At the end of the day, when the garments have left the atelier and only traces of the making process remain, what is left behind? What remains unseen?

This collection stems from a reflection on the (Western European) atelier as both a physical and symbolic place of creation. It is inspired by the contrasts between rawness and refinement, between the cut pattern pieces and the leftovers, and between process and finished product.

Central to the development of the collection was an inventory of the atelier: an observation, and a dissection of its everyday traces of work. What was found were the remnants swept up at the end of each day. As end or waste products, they are the starting point of the collection.

The atelier is thus seen not only as a place of production, but as a place of creativity, a specific perspective on the construction of clothing, a place of a particular way of thinking. The collection highlights the potential of an atelier and is an attempt to show craftspeople the appreciation they deserve and to honor the existing, embodied knowledge.

Rather than approaching a garment through illustration, the individual pieces are conceived and developed solely through patternmaking. Patternmaking is the primary design language here.

At its core, this collection investigates how three-dimensional form emerges from a flat pattern. Through the questioning, expansion, and exaggeration of conventional patternmaking techniques, new methods of transformation are developed. Zooming in on specific garment details—particularly collars and pockets—the research analyzes and reinterprets established constructions. This process ultimately resulted in a distinct cutting logic and the development of four core techniques that form the foundation of the collection.