IN CONVERSATION WITH IRIS VAN HERPEN
interview by AÏCHA PILMEYER
photography by DANIEL SARS
In Amsterdam, on the first floor of the Veem building by the water, lies IRIS VAN HERPEN’s atelier. As imposing as her creations are, the studio itself is surprisingly intimate. People move around and sit at workstations. Someone is focused on the intricate details of a dress on a mannequin, another is handling a piece of fabric, and at the back, others are working at computers on what appear to be patterns. A large pillar in the centre of the room supports the structure of the old warehouse, and its entire surface is lined with a variety of material samples in different textures, volumes and colours.
The studio functions as a beehive, where everyone has their role but is also attuned to one another. This idea is reflected in the forms of Iris van Herpen’s work and serves as a reminder that we are not isolated individuals, but part of something greater. Her designs confront us with questions about where we come from and what we can shift our focus to, while reminding us of wonder in a world that feels troubling at times.
Iris van Herpen graduated from ArtEZ and founded her own maison in 2007. At just 27, she became one of the youngest designers to join the Chambre Syndicale de la Haute Couture in Paris. Her visionary work merges fashion, art, science and technology, exploring our deep connection to nature in unexpected ways.
Your exhibition at Kunsthal Rotterdam is called Sculpting the Senses. Where does the title come from, and how did you decide what to show while you are still in the middle of your career and producing new work?
My work often revolves around thought experiments on the senses and how I relate to them. In the exhibition, I explore how our senses have evolved over history and the relationship between our brain’s neural network and nature. Another theme is synesthesia, which explores how our senses connect to each other. Everyone experiences this in different ways, for example, I see patterns when I hear music.
The exhibition has been in the works for seven years, evolving from the initial show in Paris to its current form at Kunsthal, and it continues to expand. The challenge was turning the many sources of inspiration I’ve gathered over the past 17 years into a cohesive exhibition. We had to zoom out and focus on the bigger picture. That’s how the concept emerged: the visitor will be guided through the main themes of my work: art, science, music, philosophy, fashion — it’s all interconnected. I don’t see it as a fashion exhibition. Fashion is part of it, yes, but the exhibition embraces much more.
Your latest collection, Sympoiesis, included a dress made up of living algae. Do you think the idea of keeping your clothes alive, literally, would help people reconnect with the value of objects or fashion itself?
Absolutely, that’s the point. Drawing inspiration from nature is beautiful, but ultimately, we need to form a different relationship with it. This piece was essentially an experiment: I wanted to explore whether there are ways to keep materials alive. Algae as individual microorganisms have a short lifespan, but collectively they form a living system that is much stronger and more sustainable.
I was also inspired by the Gaia theory, in which scientist JAMES LOVELOCK describes the earth as a single functioning organism. Keeping the algae dress alive became a metaphor for how we can interact with organisms on a micro level. Can I create, experiment and innovate while keeping a group of organisms alive? Can I allow them to evolve so that they can reproduce? No one knows how old this dress will eventually become; theoretically, this dress could even outlive me. It’s still alive now, and it will be on display at the Kunsthal.
Artificial intelligence is also a big topic right now. How do you feel about it?
In science and medicine, AI is a transformative force as it accelerates processes in astonishing ways. Creatively, however, I find it nonsensical and even destructive, and I would never use it in my own work. AI is a collection of existing information, whereas only humans have the power of discovering something genuinely new.
Therefore, I truly hope the new generation of creatives does not become dependent on AI. Developing your artistic identity is incredibly challenging, and you have to push through struggles to grow. The choices you make, the confidence you build, and the hours you invest are all essential. I see creativity as your soul, and you don’t want AI to control the most essential part of yourself.
READ THE WHOLE INTERVIEW IN OUR PRINT ISSUE #13.
