An important part of my design practice has to do with a careful and systematic process of deconstruction. I work primarily with donor-garments and tiny pieces of scrap fabric. The way I work the material is by first completely deconstructing it into small squares, which I refer to as pixels. By doing this I create “anonymous” pixels that are freed from any connection to what they were before. Thereafter I can upscale it and create anything. In my mind all textiles consist of pixels arranged in a specific algorithm, both weaving and knitting use coding pixel diagrams.

I see my way of working as a solution to a problem. Re-cycling textiles are great, but the cost, energy consumption and often environmentally harmful chemicals used to treat textile waste in the process of turning it into new textiles are not ideal. I want to work with the materials and textiles that have already been produced and that need to be pixelated and re-thought completely to have a new life. 

I am particularly interested in how techniques traditionally associated with craft or engineering can be translated into textile systems that respond organically to the body.

I often begin with paper, drawing on my long-standing interest in origami and paper cut-outs as a way of understanding tension, folding, repetition, and structural behaviour. 

I am interested in designing garments that have the longest possible life-cycle. Through research I have learned, that the garments that means the most to people are the ones with emotional significance; pieces inherited from family, or that has a special memory/experience connected to it. The term for this - emotional durability, fascinates me. 

I am developing a practice where I can combine inauguration rituals and donor-garments that already hold significance for the owner/wearer into completely new garments, to re-new the lifecycle while keeping the emotion alive.