Iris van Herpen

Iris van Herpen
Iris van Herpen perceives Haute Couture as a transformative language, an interdisciplinary entity that emerges from the space in which innovation and craftsmanship interlace. The symbiotic relationships found in nature’s intricate web, the invisible forces that structure architectural patterns, and the mercurial dance in which the body and mind intersect are influences that shape the visionary creative process.

The Iris van Herpen maison was founded in 2007 and showcases its collections bi-annually at Paris Haute Couture Week as a member of the Fédération de la Haute Couture. The brand stands for slow fashion with a multi-disciplinary approach towards collaborations with artists, architects and scientists. Each collection is a quest to venture beyond today's definition of a garment, exploring new forms of femininity for a more meaningful, diverse and conscious fashion for the future. 

Trained in classical ballet, Iris van Herpen contemplates movement as a metamorphic force which in a duet with fashion, can extend the forms of the human body. Pioneering techniques and materials evolve into liquescent shapes and intricate layered textures, sculpting graceful silhouettes that reflect a woman's myriad of movements. 

Celebrating female empowerment, Van Herpen’s vision is guided by inspirational women such as the brand’s global clientele and muses like Cate Blanchett, Beyoncé, Scarlett Johansson and Naomi Campbell. Bespoke designs are meticulously crafted for a global clientele from within the illustrious Amsterdam atelier. Organic, innovative femininity is expressed through state-of-the-art couture that embraces individuality powerfully and fearlessly.

Van Herpen’s work is deeply rooted within nature. Water, air and earth are elements that leave traces in the sensorial garments. The infinite properties alluding to movement such as the unbound forces and fluidity behind water or its crystalline formations are facets that flow into the designs. Through biomimicry, the maison visualises and materialises the invisible forces that shape our world, perpetuating a deep sense of organic presence.

Captivated by architecture and how we embody space and inhabit sculpture, Van Herpen recognises both fashion and architecture as expressions of self, culture and community that link to the times and fabric of society. Changes of perception provoked through dichotomies between the hard and soft, structure and movement encompass the poetics of the brand’s craft.  
Transcending boundaries within the industry by liberating our sense of limitations, the maison is known for binding emerging technologies like elaborate 3-D printing or laser-cutting with delicate handwork such as embroidering or draping, creating a hybrid of Haute Couture. ‘Craftolution’, coined as the evolution of craftsmanship and the embracement of change form the core of the brand’s identity, fusing layered lightness, three-dimensionality, and undulating volume into ethereal creations. 

Through cross-pollination of seemingly segregated disciplines the alchemic atelier is a laboratory for new luxury. By weaving in symbiotic collaborations with artists from all stripes such as the choreographer Damien Jalet, the performative artist Björk, the kinetic artist Anthony Howe, the trans-disciplinary architect Philip Beesley or the computational artist Neri Oxman the maison stretches the boundaries of fashion. 

Artistic collaborations from the likes of Lady Gaga or Tilda Swinton drive a united effort to evolve self expression in ways that were previously unimaginable. The immaculate creations extend their reach at exhibitions in world-leading museums including the Metropolitan Museum of Art in New York, Victoria & Albert Museum in London and Palais de Tokyo in Paris. 

Stitching the intricacies of craftsmanship with the pioneering spirit of innovation, Iris van Herpen blurs the lines between art and design. Celebrating an inclusive approach where collaboration creates community, the maison integrates sustainability as second nature. The scope for imagination is perpetual through the eyes of Iris van Herpen.



Lady Gaga at the MTV Video Music Awards

Lady Gaga wears Iris van Herpen Couture custom, technicolour dress in collaboration with artist Davy Evans at the MTV Video Music Awards 2020. Fashion direction by Nicola Formichetti. Styled by Marta Del Rio.


Carice van Houten in ‘Transmotion’ Short Film

Carice van Houten wears Iris van Herpen for the Haute Couture Online ’Transmotion’ Short Film.


Rowan Blanchard at the Vanity Fair Oscar Party

Rowan Blanchard wears Iris van Herpen 'Aeriform' Couture at the Vanity Fair Oscar Party. Styled by Christopher Horan. 


Joey King at the Golden Globe Awards

Joey King wears Iris van Herpen 'Hypnosis' Couture at the Golden Globe Awards 2020. Styled by Jared Eng. 


Gwendoline Christie in Iris van Herpen at the 2019 BFI Film Festival

Gwendoline Christie wears custom 'Suminagashi' ink dress at the premiere of 'The Personal History of David Copperfield' during the 2019 BFI London Film Festival. Styled by Jerry Stafford.


Eva Green in Iris van Herpen at the 'Proxima' movie premiere

Eva Green wear the silver lasercut 'Suminagashi' dress at the 'Proxima' movie premiere. Styled by Nicky Yates.


Cara Delevingne in Iris van Herpen at the Hollywood premiere of 'Carnival Row'

Cara Delevingne wear Iris van Herpen 'Poiesis' cape gown at the Hollywood premiere of 'Carnival Row'. Styled by Mariel Haenn and Rob Zangardi. 


Katy Perry wears Iris van Herpen in music video

Katy Perry wears Iris van Herpen for her music video and single album cover of ‘Never Really Over’, directed by Philippa Price. Styling by Savannah Baker.


Dress for Björk's Cornucopia tour

Iris van Herpen collaborates again with long-time friend Björk, creating a sculptural blossomy custom dress for her new 'Cornucopia' show, premiering at The Shed in New York.


Custom look for Jordan Roth at Met Gala

Iris van Herpen creates a custom Couture Met Gala look for Jordan Roth, President of the five Jujamcyn Theaters on Broadway in New York.


Gwendoline Christie at the Game of Thrones premiere

Gwendoline Christie wears custom ‘Shift Souls’ Couture at the Game of Thrones final season premiere in New York, styled by Jerry Stafford.


Collaboration with David Altmejd and Tim Walker

Iris van Herpen collaborates with artist David Altmejd and photographer Tim Walker, creating a hallucinatory cosmos with models Duckie Thot and Kiki Willems.


Cate Blanchett at Cannes Film Festival

Cate Blanchett, Jury President of the Cannes Film Festival 2018, wears Iris van Herpen 'Ludi Naturae' Couture during the festival's 'Women in Motion' event.


Solange at Met Gala

Solange wears Iris van Herpen Couture, at the Met Gala themed ‘Heavenly Bodies: Fashion and the Catholic Imagination’.


Opera Pelléas et Mélisande 

In collaboration with Marina Abramovich, Damien Jalet and Sidi Larbi Cherkaoui, Iris van Herpen creates all the costumes for the singers and dancers of the opera 'Pelléas et Mélisande' by Claude Debussy.


Johannes Vermeer Award 2017

Iris van Herpen receives the Johannes Vermeer Award, Dutch state prize of the arts.


Cara Delevingne Film Premiere

Cara Delevingne wears the silver 'Aeriform' Couture dress by Iris Van Herpen at the L .A. première of the film
'Valerian And The City Of A Thousand Planets', directed by Luc Besson.


Björk Celebrates Iris van Herpen Milestone

Björk Celebrates Iris van Herpen Milestone with performing a DJ set at the Salò in Paris, wearing Iris van Herpen 'Seijaku' Couture.

In 2018, Björk chooses Iris van Herpen Couture for her performance at Jools Holland.


Celebrating first decade

Iris van Herpen collaborates with Between Music for her 'Aeriform' Couture show in Paris, celebrating the first 10 years. Five musicians are playing music and singing under water during the show.


Solange wins Grammy

Solange wins Grammy Award wearing the Iris van Herpen 'Seijaku' Couture dress.


Sasha Waltz

Iris van Herpen designs all costumes for 'Kreatur' by choreographer Sasha Waltz, which is premiered at
Radialsystem V in Berlin.


Third Book

Iris van Herpen publishes her third book after winning the Witteveen+Bos Award, the STARTS Grand Prize of the European Commission and the Prins Bernhard Cultuurfonds Mode Stipendium.
This book shows behind-the-scenes and highly detailed close-ups of many of her shows in Paris.
All photos are taken by Morgan O' Donovan. 


Opéra de Paris

Iris van Herpen designs all costumes for choreographer Benjamin Millepied's ballet 'Clear, Loud, Bright, Forward' 
for the Opéra de Paris. The process is captured for the film 'Reset' about Benjamin Millepied, by Thierry Demaizière and Alban Teurlai.


Metropolitan Museum NY

The 'Manus X Machina' exhibition at the Metropolitan Museum NY shows seven Iris van Herpen iconics, including the 'Bird' dress, the 'Skeleton' dress, the 'Moon' dress and the 'Crystallization' top.


Second book

The High Museum of Art, Atlanta publishes the second Iris van Herpen book 'Iris van Herpen Transforming
. The book shows an overview of all her collections, including runway photos, Bart Oomes still-live photos and descriptions of her concepts and materials.


Gwendoline Christie 

Iris van Herpen shows the fusion between craft and technology during her 'Quaquaversal' runway show in Paris.
Three robots are finishing up a hand-crafted dress by printing live onto the actress Gwendoline Christie.

In 2017, Gwendoline Christie wears Iris van Herpen 'Aeriform' Couture at the European premiere of 'Star Wars, the last Jedi', in which she is starring.


Solo exhibition expands

The solo exhibition 'Iris van Herpen: Transforming Fashion' opens at the High Museum of Art, Atlanta. This is the beginning of the United States exhibition tour. The exhibition is a continuation of the exhibition in the Groninger Museum, but now extended to show 8 years of work including 45 Couture garments.


Dom Pérignon

Iris van Herpen collaborates with Dom Perignon on 'Metamorphosis', that was launched world wide.
The collaboration included the exclusive bottle design by Iris van Herpen for Dom Pérignon Vintage 2004, her sculpture 'Cooconase' and the video 'The power of creation', starring Anja Rubik.


Scarlett Johansson

Iris van Herpen dressed Scarlett Johansson in the movie 'LUCY', directed by Luc Besson.


Visiting CERN 

Iris van Herpen visits CERN, one of the world's largest and most respected centres for scientific research to find inspiration for her work and processes, which she will revisit after. Through her experience at CERN, Iris discovered the use of magnets for her experiments. 



Beyoncé wears Iris van Herpen 'Micro' dress in her video 'MINE'.


ANDAM Awards

Iris van Herpen wins the ANDAM Fashion Award in Paris.



Iris van Herpen collaborates with artist Lawrence Malstaf for her 'Biopiracy' Couture show in Paris, where models are suspended at the runway in a vacuum art installation.


New York City Ballet

Iris van Herpen designs all costumes for choreographer Benjamin Millepied's 'Neverwhere' for the New York City Ballet.



Iris van Herpen wins the Golden Eye Award, the Dutch Design Award and Marie Claire Award for best Dutch Designer.


SPLASH Project SHOWstudio

Iris van Herpen opens up her process by live-streaming the laborative process of making the 'SPLASH' dress
by hand. This SHOWstudio project is a collaboration with Nick Knight and Daphne Guinness. 


Expanding collaboration

Iris van Herpen collaborates for the first time with architect and professor Philip Beesley for her 'Voltage' collection. They continue working together on many of the following collections. For her 'Voltage' collection Iris also collaborates with professor and architect Neri Oxman from the MIT Media lab, creating a soft mutli-material 3D printed dress for the first time.



Iris van Herpen collaborates with experientalist Carlos van Camp for her 'Voltage' Couture show in Paris, where a model makes movement tangible on the runway through dancing with three million volts.


Ready to Wear

Iris van Herpen launches her RTW in Paris, starring artist Grimes and shows her first RTW collection 'Embossed Sounds'. 


First book

The Groninger Museum publishes the first Iris van Herpen book. The book shows an overview of all her collections, including runway photos, Bart Oomes still-live photos and descriptions of her concepts and materials.


Solo Exhibition 

The Groninger Museum presents the first large-scale solo exhibition of the work of Iris van Herpen.
The exhibition is curated by Mark Wilson and Sue-ann van der Zijpp and shows an overview of her work of the
first four years. All looks in the exhibition are archived in stil-live by photographer Bart Oomes and in the following
years the exhibition coninues travelling trough musea in Europe and the United States.


Björk album cover

Iris van Herpen designs Björk's dress for her 'Biophilia' album cover and 'Crystalline' single cover.
After this album, Iris continues designing for Björk her tours, videos and performances.


Chambre Syndicale de la Haute Couture

Iris van Herpen becomes guest-member of the Parisian 'Chambre Syndicale de la Haute Couture'. From this moment she shows her new collection twice a year at Paris Fashion week.


Best Inventions TIME Magazine

TIME Magazine names Iris van Herpen's 3D printed dress one of the 50 Best Inventions of 2011.



Iris van Herpen wins the Dutch Fashion Awards 2010 as well as the Dutch Incubator Award, the Accessory Award
and the Dutch Design Awards, RADO.


3D printing garments

Iris van Herpen designs her first 3D printed garment, that she shows at the runway at the Amsterdam Fashion Week. The 'Crystallization' top is inspired by shell structures and 3D-printed from white polyamide.


Fashion and Architecture

Iris van Herpen sets her first steps in collaboration outside of fashion, into architecture.
She collaborates with the architects Benthem Crouwel Architects, creating her 'Water' dress.
This inspires her to continue collaboration with other diciplines and to start working with technology.


Lady Gaga

Lady Gaga wears Iris van Herpen for the first time.
She continues wearing IVH several occasions after, like for her perfume launch 'FAME' in 2012 in NYC
where she wears a specially designed shiny black Couture dress, inspired on her perfume bottle.

In 2018, Lady Gaga wears Iris van Herpen 'Syntopia' Couture at the Toronto International Film Festival.


Iris van Herpen starts her label

After studying Fashion Design at ArtEZ Institute of the Arts Arnhem and interning at Alexander McQueen in London, and Claudy Jongstra in Amsterdam, Iris van Herpen starts her label in 2007, Arnhem, the Netherlands and shows her first collection at the Amsterdam Fashion Week.


2017 Johannes Vermeer Award

2017 Grand Seigneur Award

2016 Art+Technology Award - Witteveen+Bos 

2016 Grand prize of the European Commission- STARTS 

2016 Prins Bernhard Cultuurfonds Mode Stipendium

2015 Marie-Claire Prix de la mode, best dutch conceptual designer

2014 ANDAM Awards Grand Prix

2013 Golden Eye Award

2013 Dutch Design Awards, category fashion

2013 Marie Claire prix de la mode , best Dutch Designer

TIME Magazine names Iris van Herpen's 3D printed dresses one of the
50 Best Inventions of 2011.

2010 Mercedes-Benz Dutch Fashion Awards

2010 Dutch Fashion Incubator Awards

2010 Dutch Accessory Awards

2010 Dutch Design Awards, RADO

2009 Dutch Design Awards, best product of fashion and accessory

2009 Dutch Media Awards


2019      A Queen Within: Adorned Archetypes, Museum of Pop Culture, Seattle, USA
2019      Wonder Women, Modemuseum Hasselt, Belgium
2019      Kimono Refashioned, Asian Art Museum, San Francisco, USA
2019      Animalia Fashion, Uffizi Gallery, Florence, Italy
2018      Women + Design: New Works, Dallas Museum of Art, USA
2018      Femmes Fatales: Strong Women in Fashion, Gemeentemuseum Den Haag, The Netherlands
2018      Luxury, Cube Design Museum, The Netherlands
2018      Outrageous Ornament: Extreme Jewelry, Katonah Museum of Art, USA
2018      Backstage/Frontstage, ModeMuseum Hasselt, Belgium
2018      Entangle / Physics and the Artistic Imagination, Bildmuseet, Umea, Sweden
2018      Solo exhibition Royal Ontario Museum.  'Iris van Herpen – Transforming Fashion’, overview of all collections
2018      Haute Dentelle: Designer Lace, La Cité de la Dentelle et de la Mode, Calais, France
2018      Jinji Lake Biennale, Suzhou Center Mall, China
2018      State of Fashion: searching for the new luxury, Arnhem, The Netherlands
2018      A Queen Within: Adorned Archetypes, New Orleans Museum of Art, USA
2018      Solo exhibition Phoenix Art Museum.  'Iris van Herpen – Transforming Fashion’, overview of all collections
2018      NVG Triennial, National Gallery of Victoria, Melbourne, Australia
2017      V & A, London. ‘Balenciaga: Shaping Fashion‘
2017      Solo exhibition Dallas Museum of Art.  'Iris van Herpen – Transforming Fashion’, overview of all collections
2017      Gallery46, London. ‘Immortal’ presented by Warren Du Preez & Nick Thornton Jones
2017      Fashion Museum Hasselt, ‘Across Japan’
2017      La Venaria Reale, Turin.  ‘JUNGLE. The Animal Imagery in Fashion’
2017      Belvedere, Vienna. The ‘Vulgar’
2016-2017 Barbican Art Gallery, London. The ‘Vulgar’
2016      Bergkerk, Deventer. Iris van Herpen solo exhibition ‘Metabolic’
2016      BOZAR, Brussels. ‘ Magnetic Motion’
2016      Ars Electronica, Linz.  ‘RADICAL ATOMS and the alchemists of our time’
2016      Miami Art Basel. Iris van Herpen ‘Micro'
2016      MAAS, Sydney. ‘Out of Hand: Materialising the Digital’2016 Metropolitan Museum New York ,  'MASTERWORKS: UNPACKING FASHION'
2016 Solo exhibition Grand Rapids Art Museum. 'Iris van Herpen  Transforming Fashion', overview of all collections
2016 Metropolitan Museum New York , 'Manus x Machina: Fashion in an Age of Technology'
2016 Barbican Centre Lonon , Barbican Centre London, 'Fashion Redefined'
2016 The Museum of fine Arts, Boston
2016 Maison Mais Non gallery London, honoring Zaha Hadid ‘The Extraordinary Process' 
2016 MOMU Museum Antwerp, The 'Game Changers – Reinventing the 20th Century Silhouette'  
2016 Cooper Hewitt Museum , New York,  'Beauty- Cooper Hewitt Design Triennial' 
2015-2016 Solo exhibition High Museum of Art, Atlanta.  'Iris van Herpen - Transforming Fashion', overview of all collections
2015 MOMU Fashion Museum, Antwerp, FOOTPRINT. The tracks of shoes in fashion
2015 Palais de Tokyo Museum, Paris,  Le bord des Mondes exhibition
2015 Victoria & Albert Museum London , What Is Luxury?
2015Musee de l'Histoire de l'Immigration, Fashion Mix : le parcours de l'exposition
2015 LENTOS Kunstmuseum Linz, Love and Loss: Fashion and Mortality exhibition
2014 FIT Museum NYC, Dance & Fashion
2014 Clash- Resistance in Fashion, Heart Herning Museum of Contemporary art, Herning Denmark
2014 Bass Museum of Art, Vanitas: Fashion and Art, Miami Beach, US
2014 A Queen Within: Adorned Archetypes, The World Chess Hall of Fame, Missouri U.S.
2014 The Future of Fashion is Now, Boijmans Museum , Rotterdam
2014 MAD Museum NY, Out of Hand .Materializing the Postdigital
2014 Solo exhibition, overview of all collections, Boras, Sweden in collaboration with Groninger Museum.
2014 Mode, de musical, Centraal Museum, Utrecht
2013 Solo exhibition, overview of all collections, Calais. Museum Cite-Dentelle in collaboration with                    Groninger Museum.
2013 ArchiLab | Naturalizing Architecture at new FRAC Centre, France
2013 Exhibition SHOWcabinet /, London 
2013 MºBA Fetishism in Fashion. Mode Biënnale Arnhem
2013 HAND MADE. Museum Boijmans van Beuningen, Rotterdam, The Netherlands.
2012 Iris van Herpen. Solo exhibition, Groninger Museum, Groningen, The Netherlands
2012 MICRO Impact. Museum Boijmans van Beuningen, Rotterdam, The Netherlands
2012 Excellent Craft. Palace House of Orange. Berlin, Germany
2012 Iris van Herpen. SIEN, exhibition and an exclusive selection of Iris van Herpen. Opening October 13, 2012. Antwerp, Belgium
2011 Self Structure. Lieu du Design, Paris, France
2011 London Design Festival. Victoria & Albert Museum, London, UK
2011 The New Craftsmanship. Iris van Herpen and her inspiration. Centraal Museum, Utrecht, The Netherlands
2011 Basic Instinct. Berlin, Germany
2011 Mode Biennale Arnhem. Arnhem, The Netherlands
2011 Material World. Art, design and fashion. Groninger Museum, Groningen, The Netherlands
2011 Washed up (curated by Judith Clark). Selfridges department store, London, UK
2011 Little Black Dress. The Civic gallery, Barnsley, UK
2011 Transformation. Swarovski exhibition at flagship store in Vienna, Austria
2011 Fashion&Chocolate. Harbour City Exhibition, Hong Kong, People’s Republic of China
2010 BLACK. Masters of Black in Fashion & Costume. MOMU, Antwerp, Belgium
2010 Fashion & Architecture. ARCAM, Amsterdam, the Netherlands
2010 In your Face. Centraal Museum, Utrecht, the Netherlands
2010 Dutch Design Awards exhibition. Eindhoven, the Netherlands
2010 Best of Dutch Design. Red Dot Museum, Essen, Germany
2010 Dutch Cultural Pop-up Space. London Fashion Week, London, UK
2010 10xxx. Gallery Helpuzelven, Winterswijk, the Netherlands
2010 Haute Couture Voici Paris. Gemeentemuseum, The Hague, the Netherlands
2009 Harrods launches. In-store exhibition and sales, London, UK
2009 Shape. Mode Biennale Arnhem, The Netherlands
2009 Dutch Design Awards. Eindhoven, The Netherlands
2009 Design Overtime. Eureka Night, Design Museum, London UK
2009 Shanghai Creative Industries Week, Shanghai, People’s Republic of China
2009 Rollan Didier meets Iris van Herpen. Gallery FashionMania, Amsterdam, The Netherlands
2008 Bridges to Fashion. Historical Museum, Rotterdam, The Netherlands
2008 Galeries Lafayette. Paris, France
2008 V!P Gallery. Rotterdam, The Netherlands
2008 Mememachine Gallery, Tokyo, Japan
2007 SPRMRKT. Amsterdam, The Netherlands


ROOTS OF REBIRTH - January 2021, Paris Fashion Week
During such rarefied times, the designer explores a symbiosis of high technology and the artisanal craftsmanship of couture, through a collection that references the intricacy of fungi and the entanglement of life that breathes beneath our feet. Through ‘Roots of Rebirth’, Van Herpen notions towards the miraculous lacery of interconnectedness from the natural ‘wood wide web,’ weaving a dialogue between the terrestrial and the underworld.

The work of Iris van Herpen is often described as ethereal and transcendental; a chimeric exposition, radiating shapes that reference the relationship between the human body and the natural world. This season, the Dutch designer explores the rich, yet deeply fragile interconnectedness of an unfamiliar world, the enigmatic fungi empire and the life-bearing fine threads of mycelium. The collection details the extraordinary existence of this winding ‘fabric of life,’ the marvelling world of undergrowth tapestry. In reference to the book penned by scientist Merlin Sheldrake, ‘Entangled Life’ notes that ‘fungi is the ecological connective tissue, the living seam by which much of the world is stitched into relation. 

“Thinking about fungi makes the world look different. These astonishing organisms challenge our animal imaginations and make questions of many of our well-worn concepts, from individuality to intelligence.” - Merlin Sheldrake ‘Roots of Rebirth’ extends its own branch, an invitation to a sequence of 21 looks inspired by roots and spores. During the show, the models seem to magnetise a living lace of spores with each stride, the entanglement of each garment resembles roots of regeneration. Two looks embody the 'henosis' technique, in which multiple translucent layers of duchess fabric were dyed in pastel hues, forming a 'mantodea' motif. An off-white lasercut venation formed by a myriad of hovering fins sprout outwards, radiating each motion into a delicate lacy array of invisible interconnectedness. In other creations, hand-embroidered roots surge and symmetrically entwine the body in transformative tones, from liquid copper to deep shades of burnt umber.

Hand-pleated mahogany silk were draped to fan out into hemispheric blooms. The unseen splendour of each garment echoes fungi activity, in which glass-organza were intricately pleated in an ombré of white to vivid amber, branching out from a hand-embroidered bodice to form fractal networks. A mosaic of fine-edged liquescent gills were 3D embroidered onto expandable lace, lasercut to parametrically reveal fine details of skin between amethyst hued fibre. As fungi maps the skin of the earth, such is also the composition of Van Herpen’s Haute Couture. In another look, Ocean Plastic® fabric made from upcycled marine debris by Parley for the Oceans was printed and incised into thousands of fine trilateral tessellations, initiating a fragile symbiosis with the skin through seamless gradients in translucency.

SENSORY SEAS - January 2020, Paris Fashion Week
For this collection, Iris van Herpen draws inspiration from the sensory processes that occur between the intricate composition of the human body, mirrored with the fibrous marine ecology of our oceans.

The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood. He questioned; how does the brain engage in conversation with its counterparts? Exploring our central nervous system in microscopic detailing, Cajal documented his revolutionary findings through anatomical drawings that are considered amongst the world’s greatest scientific illustrations. Hunched over his microscope, he merged science with art and brought to life the threads of our enchanted biology to the human eye.
Other inspiration stemmed from diving into the deep depths of the Hydrozoa, a class of delicately branched sea-life organisms. Shifting between a polypoid stage and a medusa stage, the Hydrozoa embroider the oceans like aqueous fabrics, forming layers of living lace.
‘Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux.

The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in clouded pools of
blues and lilac, leaking into one another like marble. Colourful meshworks of cellular geometry are translucently layered to create deep-sea aquarelles. Soft shades of greens, blues and gentle ochres are painted by Shelee Carruthers and juxtaposed with the warming reds of coral reefs.
The flickers and curves of Cajal’s anatomical drawings are revealed in the ‘Labrynthine’ technique; 3D lasercut silk dendrites are heatbonded to blossoming leaves of black transparent glass-organza, to then be hand-embroidered onto lasercut pearlescent exoskeletons. The 'hypertube' looks are 3D printed from a single-lined web using white silicone thread, that is printed onto black silk-chiffon, twisting down the body. For the ‘Hydrozoa’ technique, cellular aquarelles of dark purples and turquoise were oil-painted and multi-layered into hundreds of transparent lasercut PetG bubbles. The glass organza halos were digitally printed, heatbonded and then hand-stitched into voluminous splashes. The file-work of each layer is drawn to hang upwards, blooming aquatically with each movement.

The ‘Morphogenesis’ technique is carved by thousands of white screenprinting mesh layers, in collaboration with Philip Beesley. 3D twisted vortex models were created in Rhino software, numbered and sliced into 3mm distance, to then be cut on the KERN lasercutter with a triangulated grid of chevron-holes. Grasshopper scripts smoothened the processes of lofting, slicing and nesting. Each layer was embellished by hand with a grid of minuscule transparent chevrons, creating vibrant coral textures that expand and contract around the body.

During the show, the models emerge from three 'immaterial' lightwave sculptures, designed by Paul Friedlander. Each sculpture is made from one thread only, that transforms frequency into shape. Illustrating a sea of structure, they encircle the models by weaving light around them, creating a metaphorical maze of sensory waves.

Matching the ebb and flow of arresting sensations from neuron to ocean, changeant- silks ripple buoyantly. Swaying serenely, they are at the liberty of change, regenerating amongst the immensity of the ocean, to the silent,yet eternal chattering of our senses.

HYPNOSIS - July 2019, Paris Fashion Show
Iris van Herpen presents her latest collection at Paris Haute Couture week titled ‘Hypnosis’ on July 1st, 2019 at Élysée Montmartre in Paris.

For this collection, the designer finds inspiration in the hypnotic manifolds within our ecologies through the work of American artist Anthony Howe. The three-dimensional cyclical harmony of Howe’s kinetic sculptures is the wind beneath the wings of this collection. Howe's spherical ‘Omniverse’ sculpture explores our relationship with nature and intertwines with infinite expansion and contraction, expressing a universal life cycle. The meditative movement of the ‘Omniverse’ serves as a portal for the collection and the models, encircling a state of hypnosis.

The collaboration with Howe evolves ‘in an ecstasy of attentiveness’ through the symbiosis of all the elements of nature that are dependent on each other. As one of the key pieces of the collection, the finale ‘Infinity’ dress comes alive on the breath of a finely balanced mechanism. An engineered skeleton of aluminium, stainless steel and bearings is embroidered with a delicate layering of feathers in cyclical flight; revolving around their own centre. ‘Hypnosis’ reflects the beauty and complexity of our environment, exploring the patterns and structures within its fragile landscape.
‘The 'Hypnosis' collection is a hypnotic visualisation of nature’s tapestry, the symbiotic cycles of our biosphere that interweave the air, land, and oceans. It also reflects the ongoing dissection of the rhythms of life and resonates with the fragility within these interwoven worlds.’ - Iris van Herpen

The 'Hypnosis' collection consists of 19 silhouettes that flow deceptively in transparencies.
Multilayered around the body, they revive the ancient silk moiré weaving technique that links to the illusory nature of human perception. The ‘Epicycle' looks are constructed by multi-layering luminous organza spheres, which challenge the relationship between surface and substance through illusory patterns that wrap into each other infinitely. The ‘Suminagashi’ garments which reflect the venerable art of Japanese floating ink on water, are lasercut into liquid lines of dyed silk, heat bonded onto transparent tulle to seemingly and seamlessly flow over the skin. The ‘Dichotomy’ looks are laser- printed, heat-bonded and lasercut into contra-positive waves. Each dissected curve is then pressed onto hundreds of ripple-like panels that ebb and flow in an exquisite swell of meticulously hand stitched silk organza. The ‘Hypnosis’ technique, developed in collaboration with Professor Phillip Beesley involves ten of thousands of plottercut mini ripples that continuously dissect the dress through each movement of the body, revealing skin in between the whimsical spheroid patterns. The printed duchesse-satin is plottercut into thousands of 0.8 mm exquisite waves that each are interlinked, designed to move faster than the eye can follow.

SHIFT SOULS - January 2019 at Paris Fashion Week
Iris van Herpen presented her Haute Couture collection, titled 'Shift Souls', on January 21st, 2019 at Palais des Beaux-Arts in Paris.

The collection was inspired by early examples of celestial cartography and its representations of mythological and astrological chimera, Van Herpen was particularly taken with 'Harmonia Macrocosmica', a star atlas by the German-Dutch cartographer Andreas Cellarius, published in 1600.

With the advances in DNA engineering and the first successful creations of human/anima hybrids called 'Cybrids', the mythological dreams of Humankind since the dawn of civilization are shifting to the canvas of science. While the scientific and ethical implications of 'Cybrids' are still unclear, this collection expresses the fact that this reality is upon us.
'For 'Shift Souls' I looked at the evolution of the human shape, its idealization through time and the hybridization of the female forms within mythology. Specially the imagination and the fluidity within identity change in Japanese mythology gave me the inspiration to explore the deeper meaning of identity and how immaterial and mutable it can become within the current coalescence of our digital bodies' — Iris van Herpen
Additional inspiration comes from the artist Kim Keever, the aquatic expressionist based in New York who merges the disciplines of painting and photography. A former NASA engineer, Keever experiments with the idea of ephemerality and movement in large scale photographs of liquid clouds of colors. Van Herpen collaborated with Keever on translucent layered cloud dresses of his signature work.
The collection consists of eighteen looks with concentration on dissected and voluminous layering, and a warm color palette of ochre, tyrian purple, and indigo pigments. The 'Harmonic' silhouettes are voluminous spheroid dresses that unfold vibrant patterns through translucent gradient-dyed organza that is halfwheel plisse-ed by hand. The 'Symbiotic' volumes are made from gradient- dyed silks that are multi-layered into sculptural shapes by a fine 3D lasercut frame of PETG to create hybrid bird shapes in dimensional color gradations that hover in symbiosis with the body like mythological creatures. 'Shift souls' hide and reveal anamorphic faces that smoke around the body in three dimensional 'wave drawings', multi-layered and gradient-dyed silks are heat-bonded within frames of lasercut mylar, creating surreal spectra anatomies. For the 'Galactic glitch' technique, cloud-printed silk is heat-bonded to mylar and lasercut into the finest lace of thousands of 0.5mm 'harmonica waves', creating a dance of quivering echos that optically distort the body. The "Cosmica' looks are made from vaporous colored clouds by Kim Keever that are printed on translucent organza, to be layered into nebulous multi-dimensional prints, whose unfinished contours bur the body.
'Cellchemy' face-jewelry are 3D printed through high-resolution multi-material printer in collaboration with the Delft University of Technology. One-off pieces were developed through a generative design process based on a 3D face scan, by combining the color information with the 3D shape in grasshopper algorithm, a semi-arbitrary density structure was mapped from the face.
For the finale of the show, Iris van Herpen collaborated with contemporary artist Nick Verstand, subdividing the space using walls of materialized laser light, revealing a dreamscape of circulating clouds.

SYNTOPIA - July 2018 at Paris Fashion Week
Iris van Herpen presented her Haute Couture collection, ʻSyntopiaʼ, on July 2nd, 2018 at Le Trianon in Paris.

In this collection the designer explores the new worlds that arise within synthetic biology and the intertwining relationships between the organic and the inorganic. ʻSyntopiaʼ acknowledges the current scientific shift in which biology converges with technology and visualizes the fragility and power within.

For Syntopia, Van Herpen collaborates with the artists Lonneke Gordijn and Ralph Nauta of Studio Drift, whose biomimic art works translate natural processes by breathing life into delicate immersive sculptures through movement. For this show Studio Drift has created a spatial kinetic installation ʻIn 20 stepsʼ constructed of 20 delicate glass wings that represent all the different steps of flying in an abstract way. The vivacious glass bird flows in symbiosis with the models while they move over the runway, their delicate interaction emphasizes the fragility of new worlds living and soaring together.

'As a former dancer, the transformation within movement has hypnotized me. For this collection I looked closely at the minutiae of bird flight and the intricate echoing forms within avian motion. The artists Studio Drift and the scientist Etienne Jules Marey inspired me to look more closely at the draping of a garment through chronophotography. By slowing down time into split seconds I started breaking down the usual draping of fabric, to then layer the milli-seconds all slightly shifted, like the layering of a bird's feather.' says van Herpen.

The collection begins with one of the oldest artisanal techniques - weaving. Here, traditional weaving and cutting-edge, digitally designed weaving intertwine to create a series of ʻSyntopicʼ coats and dresses in laser-cut wool that are woven with leather through parametric file making to literally cut into time. Transparent silk organza is pleated and liquid-coated, their transparent folds continually overlap in different directions to slow down movement, resembling the glass lines of the showʼs kinetic installation. The 'Inside a secondʼ technique translates the artistry of Studio Drift and the chronophotographic lines of birdflight into thousands of two-toned transparent organza layers that are lasercut and heatbonded with mylar and cotton, that drape like time-lapse motion. The mini ʻMimesisʼ corset dresses are made from birdʼs soundwave patterns that are lasercut of mylar, black cotton, red organza and transparent black acrylic sheets, layering the silk and acrylic like a featherʼs architecture.

LUDI NATURAE - January 2018 Paris Fashion Week
Iris van Herpen presented her Couture collection, titled ‘Ludi Naturae’, on January 22nd, 2018 at the Galerie de Minéralogie et de Géologie in Paris.

For this collection the designer examined the natural and manmade landscapes of our world from a bird’s-eye view, tracing the laws of entropy.

Inspiration was found from surveying the intricate aerial photography by Thierry Bornier, and Andy Yeung, among others. This is a response to Van Herpen’s earlier work, for which she meditated on the world’s formations from a microscopic point of view.

‘I zoomed out to look at the earth’s skin, trying to find the forces behind the forms. Looking from this perspective, I felt inspired by the patterns of chaos and order, nature and civilization blending into infinite hybrids. ’

Following the original inspiration, Van Herpen collaborated with the Dutch artist Peter Gentenaar, who is known for capturing ‘organic memory’ and motion in his delicate large-scale cellulose sculptures. For this show, Gentenaar created a site-specific floating installation that blossoms around the garments as the models move.

‘Ludi Naturae’ is vivid and optimistic, sheer and delicate, fusing the artificial with the organic. The collection blends a natural color palette of blurred and faded greens, yellows, blues and purples with skin colors and blacks.

The 21 silhouettes feature boundary-pushing construction and innovative material techniques like ‘Foliage’, a process initiated with the Delft University of Technology in which leaf-like patterns are 3D printed as thin as 0.8 mm and tulle is laid into the 3D printer to print directly onto the fabric,  creating exceptional softness. 
‘Data Dust’, in which parametric patterns are computationally distorted, foam-lifted, laser-cut and then heat-bonded onto an invisible silk tulle, create radiant glitches. 
For the ‘Entropy’ process, nude leather and liquid fabric are bonded to mylar, individually lasercut into perforated diminishing patterns, to then be interwoven to form interlocking gradients from leather to voluminous drape.

AERIFORM  - July 2017 Paris Fashion Week
'Aeriform' examines the nature and anatomy of air and the idea of airborne materiality and lightness, creating negative and positive space with shadow and light. 
Van Herpen also drew inspiration from the Danish underwater artists Between Music who challenge the relationship between the body and its elemental surround, in a subaquatic environment where air is absent. 

"Their liquid voices and the subsonic darkness from Between Music overwhelmed me. It motivated me to dive into the contrasts between water and air, between inside and outside, between darkness and lightness."
Iris van Herpen

Between Music have collaborated with deep sea divers, physicists and neuroscientists over many years to develop a hypnotic biophonic sound sculpture which they perform on custom-built instruments while submerged in water. Their work transcends and transforms the conventional and natural relationship between our bodies and the elements.

"I’m doubly fascinated: I feel so free in the water – and at the same time I feel a slight hint of terror. Water is a fantastically exciting element because of its dual nature."
Leila Skovmand, Between Music

Air and water are the structural and visual components of the eighteen elaborate silhouettes of the collection and have influenced the development of both the textiles and garment construction, which is reflected in their volumes, rippling patterning and translucent layering.

Biomorphic structures include a feathery-light metal lace of geodesic floral patterns in collaboration with Philip Beesley, which float around the body like a silver cloud. Echo waves of mylar bonded cotton ripple across the skin mapping the surface of the body and painting its contours. 

The shoes are made from a soft suede with a parametric welded metal heel, creating a delicate molecular lattice around the foot.

BETWEEN THE LINES, January 2017 Paris Fashion Week
'Between the lines' explores the imperfection of systems and structure in both the physical and digital worlds. Van Herpen focuses on the gaps in between the structures of her materials, rather than the structures themselves, by shaping patterns that dissimulate the body’s perspective or subtract it. By building up the patterns and then distorting
them, the eye’s perspective is tricked and challenged to see new patterns occurring in between.
Linear shifts and sharp contrasts form the base of this innovative approach to material development and patternmaking and challenge us to “mind the system,
but to find the gaps.”
To compliment her vision for this show, Van Herpen collaborated with Berlin artist Esther Stocker, who is known for her manipulation of dimensional geometries. Stocker subverts spatial grids until the mind starts making linear connections that aren’t really there. For this show Stocker creates a tunnel of visual distortion, in which the models evolve within a conflict of light and shadow. By building up the lines and then distorting them, the eye shifts to see new lines emerge in between. For Stocker, the experience is implied as much by its gaps as it is by its contours.
The distortion created by glitches, short-lived faults in a digital system, also formed the design process of this collection, creating a new unexpected beauty of imperfection. The optical manipulation within the garments is based on hypnotic repetitive patterns in a minimal palette of black and white only, in order to delineate the silhouettes and textures. New techniques in this collection include soft 3D hand-casted PU fabrics that are hand-painted through injection moulding and fine expandable laser-cut Mylar fabrics reminiscent of digital glitches, made in collaboration with architect Philip Beesley. The copper-plated diagonal heels shift the balance of the shoe, leaving a rectangular gap between the lines.

SEIJAKU- July 2016, Paris Haute Couture Week
For “Seijaku”, the Couture collection presented in Paris on July 4th, 2016 Iris van Herpen explores the study of cymatics, which visualizes sound waves as evolving geometric patterns. In cymatics, the higher the frequency of the sound wave, the more complex the visible patterns.
To provide a seamless experience between the show and its concept, Van Herpen collaborated with the Japanese sound artist Kazuya Nagaya to create a Zen bowl sound installation. “Seijaku" is the Japanese word and concept for finding serenity amidst life’s chaos. The artist performed live during the show in the L’Oratoire du Louvre which was specifically chosen for its exceptional acoustics that fuse the meditative sound waves of the Zen bowls. Within this immersive environment the models and the audience engage in a collective experience which breaks down the barrier between them. The collection reflects circular shapes and geometric patterns that are common in Cymatics, which serve as the base for this collection’s biomorphic volumes.  
Van Herpen continues exploring her ethos of “modern couture” by coating thousands of hand-blown glass bubbles in transparent silicone, creating a bioluminescent prism around the body.
Inspired by the work of the Japanese artist Kohei Nawa, Van Herpen also uses a similar technique to silicone-coat tens of thousands of Swarovski water drop crystals, creating a dress with the look of a wet skin covered in dew drops. Other fabric techniques developed exclusively for the collection include stitching pearl-coated rubber fabric onto black tulle to create fossil and floral layering. A halter dress is laser cut and stretched over black wire to scroll around the body like waves of sound in a shell. Ethereal dresses float on a 3D moiré technique in which hand- plisséed and line-printed organza is handstitched on transparent tulle. The lightest Japanese organza is woven from threads five times thinner than human hair and made with the traditional Shibori technique, creating unique cymatic patterns.

LUCID - March 2016, Paris Fashion Week
The unreality of seeing.
For her LUCID collection, presented in Paris on March 8th, 2016, the Dutch designer Iris van Herpen explores the concept of lucid dreaming. Within a lucid dream, the dreamer is conscious of the dream state and therefore is able to exert a degree of control on what is happening.
“When I design, the draping process most of the time happens to me unconsciously. I see lucid dreams as a microscope with which I can look into my unconsciousness. In this collection, I have tried to bring my state of ‘reality’ and my state of dreaming, together,” notes the designer.
Both the models and the audience are mirrored as one in the show space, creating a close-up and intimate experience that is amplified by seventeen large optical light screens (OLF). Depending on the viewing angle, movement and proximity to the sheets, the perception of the audience that view the models is continuously shifted and deluded to reflect the fine line between reality and unreality. The visual alienation of the OLF was influential to Van Herpen her design process. There are 2 main design techniques presented in the collection: the lucid looks and the phantom dresses. The lucid looks result from the designer’s continuous collaboration with the artist and architect Philip Beesley. These looks are made from transparent hexagonal laser-cut elements that are connected with translucent flexible tubes, creating a glistering bubble-like exoskeleton around the wearer’s body. The phantom looks are made with a super light tulle to which iridescent stripes are fused, shimmering the silhouette illusory. Continuing Van Herpen’s vigor of fusing technology with handcraft, the collection features two 3D printed Magma dresses that are combining flexible TPU printing, creating a fine web together with polyamide printing. One of the dresses is hand stitched from 5,000 3D printed elements. This season Van Herpen opted for organic, circular, and voluminous silhouettes in light, iridescent colors of nude, green and gray.
The Aero shoes in collaboration with Finsk, are made from wood, laser-cut leather and an ultra-thin transparent acrylic heel that separate the sole and the upper, creating a hovering look.

QUAQUAVERSAL - October 2015, Paris Fashion Week
For Spring/Summer 2016 Iris Van Herpen explores the powerful confluence of nature and architecture.  Inspired by the living tree bridges in India, the designer executes  a new approach to garment construction, mixing the techniques of cutting, weaving, folding, and growing into a process that transcends the boundaries of traditional clothes-making. “The beautiful potential of plants and other organisms to form living architecture inspired me to make a collection that is tangled like a maze around the body. Inspiration came from the way plants and their roots grow, and how roots have been used to grow living bridges in the forests of India. This tradition of growing bridges inspired me to re-envision my process of making a garment.” Central to the show Gwendoline Christie lies in a deep-time dream, wearing a circular dress which is being woven upon her. The live process blends different techniques - lazer cutting, hand weaving and 3-D printing into one dress, which spreads from the centre, quaquaversal in its geometries.
Three ‘Beings’ move over the sleeping figure , their geological mineral landscape magnetically grown by the artist Jolan van der Wiel , weaving  the dress in real time,  interlacing an architectural mesh  which rays out around her. “Van Herpen’s work reveals the secret structures of our existence giving us a multidimensional experience of what it is to be alive, it is an investigation into the past, present and future in all its primal and mythological forms. ”
Gwendoline Christie
In order to underscore the growth process inherent in living architecture and the installation, variations of lace were used as the key materials in the collection - a fine organic lace from Calais, a nude, graphic maze-like lace, iridescent changeant silver lace, leather lace embedded with Swarovski ceramic stones, and glass-like transparent lace with square gems. The collection is executed in minimal colors – white, nude, grey, silver  and black tones.To complement the collection, the “airborne” shoes were developed in collaboration with Finsk. Their ultra-thin platform creates an illusion of the wearer being suspended above ground. 

HACKING INFINITY- March 2015, Paris Fashion Week
For her Hacking Infinity collection, presented in Paris on March 10th, 2015 at the Palais de Tokyo, Iris van Herpen explores ideas of terraforming –modifying the biosphere of another planet to resemble that of Earth. The collection explores the possibility of new geographies and our place within them. The desire to reconfigure space finds expression in light performative materials, which interact with the movement of the body, biomimetic structures and saturated spectral colors. The central geometry is the circle, in both silhouette and cut.  The spherical shape of planetary bodies and the symbol of a boundless ‘hackable’ infinity unfolds before us in a constant flow of mandala-like forms. Hand plisseed geometries both follow and frame the body, whilst optical lighting film belts propose a polymorphic silhouette and challenge our perception of the figure in space.This season Van Herpen has developed an extremely light, translucent stainless steel weave, hand burnished to imprint a sheen of nebula-like colors, whose infinite variations make each garment unique.  Three-dimensionality is imperative to Van Herpen, and she continues her research with the creation of a 3D hand woven textile with designer Aleksandra Gaca. One weave like a mineral geology encases the body while the other cushions it with a light linear grid, threaded and fringed with a raw edge.Van Herpen pursues her collaboration with the Canadian professor of architecture Philip Beesley on the creation of digitally fabricated dresses made from a black garden of fractal like geometries.The shoes for the collection were made in collaboration with the Japanese shoe designer Noritaka Tatehana. They are crafted from 3D printed translucent crystal clusters and laser-cut leather.

MAGNETIC MOTION - September 2014, Paris Fashion Week
For her SS 15 ready-to-wear collection, presented in Paris on Sep 30th, 2014, Iris van Herpen explores the interplay of magnetic forces. By thoroughly examining the representation of dynamic forces of attraction and repulsion, the designer fuses nature and technology. Van Herpen visited CERN the Large Hadron Collider, whose magnetic field exceeding that of earth’s by 20,000 times, provided inspiration for ‘Magnetic Motion’. “I find beauty in the continual shaping of chaos which clearly embodies the primordial power of nature’s performance,” says Van Herpen describing the essence of the collection. Van Herpen stayed true to her spirit of bridging fashion and other disciplines by collaborating with the Canadian architect Philip Beesley, and the Dutch artist Jolan van der Wiel. Beesley is a pioneer in responsive ‘living’ sculpture whose poetic works combine advanced computation, synthetic biology, and mechatronics engineering. Van der Wiel is an artist and craftsman whose work with magnetic tension has resulted in dynamic sculptures and installations that bring to mind the power of volcanic eruptions. Both artists strive to erase the boundaries between nature and technology in their work, which coincides with the direction of Van Herpen’s creative aim. The designer worked with techniques like injection moulding and laser cutting on maze like structures and intricate architectural handwork on dresses, jackets, trousers, skirts and blouses giving them dynamic shapes and surfaces that echo the body’s movement. The three dimensional nature and the layering of the garments give them volume. Emphasising light and shadow play, the minimalist color palette of black, white, midnight blue, and nude allows the designer to concentrate on the garments’ structure. Micro webs of lace veil reveal the luminescent glow of crystal forms, while triacetate feathers punctuate the soft drapes and volumes. A 3D printed transparent, crystal dress was created in collaboration with Niccolo Casas. The controlled structure of the clothes is offset by the chaotic structure of the accessories, shoes, belts, necklaces and clutches, which are ‘grown’ using magnetic fields to create a range where no two items are alike.

BIOPIRACY - March 2014, Paris Fashion Week
In a society, where boundaries between private and public are porous, enquiries surrounding the ownership of one's own body have grown. In the recent past, patents on our genes have been purchased. Are we still the sole proprietor of our bodies? From this question arises a sense of arrested freedom in one's most intimate, solitary state. A mix of ready-to-wear and couture pieces is presented with artist Lawrence Malstaf - who specializes in the interaction between biology and physicality. Models float in the air, embryonic, seemingly weightless and in a meditative suspended animation. Metamorphosis is suggested through intricate enmeshing of materials. Imprisoned fire opal beads gleam through lacerated weaves, artificial fibers compose voluminous, architectural structures, the organic ripple of light on water. A 3D printing collaboration with Julia Koerner fuses the artisanal with the technical to create a kinetic dress which dances as it amplifies bodily movement. Molded boots in collaboration with United Nude accelerate and reconfigure the silhouette.

EMBOSSED SOUNDS - October 2013, Paris Fashion Week
Fascinated by the relationship and potential porosity between the senses, Iris Van Herpen has developed clothes that generate sounds by touch.‘Embossed Sounds’ is the name of her orchestra of clothes which explore garments as electronic instruments that one can touch and play. By touching the clothes, music is sculpted live by the models for their audience in an intimate performance. What lies beneath the surface? Touch sensitive and sensual audio waves threading and weaving over the body creating an intricate sonic web.  The collection plays on a visual duality, ambiguity, combining the ethereal feminine softness of plissé with the flick knife and swagger of the underground rebel biker  : embossed leather silhouettes embellished with laser cut lacquer leather laces, braiding techniques, and black mirrored handcrafted patterns.
The garments  are made of handcrafted 3D silicone pressed structures in leather and high gloss 'liquid' fabrics, woven from silk and nylon threads. In a black, silver, grey and blue shadow palette, Iris Van Herpen utilises materials ranging from Light georgette silk with woven tranclucent acetate fibers to matte microfiber with high gloss black embroidered thin plexiglass and shiny fluid translucent Japanese polyester. 3D pressed silicone is also used to create handcrafted embossed combat shoes.

WILDERNESS EMBODIED - July 2013, Paris Haute Couture week
Nature is wild. Generated by powerful forces. Its proliferates by creating startling beauty.
Through her collaboration with artist Jolan van der Wiel, who has spent several years pondering the possibilities of magnetism, they have created dresses whose very forms are generated by the phenomenon of attraction and repulsion. Iris van Herpen draws equally upon the life force that pulses through the sculptures of David Altmejd. His wild organic forms derived from the regenerative processes of nature have inspired Wilderness Embodied. The human spiritis forged of this same vital energy, coursing and erupting through the limits of the body in such resplendent displays of extreme tradition or technology as piercings, scarification or surgery.This wild(er)ness of the human body, as unchecked as it is intimate, is one that the designer has sought to reveal the collection. With architect Isaie Bloch and Materialise she continues to develop 3D-printed dresses, which she was the first to present in both static and flexible forms. Her partnership with United Nude's Rem D. Koolhaas and Stratasys has led to shoes like tangled webs of tree-roots around the foot.

VOLTAGE – January 2013, Paris Haute Couture Week
For her fourth collection presented in Paris as a guest member of the Chambre syndicale de la Haute Couture, Iris van Herpen explores the electricity of the body. Experimenting with its use in the field of creation, this collection seeks to portray its tangible movement and power. This ability of light and electricity to change states and bodies is reproduced using the most innovative technologies. Described as an alchemist approach to fashion, Van Herpen’s designs perpetually embrace new collaborations with artists, architects and researchers. As part of the show she collaborated with New Zealand artist Carlos Van Camp, echoing his notion of controlling high voltage electricity and its interaction with the human body. Van Camp experiments with three million volts running through bodies.Van Herpen shares Canadian architect Philip Beesley’s fascination with materials and structures. They focus specifically on how the reaction of chemistry and electricity causes structures to respond to their environment and react as living beings.

Iris van Herpen is also know for being todays leading fashion designer in the use of 3d printing. Drawing on the idea of movement, the flexible 3D printed dresses are a revolution, a result of collaborations with Neri Oxman of the MIT Media Lab as well as Keren Oxman and Prof. Craig Carter of MIT with Stratasys, and architect Julia Koerner with Materialise.

HYBRID HOLISM – July 2012, Paris Haute Couture Week
The project Hylozoic Ground by the Canadian architect and artist Philip Beesley provided the inspiration for this collection. Hylozoic refers to Hylozoism, the ancient belief that all matter is in some sense alive. Beesley created a responsive architectural system that uses hylozoism in a quite specific way, that is, “we are working with subtle materials, electricity and chemistry, weaving together interactions that at first create an architecture that simulates life but increasingly these interactions are starting to act like life, like some of the ingredients of life”. His environment breathes, shifts and moves in relationship to people walking through it, touching it, and sensing it. Microprocessors invest that environment with a primitive or insect-like intelligence like a coral reef or a great swarm. Iris van Herpen is intrigued by these kinds of possibilities for a future of fashion that might take on quite unimaginable shapes. Fashion that might be partly alive and growing, and, therefore, existing partly independent from us, which in turn allows for a new treatment by humans: instead of discarding the fashion after use, we cherish, value, and maintain it in its abilities to change constantly. Van Herpen’s translated this future vision in a collection that is highly complex and incredibly diverse in terms of shape, structure, and material. For one design, the ‘cathedral dress’ Van Herpen introduced a technique referred to as mammoth stereolithography which refers to a 3D printing method. This 3D printed process is built slice by slice from bottom to top, in a vessel of polymer that hardens when struck by a laser beam.

MICRO – January 2012, Paris Haute Couture Week
Inspired by the pictures that science photographer Steve Gschmeissner took using Scanning Electron Microscope (SEM) technology, Micro zooms in on the world of microorganisms that is completely hidden from our sight. The pictures show specimens that are dead, dried, and chemically fixated to preserve and stabilize their structures. Van Herpen remains interested in the living organism. Her designs allude to armature, tentacles, cell structures, and plasma. Some seem moist others glow and move while being worn, coming to life on the body.

CAPRIOLE – July 2011, Paris Haute Couture Week
Iris van Herpen made her debut in Paris as member of the Chambre Syndicale de la Haute Couture with this collection. Besides being a compilation of highlights from previous collections, this new collection also presented five striking outfits that evoke the feeling just before and during a free-fall parachute jump. A ‘leap in the air’ (the meaning of the French word Capriole) that Van Herpen once in a while takes to reset her body and mind. The five outfits are a reflection of the extreme feelings experienced during that jump. For instance, the dress consisting of serpentine forms made of black acrylic sheets, nicknamed the ‘snake dress’, evokes the mental state at the moment before the jump when, as Van Herpen explains, “all my energy is in my head and I feel as though my mind is snaking through thousands of bends”.

ESCAPISM – January 2011, Paris Haute Couture Week
Escaping from everyday reality through addictive digital entertainment incites in Iris van Herpen not only feelings of emptiness but also associations with the grotesque, the extreme and the fantastic. This collection aims to capture both the exaltation of these addictions, like the disproportionate attention for celebrities (the ‘new heroes’) and its dark flipside, the never fulfilled hunger that is inherent to it. Another important source of inspiration were the exuberant baroque sculptures of the American artist Kris Kuksi. Dramatic bulging spherical shapes alternate with lace- and skeleton-like 3D-prints, and silver-grey fabrics that seem to reflect their own surface.

CRYSTALLIZATION – July 2010, Amsterdam Fashion Week
At the instigation of ARCAM (Architecture Centre Amsterdam) a collaboration was organized between Iris van Herpen and Benthem Crouwel Architects. Benthem Crouwel’s design for a new extension to Amsterdam’s Stedelijk Museum had earned the nickname ‘bath tub’. This inspired Van Herpen to design a dress that would fall around the wearer like a splash of water, like being immersed in a warm bath, and to express in the collection the different states, structures and patterns of water. Noteworthy is that in this collection Van Herpen presents her first 3D-print that she created in collaboration with the London-based architect Daniel Widrig and that was printed by .MGX by Materialise.

SYNESTHESIA – February 2010, London Fashion Week
Synesthesia is a neurological condition that results in a combination of sensory perceptions. To underscore the hypersensitivity of the body, and to visualize this entanglement of sensory perceptions, Van Herpen secured shiny metal foil on specially treated leather that generated a confusing visual effect without a steady fixation point. Synesthesia is an extreme sensitivity of the body, as  a result of which all the senses  merge. You can see colors when hearing music or experience taste. People who have this 'abnormality' are actually living in a constant natural trip. In this collection Iris has approached the body as a manipulative, sensitive and fragile object by enlarging body parts through transparency, movement and extreme repetition so as to emphasize extremely refined craftsmanship. She confused the eyes and gives clothing an extra dimension by combining  movement with liveliness. "I wonder if in the future clothing will support some of our senses or even take over." 

RADIATION INVASION – September 2009, London Fashion Week
Radiation Invasion translates Iris van Herpen’s question of what we could do with our daily (over)dose of electromagnetic waves and digital information streams if we could see them. In these designs the wearer seems to be surrounded by a whimsical complex of wavy rays, flickering patterns, vibrating particles, and reflecting pleats. The collection is about all the invisible rays (particularly electronics) with which  we are constantly surrounded and immersed. Something which is both scary and interesting. Van Herpen thinks that in the future other ways will be found to detect radiation, where, apart from the body, a new dimension will develop.  This collection is her representation of how it would look if we could detect radiation in the future and if we could control the radiation waves, if we, as a magnet, could attract and repel. 'Being beautiful" gets a whole new and more comprehensive form. 

MUMMIFICATION – January 2009, Amsterdam Fashion Week
Iris van Herpen became captivated with the macabre beauty of ancient Egyptian mummification and the intense devotion that surrounds the process. With techniques to swaddle, wrap and cover the body along with the typical geometric and graphic patterns of Egyptian mummies, she elaborates on the practice of the ancient Egyptians to create a new reality for their dead. She considers the 'reality' that they created for their dead as the reality, while they considered daily life an illusion. She understood this as follows: take everything that seems obvious at face value, but create your own reality. Van Herpen realised this chain of thoughts by combining their ancient techniques with modern materials and thus creating her own new reality. The wrapping and binding of the body and the emphasis on certain parts of the body such as the Egyptians did (as the head) are central in the collection. The collection is handmade from (ECCO) leather, which has been treated with different techniques, lace, tens of thousands of eyelets, ball chain, motorcycle chain and thousands of metal balls.

REFINERY SMOKE – July 2008, Amsterdam Fashion Week
The ambiguous character of refinery smoke, both beautiful and poisonous, inspired this collection. Van Herpen translated the elusiveness of industrial smoke into specially woven metal gauze. Van Herpen turned metal threads into an extremely soft and pliable material. The metal kept its characteristic of oxidation and Van Herpen considers this inherent chemical process as (visually) reflecting the dual aspect of industrial smoke. The organic, liquid, up-creeping smoke looks smooth and dynamic, yet at the same time is frightening, sinister and dangerous. Iris wants to give the viewer this mixed feeling about the collection by manipulating the unpleasant industrial material metal mesh into something soft and lively. The smoke seems to be alive, is tragic but also soft like something you would want to wear. "Will there be a time when clothing is unnecessary and that something as intangible as smoke could be 'worn' on the body? 

CHEMICAL CROWS – January 2008, Amsterdam Fashion Week
A group of crows living around Van Herpen’s studio triggered her association with black magic and alchemy. Crows are known for their intelligence, predilection for glittering objects, and are traditionally associated with secrecy and symbolism. Van Herpen shares with alchemists a passion for controlling and transmuting materials. As alchemists tried to turn base metals into gold, so Van Herpen has transformed in several designs gold-coloured ribs of 700 children’s umbrellas into shapes reminiscent of the movement of wings and feathers. The quest of the alchemists to change 'all metals into gold by using the right chemicals', gave Van Herpen the idea to change the active and mysterious crows into gold and to manipulate the reality of material control. The collection is handcrafted from thousands of brass ribs, so as to maintain the refinement of the feathers, but hard as gold.  What  the alchemists were doing back then, gaining the  control over materials, is actually relevant now that 3D-printing is upcoming. 


Literature: Entangled Life | Merlin Sheldrake
Director: Eugene Yeap
Original Soundtrack by Maarten Vos & Salvador Breed available at
Vocals by Sevdaliza
Styling: Patti Wilson
Casting: Maxime Valentini
Models: Natalia Vodianova, Sevdaliza, Awa Diallo, Adama Jobe, Alyssa Traore, Britt van den Herik, Damaris Goddrie, Nikki Vonsee, Nina Gulien, Nyarach Ayuel & Rosie Ehimwenma
Kinetic Headpieces: Casey Curran
Footwear Collaboration: Kira Goodey
Eco-Innovation Partner: Parley for the Oceans
Director of Photography & Colour Grading: 4eyes
Show Videography: Jesse Jay Kroon, Thom Schrama, Rollo van Wijk, Diès Kroon & Jip Mus Show Editing: Arnaud Batog Digital
Scenography: Misha Shyukin & Hannes Hummel | Shy Studio
Make-up: Chiao Li Hsu, Emma de Boer & the MAC PRO Team
Hair: Olivier Schawalder, Sadek Lardjane & Team | Bryant Artists
Nail Art: Eichi Matsunaga
Site Production: Jonas Kraft, Eddy Dijkstra, Oskar Glasbergen, Tom Lavrenenko, Aziez Kassim | POPKRAFT
Light Design: Stefan Prokop

Press: Alexandre Malgouyres | KCD Paris

Styling: Patti Wilson
Special thanks to collaborating Artist: Paul Friedlander
Collaborating Artists: Philip Beesley, Shelee Carruthers, Duke Morse, Perry Hall
Show Production: SixUp Paris | N6
Casting: Maida Gregori Boina | Maxime Valentini | Caroline Mauger Footwear Collaboration: Trippen
Light Design: Stefan Prokop
Make-up: Chiao Li Hsu & the MAC PRO Team
Hair: Martin Cullen & Björn Axén | The Wall Group Choreography: Diek Pothoven

Music Direction: Salvador Breed
Including tracks:
Joep Beving & Maarten Vos - Apophis (Henosis - Deutsche Grammophon) Kuedo - Bend Moon (Slow Knife - Planet mu Records) Plastikman - Pakard ( Artifakst (BC) - Minsuc Inc.)
Videography: Blitzkickers
Process Video: Jip Mus
First Look Videography: Matthew Sperzel Frontstage Photography: Gio Staiano Backstage Photography: Molly SJ Lowe, Schohaja
Press Release: Scarlett Baker
Illustrations Artwork: Nastya Kuzmina
Invitation Artwork: Takahiro Kurashima and Yanis Georges

Fédération de la Haute Couture et de la Mode Atelier Néerlandais
Davy Hezemans & Joanna van der Werf | Spice PR L’Arc Paris
Absolut Elyx , Perrier-Jouet and Vype

Special thanks to collaborating Artist: Anthony Howe
Special thanks to collaborating Artist: Philip Beesley
Press: Nicolas Delarue | Karla Otto
Styling: Patti Wilson
Casting: Maida Gregori Boina | Maxime Valentini | Caroline Mauger 
Shoes: United Nude
Shoes Collaboration: Jólan van der Wiel
PRO Team Hair: Martin Cullen | Streeters

Music direction: Salvador Breed
Including tracks: 
David Hykes - Rainbow Voice (Radio France)
Gamalan Voices - Mentawai (Gong Ear)
Repeat Eater - Polymorph (Kaometry Records)
Ruby My Dear Jit Thin (Analogical Force)
Rival Consoles - Dreamer's Wake (Erased Tapes)

Literature: Filep Motwary | Jerry Stafford
Illustration Artwork: Nastya Kuzmina
Invitation Artwork: Ryan Hawthorne | Kiyan Forootan

Show production:
Jonas Kraft | POPKRAFT, Michelle den Hollander | Good Mood Productions, SixUp Paris | N6
Light Design: Stefan Prokop | JUR
Make-up: Sil Bruinsma & the MAC Choreography: Diek Pothoven
Frontstage Photography: Gio Staiano
Backstage Photography: Molly SJ Lowe
Manicure: Jessica Scholten

Special thanks to
Fédération de la Haute Couture et de la Mode
Sølve Sundsbø
Albert Watson
Davy Hezemans & Daan Berkhoff | Spice PR 
Atelier Néerlandais

Press: Nicolas Delarue | Karla Otto
Styling: Patti Wilson
Casting: Maida Gregori Boina | Maxime Valentini | Caroline Mauger 
Collaborating Artists:
Kim Keever
Nick Verstand
Philip Beesley
Mask Collaboration: Zjenja Doubrovski & Bas de Jong | TU Delft
Light Design: Stefan Prokop | JUR
Make-up: Terry Barber & the MAC PRO Team
Hair: Martin Cullen | Streeters

Music: Salvador Breed
Including tracks:
Martin Roth - An Analog Guy in a Digital World
Anxur - Volo 2
Oklou - Silicium
Low - Dancing and blood

Choreography: Diek Pothoven
Press release: Eugene Rabkin & Jerry Stafford
Show production:
Jonas Kraft | POPKRAFT, Michelle den Hollander | Good Mood Productions, SixUp Paris | N6
Frontstage Photography: Gio Staiano
Backstage Photography: Molly SJ Lowe, Morgan O'Donovan
Runway registration: Blitzkickers
Process video: Arjen van Eijk | Xinix Films
Drone video: Marinus van Vliet & Matthijs van der Velden | Cineshoots
Illustrations and Invitation Artwork: Nastya Kuzmina
Online teaser: Esteban Diácono
Manicure: Jessica Scholten | OPI Nederland

Special thanks to:
Fédération de la Haute Couture et de la Mode 
Sarah Moon
Luigi Murenu and Iango Henzi
Tim van Vliet | Cineshoots
Kamiel Rongen | Waterballet
Davy Hezemans & Daan Berkhoff | Spice PR 
Atelier Néerlandais

Press: Nicolas Delarue | Karla Otto Paris
Styling: Patti Wilson
Casting: Maida Gregory-Boina | Maxime Valentini | Caroline Mauger
Collaborating artists: Studio Drift
Technical production & Light design: Stefan Prokop & Maarten Pronk | JUR
Make-up: Terry Barber & the MAC PRO Team
Hair: Martin Cullen | Streeters
Music: Salvador Breed

Including tracks:
Hans Zimmer & Benjamin Wallfisch - 2049 
Legowelt - Svolvaer
Kuedo - Border State Collapse

Press release: Eugene Rabkin & Jerry Stafford
Video registration: Blitzkickers
Show production:
Jonas Kraft | POPKRAFT,
Michelle den Hollander | Good Mood Productions,
SixUp Paris | N6
Frontstage Photography: Yannis Vlamos
Backstage photography: Molly SJ Lowe
Invitation artwork: Jon Emmony
Manicure: Jessica Scholten | OPI Nederland

Special thanks to:
Lonneke Gordijn & Ralph Nauta
Jochem Esser
Philip Beesley & Living Architecture Systems Group
Fédération de la Haute Couture et de la Mode
Bryan Huynh & Tristan Tran
Zjenja Doubrovski & Bas de Jong | TU Delft
Alla Polozenko | Illustration booklet
Davy Hezemans & Britt Hamersma | Spice PR

Made possible by:
The Johannes Vermeer Prize
Embassy of the Kingdom of the Netherlands in Paris
Atelier Néerlandais

Press: Nicolas Delarue | Karla Otto Paris
Styling: Patti Wilson
Casting: Maida Boina | Maxime Valentini
Make-up: Terry Barber and the MAC PRO Team
Hair: Martin Cullen  | Streeters
Manicure: Jessica Scholten | OPI Nederland
Music: Salvador Breed
Collaborating artist: Peter Gentenaar
Creative consultant: Jerry Stafford
Press release: Eugene Rabkin & Jerry Stafford  
Video registration: Getty Images | Blitzkickers
Show production: SixUp Paris | N6 | Jonas Kraft | Popkraft
Show direction: Kim Vos & Michelle den Hollander | Bdifferent
Light design/ technical production: Stefan Prokop | Jurlights
Frontstage Photography: Yannis Vlamos
Backstage photography: Morgan O Donovan, Molly SJ Lowe
Process video: Ryan McDaniels
Invitation artwork: Jon Emmony 

Special Thanks to:
Fédération de la Haute Couture et de la Mode
Jean-Baptiste Mondino
Peter Gentenaar & Pat Torley
TU Delft | Jouke Verlinden | Zjenja Doubrovski 
Drim Stokhuijzen | Noor Aberle | Teun Verkerk
Eugene Rabkin
Davy Hezemans & Britt Hamersma | Spice PR 

Made possible by:
The Johannes Vermeer Prize
Embassy of the Kingdom of the Netherlands in Paris
Atelier Néerlandais
Stichting Stimuleringsfonds Creatieve Industrie

Show credits:
Press: Nicolas Delarue | Karla Otto Paris
Styling: Patti Wilson
Casting: Maida Boina & Maxime Valentini
Make-up: Terry Barber | MAC Cosmetics Pro Team
Hair: Martin Cullen | Streeters London
Underwater performance: Between Music
Collaborating artist: Philip Beesley
Creative consultant: Jerry Stafford & Salvador Breed
Press release: Jerry Stafford & Eugene Rabkin
Show direction: Kim Vos & Michelle den Hollander | Bdifferent
Installation production: Jonas Kraft
Show production: SixUp Paris | N6
Light design: Magnum | Olivier Boissières
Video registration: Stylianos Pangalos & Frequin
Video editing: Ryan McDaniels & Salvador Breed
Backstage video: Stylianos Pangalos | Art Director Management
Frontstage photography: Yannis Vlamos
Backstage photography: Morgan O'Donovan & Molly SJ Lowe

Special Thanks to:
Fédération Française de la Couture
Stichting Stimuleringsfonds Creatieve Industrie
TodaysArt | Olof van Winden | TU Delft
Warren Du Preez & Nick Thornton Jones
Soo Joo Park
Illustration booklet | Alla Polozenko
Davy Hezemans | Spice PR
Rollan Didier | Jean Baptiste Mondino | Nick Knight | Mathieu Cesar
Laila Skovmand | Robert Karlsson
Nanna Bech | Morten Poulsen | Dea Marie Kjeldsen
Swarovski Team

We are excited to celebrate our 10 Year Anniversary and would like to
specially thank all of our collaborators, colleagues and special guests
for their dedication and support over the years.

Press: Nicolas Delarue | Karla Otto Paris
Styling: Patti Wilson
Casting: Maida Boina
Make-up: M.A.C. Pro Team
Hair: Martin Cullen
Music: Salvador Breed
including track 'The Statue' by Machinedrum
Collaborating artist: Philip Beesley
Creative consultant: Jerry Stafford
Collaborating installation artist: Esther Stocker
Shoes in collaboration with Carolin Holzhuber
Press release: Eugene Rabkin & Jerry Stafford
Show direction: Kim Vos & Michelle den Hollander | Bdifferent
Show production: SixUp Paris | N6
Light design: Stefan Prokop & Pol van Veen | Jurlights
Video registration: Fabrice Daville | Premices Films
Backstage video: Ryan McDaniels
Frontstage photography: Team Peter Stigter
Backstage photography: Morgan O'Donovan & Molly SJ Lowe
Special Thanks to:
Fédération Française de la Couture
Warren Du Preez & Nick Thornton Jones
Illustration booklet | Alla Polozenko
Davy Hezemans | Spice PR
Debby van Geffen

Press: Nicolas Delarue | Karla Otto Paris
Styling: Patti Wilson
Casting: Maida Boina
Collaborating sound artists: Kazuya Nagaya & Salvador Breed
Creative consultant: Jeffy Stafford
Make-up: Isamaya Ffrench | MAC Cosmetics
Hair: Martin Cullen | Bumble & Bumble
Choreography: Nanine Linning
Shoes in collaboration with Julia Lundsten | FINSK
Press release: Eugene Rabkin & Jerry Stafford
Show production: SixUp Paris | N6
Show direction: Kim Vos | Bdifferent
Light design: Pol van Veen & Stefan Prokop | Jurlights
Frontstage photography: Team Peter Stigter
Backstage photography: Molly SJ Lowe
Video registration: Fabrice Daville | Premices
Thanks to:
Fédération française de la Couture
L'Oratoire du Louvre
Amaike Textile Industry Co.
Orihashi Jikichi Shoten
Paolo Ceric
Akademie van Kunsten
Prins Bernhard Cultuurfonds
Stimuleringsfonds Creatieve Industrie
Mondriaan Fonds

Press: Nicolas Delarue | Karla Otto Paris
Styling: Patti Wilson
Casting: Maida Boina
Collaborating artist: Philip Beesley
Creative consultant: Jerry Stafford
Choreography: Blanca Li
Make-up: Isamaya Ffrench | MAC
Hair: Maria Kovacs, Marco Lafrate | TiGI
3D printing in collaboration with Niccolo Casas
Shoes in collaboration with Julia Lundsten | FINSK
Press release: Eugene Rabkin & Jerry Stafford
Light design: Jurjen Hesseling & Stefan Prokop | Jurlights
Backstage photography: Morgan O'Donovan
Video registration: Fabrice Daville | Premices Films
Music: Salvador Breed
Show production: SixUp Paris | N6
Show direction: Kim Vos | Bdifferent
Frontstage Photography: Peter Stigter

Special Thanks to:
Nick Knight & Charlotte Knight | ShowStudio
Michelle den Hollander & Diek Pothoven
Alla Polozenko

Press agent: Karla Otto | Nicolas Delareu
Styling: Patti Wilson
Casting Director: Jess Hallett
Consultancy: Jerry Stafford
Make-up: MAC Cosmetics | Inge Grognard
Hair: TIGI Professional | Maria Kovacs, Marco Lafrate
Music & sounds: Salvador Breed
Runway music: Excerpt of Canto Ostinato Audio Visual | Gwyneth Wentink, Wouter Snoei & Arnout Hulskamp
Collaborating artists: Jólan van der Wiel, Marjan Colletti
Installation: Rex Lab | University of Innsbruck for Experimental Archictecture
Pedja Gavrilovic, Pavlos Feraios
Show: 6up event production | Martin Cohen, Bruno Augusto Ramos
Showproduction: Bdifferent | Kim Vos, Diek Pothoven & Michelle den Hollander
Shoes in collaboration with FINSK London by Julia Finsk
Press release: Jerry Stafford & Eugene Rabkin
Installation photography: Warren Du Preez and Nick Thornton Jones
Frontstage Photography: Team Peter Stigter
Backstage Photography: Morgan O’Donovan
Video Registration: Fabrice Daville - Premices Films

Special Thanks to:
Gwendoline Christie
Ets Lucien Noyon Et Cie
Akadamie van Kunsten
Stefano Martinetto & Tomorrow team

Press agent: Karim Ben Geloun |  Karla Otto
Styling: Robbie Spencer
Casting Director: Russel Marsh
Collaborating artist: Philip Beesley
Press release: Eugene Rabkin & Jerry Stafford
Consultancy: Jerry Stafford
Music: Salvador Breed
Make-up: Inge Grognard | M.A.C.
Hair: Maria Kovacs, Marco Lafrate | TIGI
Regie: Kim Vos
Shoes in collaboration with Noritaka Tatehana
3D dress in collaboration with Niccolo Casas
Frontstage Photography: Peter Stigter
Backstage Photography: Julien Boudet, Morgan O’Donovan
Video Registration: Fabrice Daville - Premices Films
Special Thanks to
Aleksandra Gaca Textile design
3D Systems
Palais de Tokyo
Stefano Martinetto & Tomorrow team

Photography : Warren Du Preez and Nick Thornton Jones
creative Consultant ; Jerry Stafford
Models : Rita Saunders and Rita Saunders, Malu Bortolini
Makeup : Inge Grognard
Hair : Tigi

Special Thanks to:
ANDAM  & jury members
Centre Pompidou
Philip Beesley
Jerry Stafford
Stefano Martinetto & Tomorrow showroom team
Press agent: Karim Ben Geloun |  Karla Otto
Styling: Tom van Dorpe
Casting Director: Piergiorgio Del Moro | Samuel Ellis Scheinman
Regie: Kim Vos
Music: Salvador Breed
3D printing in collaboration with Niccolo Casas & 3D Systems
Shoes and accessories in collaboration with Jolan van der Wiel
Make-up: Inge Grognard | M.A.C.
Hair: Maria Kovacs, Marco Lafrate | TIGI
Press Text: Eugene Rabkin
Frontstage Photography: Yannis Vlamos
Backstage Photography: Morgan O’Donovan
Video Registration: Fabrice Daville - Premices Films

Photography : Mathieu Cesar
Creative Consultant : Jerry Stafford
Model : Iekeliene Stange
Makeup : Inge Gronard
Hair : Maria Kovacs, Marco Lafrate | TIGI

Show Producer: Etienne Russo
Styling: Tom van Dorpe
Creative consultant: Jerry Stafford
Art Installation: Lawrence Malstaf
3D printing in collaboration with Julia Koerner and Materialise
Shoes in collaboration with United Nude
Music director: Salvador Breed
Spoken text by Philip Beesley
Frontstage Photography: Michel Zoeter
Vacuum photo by Robert Clark
Backstage Photography: Morgan O’Donovan
Press agent: Karim Ben Geloun - Karla Otto
Casting Director: Pierre Del Moro, Samuele Ellis Scheinman
Regie: Kim Vos
Make-up: Inge Grognard - M.A.C.
Hair: Maria Kovacs, Marco Lafrate - TIGI
Video Registration: Fabrice Daville - Premices Films
Invitation design: Mark Holtman
Calligraphier: Nicolas Ouchenir
Special Thanks to:
Jean Baptiste Mondino
Cité de la Mode et du Design
Sophie Oudin & Villa Eugenie team
Stefano Martinetto & Tomorrow showroom team

Press:  Karla Otto - Karim Ben Geloun 
Creative consultant: Jerry Stafford
Music: Salvador Breed, Jerke van den Braak
Embedded sound technology: Luc van Weelden
Collaborating artists: Casey Legler, Saskia de Brauw, Sofie van Dijck, Cato van Dijck
Make up: Lyne Desnoyers – M.A.C Pro team
Hair: Maria Kovacs, Marco Iafrate – TIGI team
Art & catwalk direction: Kim Vos – Bdifferent
Casting: Piergiorgio Del Moro, Samuel Ellis Scheinman & IVH team
Video: Anton & Daria Shapovalova
Photography: Adam Katz Sinding
Production: Py Tswang Jin & IVH team
Special thanks to:
Jean Baptiste Mondino
Silencio – Coralie Gauthier & Laurent Lafon
Alice Pfeiffer
Stefano Martineto & Tomorrow showroom team

Press agent – Karim Ben Geloun – Karla Otto
Frontstage Photographer – Michel Zoeter
Backstage Photographer – Morgan O'Donovan
Video Registration – Fabrice Daville Premices Films
Choreography – Kim Vos
Music Directors – Salvador Breed & Stijn van Beek
Materialise & 3D parts printing with architect Isaie Bloch
Shoes in collaboration with Rem D. Koolhaas & Stratasys
Magnetic grown dresses development in collaboration with Jolan van der Wiel
Bird-dress heads by  Cedric Laquieze
Casting Director – Piergiorgio Del Moro & Assistant Samuel Eillis Scheinman
M.A.C. Chef Make-up – Inge Grognard
Chef Hair – Yannick D'Is
Press release – Thibaut Wychowanok
Show production – Mathieu Gallix @ Hawk & Beaver
Invitation design by Mark Holtman
Calligrapher: Nicolas Ouchenir
Special Thanks to:
Jean Baptiste Mondino
Jerry Stafford
Sarah Blom & Bradly Dunn Klerks
Stefano Martineto & Tomorrow showroom team

Press agent - Karim Ben Geloun
Consultancy - Leila Smara @ Tristan Godefroy
Choreography - Kim Vos
Music - Salvador Breed
Personal Assistant Iris - Sarah Blom
General Manager - Bradly Klerks
Material collaboration with Philip Beesley
Materialise & 3D printing with architect Julia Koerner and Materialise
Stratasys & 3D printing with Neri Oxman, Keren Oxman and Prof. Craig. W. Carter
Shoes in collaboration with United Nude
Show production - Mathieu Gallix @ Hawk & Beaver Production
Casting Director - Piergiorgio Del Moro @ Streeters
Chef Hair - Odile Gilbert @ L'Atelier 68
Chef Make-up - Inge Grognard @ Jed Root
M.A.C. assistance- Elke Willemen & Lif Theys
Tesla Coil installation - Carlos van Camp
Model Tesla Coil - Natalja Heybroek
Choreographers Tesla Coil - Pieter de Ruiter & Eva Villanueva
Tesla Coil Consultant - Cornelius Arie Plet
Clutches in collaboration with Heaven Tanudiredja
Accessory in collaboration with Isaie Bloch
Video registration - Premices Films
Press release by Thibaut Wychowanok and Alice Pfeiffer
RMO - office & show team
Invitation design by Theisen-Design

Frontstage Photographer - Michel Zoeter
Photographer - Ronald Stoops
Backstage Photographer - Boy Kortekaas
first 6 backstage photos by Philip Beesley

Olivier Bourgis,Karim Ben Geloun,Thomas Klein,Mathieu Gallix
Stylist – Sheila Single
Materialise & 3D printing
Swarovski Elements
Shoes in collaboration with United Nude
3D collaboration with architect Julia Koerner
Clutches in collaboration with Heaven Tanudiredja
Lace by Sophie Hallette
Choreography and catwalk – Kim Vos
Sound Design – Salvador Breed
Casting Director – Paul Louisor
Chef Hair – Christian Eberhart @ Julian Watson Agency
Chef Make-up – Hiromi Ueda @ Julian Watson Agency
Frontstage Photographer : Michel Zoeter
Backstage Photographer: Sophie van der Perre
Remerciements à Monsieur Jean Tiberi, Maire du 5e arrondissement de Paris

RTW photos with Grimes
Photographer : Ralph Mecke
Stylist : Leila Smara
Photo assistants :Stewart Isbell, Bryan Chong
Digital Operator : Nick Metcalf  @ Vision on
Hair Stylist : Tamas Tuzes @  L'Atelier nyc
Makeup artist : Asami Taguchi @  L'Atelier nyc

Kuki de Salvertes and Karim Ben Geloun, TOTEM 
Stylist: Sheila Single @ Call My Agent 
Choreography and catwalk: Kim Vos @ B Different 
Casting Director: Paul Louisor
Producer: Devi Sok
Hat designer: Stephen Jones 
3D Printing: Materialise 
Shoe collaboration: United Nude 
3D printing collaboration with Isaie Bloch 
Snake skin development: Bart Hess
Sound Design: Salvador Breed 
Chef Hair: Christian Eberhart @ Julian Watson Agency
Chef Make up: Hiromi Ueda @ Julian Watson Agency
Frontstage Photographer: Yannis Vlamos
Backstage Photographer: Morgan O'Donovan
Special Thanks to: Mondriaan Fund -

MICRO  Shoot
Photography: Ronald Stoops 
Make-up/hair : Inge Grognard 
Model: Michelle Hollander @ Women  

Björk moon video
written by björk and damian taylor.
directed, produced and art directed by björk, inez and vinoodh,
m/m paris and james merry.
app design and programming by max weisel.
published by universal music publishing ltd.
® 2011 björk overseas ltd/one little indian records ltd.

Press: TOTEM 
Stylist: Sheila Single @ Call My Agent
Art & Catwalk Director: Kim Vos @ B Different 
Casting Director: Paul Louisor
Show Director: Devi Sok
Skeleton 3D printed dress; collaboration with architect Isaie Bloch 
Hat designer: Stephen Jones 
Shoe collaboration: United Nude 
Shoe textile: Bart Hess 
Chef Hair: Naoki Komiya @ Julian Watson Agency
Chef Make-up: Ayami Nishimura @ Julian Watson Agency
Production Company: Mark Vandebroeck 
3D Printing Partner: Sven Hermans,  Materialise 
House Photographer: Michel Zoeter 
Video: Chris Dekker 
Special Thanks to           
Kuki, Karim, Sébastien – TOTEM
Martin Hegeman, Mercedes-Benz 
Julie Duraffourg – Gallery Nikki Diana Marquardt

Photography - DUY QUOC VO
Styling - SONNY GROO
Snake dress for V-magazine, Model : DEWI DRIEGEN at PAPARAZZI MODELS
Other photos for MYCRO MAG, Model : Eline at Code Management

Stylist: Sheila Single @Call My Agent 
Studio Director: Elsa Rivoire
Art & Catwalk Direction: Kim Vos @ B Different 
Production: Roos Van der Hulst 
Casting Director: Katrin Wesolowski
Hat Design: Stephen Jones 
Shoe Collaboration: United Nude 
Shoe textile; Bart Hess 
Sound Design: Salvador Breed  
Photography: Michel Zoeter 
Make-up: Ayami Nishimura @ Julian Watson Agency
Hair: Christian Eberhart @ Julian Watson Agency 
3D printing: .MGX by Materialise 
Production Company: Jurlights 
Manicurist: Anatole Rainey
Special Thanks to   
Marieke Wiegel, Institut Neérlandais 
Martin Hegeman, Mercedes-Benz 
Fonds BKVB //

Photography: Petrovski & Ramone 
Hair : Bianca van Zwieten @ Angelique Hoorn 
make-up: kathinka gernant @House of Orange 
model: Soekarsie @ Salva models 

Art & Catwalk Direction: Kim Vos @ B Different
Production: Roos Van der Hulst
Sound Design: Salvador Breed 
Hat design: Irene bussemaker
Photography: Michel Zoeter 
Make-up: Lydia Le Loux @ House of Orange 
Hair: Rutger van der Heide @ View Agency 

Director: Joost Vandebrug 
Fashion Editor: Ferry van der Nat 
Sound Design: Salvador Breed 
Make-up & hair: Sandra Govers @ Angelique Hoorn 
Model: Claire @ Ulla Models 
Operator: Flip Bleekrode
Gaffer: Dick Bloemdraad
Ass. Gaffer: Tim Bloemdraad

Photography: Shamila @ Eric Elenbaas 
Styling: Thomas Vermeer @ Unit CMA 
Hair: Ilona de Leeuw @ Angelique Hoorn 
Make-up: Yokaw Pat @ Angelique Hoorn 
Model: Celine @ Vandermast Model Management 

Art & Catwalk Direction: Kim Vos @ B Different 
Production: Roos Van der Hulst  
Photography: Michel Zoeter 
Art & Catwalk Direction: Kim Vos @ B Different 
Hat design: Irene bussemaker 
Hair: James Brown @ premier hair and make-up 
Make up: Yin Lee @premier hair and make-up 

Photography: Rollan Didier
Styling: Yasuhiro Takehisa 
Make -up: Marie-Sophie @View Agency 
Hair: Ingeborg @View Agency 
Models: Lizelot & Kim @ Wilma Wakker Modelmanagement 

Styling & Art direction: Yasuhiro Takehisa 
Production: Roos Van der Hulst  
Photography: Michel Zoeter 
Art & Catwalk Direction: Kim Vos @ B Different 
Make up: Karina Contantine @ Streeters 
Hair: Juan Carlos @ OneMakeup 

Photography: Akio 
Styling: Yasuhiro Takehisa 
Make up: Karina Contantine @ Streeters 
Model: Kate E @ IMG London
MUMMIFICATION show and shoot
Production: Roos Van der Hulst  
Catwalk Direction: Kim Vos @ B Different 
Photography: Michel Zoeter
Make-up: Lydia Le Loux @ House of Orange 
Hair: Jennifer Mackintosh @ View Agency
Shoot Model: Esra @ Wilma Wakker Modelmanagement 
Shoot Make-up & hair: Maaike Beijer @ Angelique Hoorn Agency 

REFINERY SMOKE show and shoot
Production: Roos Van der Hulst  
Catwalk Direction: Kim Vos @ B Different 
Photography: Michel Zoeter 
Hair: Martin Wentzel Heide @ View Agency 
Model: Donna & Gwen @ Wilma Wakker Modelmanagement 
Make-up & hair: Maaike Beijer @ Angelique Hoorn Agency 

CHEMICAL CROWS show and shoot
Production & Styling: Roos Van der Hulst  
Photography: Michel Zoeter
Model: Donna & Gwen @ Wilma Wakker Modelmanagement 
Make-up: Darien Touma 
Hair: Marriet Gakes @ Salon B


Morgan O'Donovan - Between the Lines, Seijaku, Quaquaversal, Lucid, Hacking Infinity, Magnetic Motion, Biopiracy, Micro, Escapism 

Molly SJ Lowe - Between the Lines, Seijaku

Michel Zoeter - Synesthesia, Crystallization, Radiation Invation, Escapism, Capriole 
Veerle Evens - Escapism
Marjolein Heije - Escapism
Lisa Galesloot - Escapism
Marleen Daniels - Crystallization
Sanne Glasbergen - Crystallization
Stephen Dhlberg - Synesthesia