..the thing with inspiration is that it’s never foreseeable nor can it be planned. I’ve spent hours staring at a white page waiting in vain for the sparks to fly, only to be waking up at three in the morning with my brain on fire 😝This collection, Spring/ Summer 2014, happened while sitting in a cab going to work in Italy. I had arrived in the morning and stepped out of the plane into gorgeous sunshine, and for a second I had an incredible urge to tell the driver to go past the factory and straight to the next beach… so this collection became about spending the day at the beach still dressed for work- a collection in black bleached out by the sun. Tie-dye, fading prints, stripes, bleached knits and wet- look wool and denim, as if having rushed into the sea with your suit still on. Dresses and tops were draped like towels slung over the shoulders or tied around the waist. My favourite look was a bleached biker jacket, partly draped, worn over a pair of oversized denim pants bleached out towards the upper part.

I sometimes think about that day .. I’d met Karl before, as member of the jury at the Festival d’Hyeres.. we sat next to each other during the show, and chatted throughout. He was utterly charming and he made me laugh with his kinda dry sense of humour typical of people from Northern Germany.I was flattered when he invited me to the shoot organized by Nicole Picard for Madame Le Figaro- after all I was very much an independent and undergound-ish designer ( which is just a more romantic way of saying ‘under the radar’ ), but he told me he loved my work and that he wanted me to be part of this. He was slightly dubious about the fit of my Tshirt though, and pinched it together in the back with a clip for the photo 😎 .. It’s still such a brilliant memory for me, because he made me feel that I belonged there, with my strange mix of sportswear and couture that most of Paris really didn’t care too much about at the time. I’ll always be grateful to him , and I’m just so pleased I got to meet this extraordinary man. ❤️

I had an interesting conversation yesterday with someone about why I communicate about pieces that might not be available at this moment in time- designs from past collections, or pieces that are long sold out, the question implying, basically : “What is the point in making an effort in publicising anything if it’s not for sale? “

The answer, for me is manifold: I’ve never understood why Fashion is supposed to lose its value after 6 months, … More

‘…He turned his focus on transparency, using an ultralight black mesh, often with polkadots, layering it over short, puffy sleeves, making them larger, or longer, and in one case, adding a chic touch to a light blue cotton shirtdress. Other times the layering felt a bit haphazard — those polka-dotted legs shooting out from under a thick trenchcoat were surprising in a slightly jarring sense —  likely his intention.  Known for his obsession with bombers and jean jackets — which he remakes entirely — for spring, he crafted an attractive and rather dressy version, cutting out the neck of a white jean jacket and replacing it with a sheen of the black see-through mesh, gently gathered and trimmed with a line of tight ruffles.’ Mimosa Spencer on Lutz Huelle SS20 on WWD

French and flirty, in the designer’s description, the collection proved he is not neglecting his namesake label Lest anyone worry … More

LUTZ HUELLE F/W 2016 ‘Adding volume to the body without oversizing it. Tripling the front panels of a tailored coat in camel and a red sleeveless trench in wool, causing its volume to overspill. Denim jackets go from simple breasted to “triple breasted”, by adding length they become asymmetrical, sweeping coats. The same was done to my beloved bombers: adding contrasting panels and finishings in double wool, they turn into a new sort of trench coat, combining the strength and attitude of the former with the sophistication of the latter. Denim is also combined with fluid crepe or gold sequins for dresses that go from early morning listening to late night dancing in the flicker of an eye. The same sequins, worn as oversized earrings add sparkle to even the simplest of looks. Pleated dresses are finished with jersey, adding the ease of sportswear to evening. Finally, a group of zipped overskirts in light wool, pinstripe and denim act as oversized belts, cinching volume at the waist of dresses and shirts. The same skirts, cut in transparent plastic, protect dresses or pants in an eventual burst of rain, a sort of “dress-umbrella”. To cut a long story short – this collection became about everything I have always loved, a sort of concentrate of my favourite obsessions.’

LUTZ HUELLE No.25 F/W 2012 ‘THE RAIN’ Inspired by watching people covering themselves in a sudden burst of rain – pulling the collar of a jacket closer together, or even up over the head or draping a scarf or sweater over the shoulders, this collection became all about the silhouette : Volume on top, highwaisted, with a line drawn just under the bust by pants and long gloves. It also became very much about everything I have always loved : The draping of everyday garments (in this case a biker jacket that is elongated and oversized in the front, or has it’s sleeves shortened to be worn with zipped gloves, and a tailored overcoat that has its’ volume in the front tripled) Then there are the sportswear influences : elastic cutouts in pleated dresses – turning the pleats into a graphic motif – and in tailored pants. In the knitwear, Alpaca worked with Lycra in a jaquard turns cardigans into featherlight, highly extensible Overcoats. The superhighwaisted pants from my Debut is back, this time tapered at the leg and finished with a large elastic hem. Capes are zipped open and worn as shortsleeved coats, widening the shoulder. Fabrics are partly coated with a rainproof film to protect and add shine to matt surfaces. Finally, Ankleboots are made of smocked leather.