Our first office was a studio in a courtyard in the 10th arrondissement in Paris. We just scrambled enough money together to pay the deposit and rent, and I moved all of my magazines and vintage clothes in there in order to be surrounded by work. We had a big long table that took over most of the space, with David on one side and me on the other. This was where we prepared our first show, and where I designed the next 5 Collections before we were able to move to a bigger space in Rue de Rivoli ( just below David Guetta’s studio , who used to drive me mad with the constant boom boom from upstairs while I was working on a sunday 🤣)

Do you remember the first time ? Here’s mine, Fall/Winter 2000. I had spent 6 months on the preparation of this collection, taking my Central St. Martin’s Degree Show‘ as the starting point. I wrote down some words to make clear to myself what I wanted to do : “Change the Silhouette. Pull up the Waist. Skinny Legs and Volume on Top. Mix neutrals and strong colours. Make in Knit what is normally made in Fabric . Put on top what is normally underneath. Make everything supersmall or superbig. Wear everything together. Sexy and Non-Sexy.”It was maybe a slightly pretentious Manifesto but I’d spent so much time preparing that first collection in my mind, in the end just had to define it, get it out of my system. Does it hold up ? what do you think ? We organized a Show at Fabrice Hybert’s studio, which was just down the road from our own office, not having the slightest idea if anyone would actually turn up. It’s still one of my most cherished ( as well as nerve-wrecking) memories. The beautiful photos are by Wolfgang Tillmans ❤️

Knitwear is one of my favourite things and here’s a little list of past favourites. Any Favourites? I do have a soft spot for the gloved pockets .. and to anyone owning one of these pieces – you’re lucky .. They weren’t produced in huge quantities so by now are RARE 😇 Big thanks to Deanna Veroni and Annalice Bisi , Bruno Malvezzi and Antonella Pelati at LOMA MAGLERIA❤️❤️❤️

How to launch a Fashion House without a penny to your name: 1.Assemble all the courage you have and even the courage you never knew you had ..2.Leave your flat and move in with your boyfriend, then use the money to rent a room somewhere behind the Gare du Nord which doubles as both office and to stock your stuff ( mainly books, magazines and vintage clothes) 3.Spend a year working on a first collection, deciding that you will just follow your instincts and do what you like: Street- and Sportswear as Fashion, elevated by taking it out of context, re-inventing, re-making, re-assembling. 4.Start working as a freelance designer in Italy, with the money finance a first show at a friend’s studio space and hope that people will turn up …5.When they do have a moment of sheer panic , then scramble together a linesheet with prices, clean up the studio as best you can and start answering the phone. 6.Sell to 14 stores, amongst them some of the most famous in the world without knowing how to produce a single piece ..7.Pack the collection into a suitcase , take the night train to Italy and criss-cross the country with your suitcase and a terrible german accent in search of a factory that believes in what you are doing .. and this being Italy you find one !😎 .. Bingo! A Fashion House named LUTZ is born ! 🤗 ..oh and win the @andamfashionaward and the sky is the limit 😎 and here’s a little advice : If you believe in what you are doing then NEVER GIVE UP ! ❤️💪

When you decide to launch a Fashion House without a penny to your name 😊.. first you assemble all the courage you have and even the courage you never knew you had .. then you leave your flat and move in with your boyfriend, then use the money to rent a room somewhere behind the Gare du Nord which doubles as both office and to stock your stuff ( mainly books, magazines and vintage clothes)You spend a year working on a first collection, deciding that you will just follow your instincts and do what you like: Street- and Sportswear as Fashion, elevated by taking it out of context, re-inventing, re-making, re-assembling.You start working as a freelance designer in Italy, with the money you finance a first show at a friend’s studio space and hope that people will turn up … When they do you have a moment of sheer panic , then you scramble together a linesheet with prices, clean up the studio as best you can and start answering the phone.

Suzi Leenars photographed by Kira Bunse in Lutz Huelle S/S 2016 and Archive Collections for SSAW Magazine Spring/Summer 2016, styled by Anna Pesonen, Make-Up Karin Wersterlund, Hair by Pawel Solis

‘The Impact of flexibility by LUTZ Fall 2000: The tuxedo with the sport, the chic with the cheap, the workwear, the seasonless, the cut-out of fashion, the what you want when you want it, the sense of humour, the day and night pulled together’ Samuel Drira in ENCENS on LUTZ#1 Fall/Winter 2000

LUTZ HUELLE Fall/Winter 2000 ‘The Debut’ These are images from our first ever show, in February 2000, held at Fabrice Hyber’s studio in Paris. Photos by Wolfgang Tillmans

LUTZ HUELLE in VOGUE ITALIA Styled by Lori Goldstein, Photo: Steven Meisel

This was the first time the collection was featured in an Editorial – Lori Goldstein and Steven Meisel. To say … More

‘WHEN FASHION IS ABOUT CLOTHES’ Nakako Hayashi interviews Lutz for PURPLE FASHION S/S 2002 “2 years after working with Martin Margiela, German-born Fashion Designer Lutz Huelle has stuck out on his own to make a clothes statement more than a fashion statement, and is becoming one of the most interesting new Designers today.. Lutz takes an artist’s approach, creating and developing clothes that are his own, based more predominantly on the language of clothes and their construction rather than on fashion’s image, style, and appearance..”