How did the creative process begin—did the fabric prints come first, or the garment design, or were they both created simultaneously?
MS: Liselore had the vision and her sketches ready when we met in her studio earlier this year. We had a very pleasant conversation about her sources of inspiration in general, and about her trip to Mexico. We concluded the day with the design brief of "thinking about Frida Kahlo in space, and laser cacti".
Liselore gave me total freedom with the pattern design, but I made sure I kept her updated with screen shots during the process. Matisse came forward as a mutual source of inspiration, and Liselore found out he depicted the cactus several times as a symbol for hope, which seemed very appropriate for our direction as well. The sketches I made were immediately absorbed into Liselore's garment designs. That way, we made sure that there would be no big surprises in the end. This was especially important to determine the final colours of the print.
Were there any particular technical challenges that the project posed, and how did you both overcome them?
MS: The whole experience was liberating for me. Designing a Vlisco fabric is very complex because of the batik-technique, so working with inkjet fabric printers felt like a breeze. I can use all the colours I want and the fine resolution makes for detailed designs.
LF: Michiel and I have a great creative connection and we can basically discuss anything, so all our practical technical challenges were discussed right away and solved as soon as possible. It’s been great to collaborate in this way.