In a creative system that is more and more equal to itself, even when it comes to the new generation, discovering talents who have the ability to regulate a very precise, iconic and, above all, identifying imagery can really make a difference. That is why when I came across Grete Henriette’s work I was completely seduced. Such a personal poetics built around a narrative that is inspired by the eternal feminine, between past and present, enriched by material experimentation, performative research and an overall vision that exudes mystery and eroticism, in constant tension between that all-contemporary desire for contamination, but while remaining faithful to a very personal DNA. Discovering Grete’s world was like an ever-evolving journey between costume history, art, femininity, sexuality and creative freedom; all told through the lens of a designer who sets no limits or prejudices, but follows her instincts and her insatiable curiosity. And to discover the historical figure she would dream of dressing, well, you should read the interview all the way through.
Let’s start with you: can you introduce yourself and tell us who Grete Henriette is, and how, where and when the project was born?
I am an artist and designer, born in Berlin but raised creatively in London. I studied theater, and it was there that my interest in costume design was born: from that moment I began to look at clothes no longer as functional objects, but as real works of art.
London is your home base, a city that continues to be one of the most vibrant creative hubs for emerging brands and new artistic voices. How has its energy influenced your work? And what is your take on today’s London fashion scene?
I am deeply grateful to the London scene: it has given me the confidence and creative freedom to explore my identity and translate it into my artwork.The collaborative nature of the city makes everything a shared, almost collective experience, and that is what makes it so special.
Very striking in your work is this combination of distant eras, unusual objects, and an extremely sensual approach to the body. How would you describe this mix?
These are three perfect definitions to describe my work. I think the reference to distant eras comes from my theatrical training and knowledge of historical costume. I love exploring the past and observing how the concept of clothing has been interpreted over time. The use of unusual objects, on the other hand, is more related to my nature, both personal and artistic. Since my practice deeply investigates the idea of subtracting functionality in favor of art, I am also interested in playing with the loss of function of objects when they are incorporated into clothing. When something is taken out of its context, it inevitably changes meaning, and it is a process that fascinates me greatly. My take on the female body is definitely sensual, but it also stems from an idea of empowerment and personal experiences from my past.
What inspires you most: people, eras, art?
For me, creation always comes from an emotional dimension: it is a form of liberation, a way to express what I feel. It also helps me process things; the meditative process of making allows me to think and feel while remaining fully present. I am inspired by people and history, but I think these influences are mostly vehicles through which I translate my emotions.
Where do you usually conduct research for your collections? In your pieces I often notice a layering of very different references.
I guess I am naturally very curious, so somehow I am always in a “research” phase: I am constantly absorbing what is around me and turning it into inspiration. For my last collection I consulted a lot of historical books: some were dedicated to pattern making, others had titles like The Secret Lives of Single Medieval Women or What to Look for Inside a Church. As you can imagine, the sources were extremely diverse.
The details in your FW26 collection, “Hysteria in Tartarus,” are incredibly powerful. I especially loved the thong with memory jewels: can you tell us how this collection came about?
The collection came about during a total immersion in one of my favorite podcasts, My Victorian Nightmare by Genevieve Manion. The podcast chronicles morbid obsessions and disturbing stories of the Victorian era, imagery that I find disturbingly beautiful. I think it’s all encapsulated perfectly in this sentence from the podcast, “It was a culture of shared pain, ornament and elegance, modesty and scandal, chilling stories … and for some reason, I feel at home there.” From that moment on, I began to explore more and more deeply the Victorian universe and everything to do with the mystical.
What do you want to communicate through your collections?
The goal is always to make anyone feel beautiful. I believe everyone can be and deserves to feel that way. I want to bring forth a message of authentic, nonperformative inclusiveness, something that is really real.
Are your pieces also available custom or made-to-order?
Absolutely. By the very nature of my work, most of the pieces are either custom-made or one-of-a-kind. I use a lot of original antiques that are impossible to replicate, and I think the uniqueness of each garment is one of the things that excites me most about the creative process.
Another aspect that struck me is the casting of your shows: inclusive, distinctive, very authentic. What do you think today about body inclusivity in fashion, especially at a time when many brands seem to have moved away from this conversation?
When we worked on casting, one of the main goals was to authentically represent the people in our community. I’ve always believed in inclusivity and it’s something I’ve always tried to support. So it was quite disappointing to see how, during the last fashion week, many big brands took a step back from this theme. It almost seems as if it was just a trend to be abandoned once it went out of fashion – but I want to keep pushing this battle forward.
You have already dressed several celebrities: is there someone you haven’t collaborated with yet but would like to dress? Even belonging to another era, why not.
I really enjoy working with celebrities, even though it requires a tremendous amount of work and unfortunately many looks end up never seeing the light of day. That said, I think Chappell Roan would be perfect for the Grete Henriette universe: she embodies everything I look for in a muse.And then, definitely, Mary Magdalene.
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