What’s your access to music? Which music do you prefer?
I grew up during the heydays of Techno and I still love soulful electronic music. I like very much what happened in Detroit in this regard back in the days. Stockhausen contributed a lot to this genre.
Are you inspired by Stockhausen’s music to create the new costumes?
Absolutely. But not just by his music, the philosophy behind INORI ultimately laid the groundwork for my ideas. What would a universal prayer costume look like? What links the different cultures and traditions?
What are/were the steps of your work process?
After my first meeting with Dominik Deuber (Managing Director fo the LUCERNE FESTIVAL ACADEMY) I took some time to study the score and look at Stockhausen’s notes. I then spent time on visual research and started to draft the outfits in pencil. In a next step I met the dancers to take their measurements in Lucerne. After looking over the first sketches with Alain I ordered fabric in Italy and started working on prototypes, which we then fit in Kürnten in mid July. Now the final dresses and suits are almost ready and I am getting really excited to see them on stage!
What’s special and unique to create costumes for such a special project?
I am very impressed by the fact that the mimes have been rehearsing the piece for so many month now – I have a lot of respect for their endurance and commitment! The fact that Alain and Kathinka have been working with Stockhausen since the 70s was another fact that made this project extra special. So much history – I feel honored to be able to contribute to this legacy.
Describes INORI in three words:
FLUIDITY – ENERGY – PRECISION
M O N O C H R O M E design studio by Lilla Wicki