraged us to continue carving out our unique path.

h: Fashion often glorifies the ‘new’ at all costs, yet your work has a timeless, almost futuristic quality. Do you see yourself as designing for today, or are you more interested in creating for a future world we’ve yet to imagine?

MB: The futuristic quality you mention often comes from a desire to imagine beyond the limitations of now, exploring forms, materials, and ideas that push boundaries. I love the world of speculative thought and design, but I think one always has to start designing for people as they are, with all their complexity and individuality, and then continue gradually proposing a new way of being in the world – one that feels timeless yet continuously forward-thinking.