‘I wanted people to look at the clothes and not be able to categorize them. They’re not readable as sexy or intellectual or romantic , but at the same time, they’re all of these things’ Lutz on S/S 2001 in DAZED

LUTZ HUELLE S/S 2001 ‘THE BOXEUSE’, Photos of the show of the infamous second collection: Super-highwaisted Boxer-Pants, Towels worn as evening dresses, Cardigans in gold, blue and red Lurex worn as tanktops. All accessorized with jewellery hanging out of pant-pockets as if put there as an afterthought and band-aids plastered on knees and elbows. I wanted savage and carnal but in a calm, concentrated way – like I thought a Boxer must feel before a fight.

‘THE DEBUT’ Photos by Wolfgang Tillmans

‘THE DEBUT’ Images from the 1st Show, in Fabrice Hybert’s Studio in Paris, February 2000: High Waists, Tights knitted with industrial Lycra worn with heavy draped Sweater and Overskirt, Pockets cut in the shape of gloves peak out from under a jacket.

Jacqueline in London wearing Lutz’ Toweldress, photographed by Wolfgang Tillmans for SZ Magazin

Lutz’ Toweldress and Gold Lurex Cardigan in JALOUSE

Lutz’ Toweldress and Overskirt in COMPOSITE Magazine, Japan

LUTZ & COMME DES GARCONS #1, English Friends ‘Rei Kawakubo and young German Designer Lutz Huelle light up the millennium’s first summer. Fast friends from different eras, Anita Pallenberg, an actress and one of CarnabyStreet’s central Characters and a rock celebrity since the sixties and Kate Moss, fashion’s ultimate icon, were photographed by Juergen Teller in Wallenberg’s London residence, giving one generation a view onto the other.’ PURPLE FASHION Magazine, Spring/Summer 2000

LUTZ HUELLE No.2 S/S 2001 ‘The Boxeuse’ Inspired by Boxing, and the slouchy attitude of clothes that are too long, too short, very low on the hips ,or very high up the waist. Jackets and Trenchcoats were gliding down the body, opening up shoulders and Decolletes; Pants and Skirts were riding up the body, elongating the shilhouette. Towels were worn with gold Cardigans as evening dresses, and the only Tailleur was in Sweatshirt, with Lurex Finishings.

‘..the technical precision and conceptual strength that characterize Lutz’s work are hardly surprising. After graduating from Central St.Martin’s he honed his skills for three years designing for Martin Margiela ..Lutz explores deconstruction and pushes the boundaries of fashion ..but while Margiela cultivates stark, conceptual designs, Lutz’s work exudes a colourful, playful spirit’ Armand Limnander on Lutz Huelle in JALOUSE US