While working and Freelancing at FRISUR I took charge of creating and developing content for their website and social media channels. My main focus was to show the depth behind the brand which wasn't being fully communicated before. The way in which we work, the people we collaborate with, and expanding on the concept for each collection. I did this through photography and interviews, organising Archive sales and coming up with a social-media plan: what does our next 6 months Instagram feed look like?







We’re now in your studio in Kreuzberg, Berlin, what is important for your working environment? What do you need to get started on a project?


My studio needs to feel as comfortable and cosy as my home, meaning there must be many plants surrounding me, my desk needs to be organised and the studio fridge must be filled up since we cook here almost every day. It is actually my second home.

Ideally a new project starts with a personal conversation, preferred over a coffee or lunch.


Can you talk me through your creative process?


After kicking of the collaboration with FRISUR, visiting them in their studio, seeing the fabrics and mood boards I started to research old images of jazz musicians. I was interested in the shapes of the instruments and the facial expressions of the musicians while they play. Of course listening to some Mulatu Asteke and trying to transfer these shapes and forms really intuitively. As soon as I liked the results I set up a meeting with FRISUR and walked over to their studio.


FRISUR approached you for a collaboration on their current collection, the musician, how did you connect with the theme and how was it to work with a local fashion brand? What is it like to see your work go from sketch to an embroidery as part of a fashion collection?


The collection theme moods and the story FRISUR created were easy to understand but still left freedom for my interpretation. The main difference to my other fashion projects was that our studios are so close by that we met in person to discuss the outcome. That made the process much easier and created a good and close working atmosphere.


Since I worked for different fashion brands in the past this was not the first time my designs were printed or embroidered on fabrics. However I am always super excited to see the results. Working with different materials and print techniques has a huge effect on the outcome. In this case since we worked with embroidery we decided to focus on lines rather than even surfaces. Otherwise the shirt would have been really stiff and uncomfortable to wear.


How did their style and choice of materials effect your design? What pieces from the collection speak to you the most?


Generally I feel like FRISUR focusses on interesting but classic silhouettes and high-quality fabrics. For The Jazz we did not use any other prints or embroideries, so I was free to choose the illustrative style for the SELA shirt. I was able to create the non commercial eye catcher and I am happy that the feedback is so positive.


Besides the SELA shirt, my collections favorite is the CHARLOTTE top.

I love the asymmetric piano stripes and how the fabric connects with the collection theme. I appreciate that some pieces are gender neutral like the ASIR Jacket, and TOM coat which I will definitely get for myself.


You had a pretty close working relationship, it seemed important on both sides that the result grew organically alongisde the development of the collection. How does that compare to the way you usually work?


We really took our time to let the illustration grow organically. Most of the time I work under a big time pressure and my clients have a specific idea in mind. With this collaboration I had the freedom to try out and experiment.





To see more of the artists work visit:






D.M. Nagu’s scholary background in language and literature influences his conceptual collage work; a surprisingly fitting combination of different forms of expression. His interest in the history and culture of objects, textures and colours informs his choice of material which he meticulously dissects and re-assembles, telling his own stories through the creation (rather than filling) of voids. Isolating specific elements and combining them with a sensitive eye, Nagu’s work is minimal in form yet rich in content. Each piece telling a story or exploring an emotion.


For the collaboration D.M. Nagu has created a whole series of new works under the title ‘Moods und Muster’, referencing the mood book as much as the ‘Musterbuch’. Each book carries its own title: 1. Francobolli, 2. Dresden, 3. Patrick, 4. ’78, 5. Kyrgyzstan, 6. Handarbeit, 7. Blank, 8. Freestyle.


Can you explain to me how you got into making art? Where did it start?


I have been interested in art for a long time and started to exhibit my own collage work about three years ago. My professional background is in language and literature, but my focus has shifted over the years. These days, I enjoy writing a text as much as I do creating a collage. In a broader sense, I see both activities as different forms of translating ideas into something that can serve as a means of communication.


And if you look at your work today, how have things changed since the beginning?


I think I am becoming increasingly rigorous with my work, but I also allow myself more liberties these days.


So we invited you to use the ‘untitled’ notebooks as a part of your creative process, how was that? Could you talk us through what you’ve done in the notebooks and how that relates to your work?


Being bound by rules and regulations works as a catalyst for my creative process; and I sincerely believe in cross-cultural exchange. Being asked to respond to a line of clothing made me think about the whole process of designing, producing and presenting fashion. I am very interested in the quality of the materials I work with, but I have a longstanding fascination for textiles in particular, and, being a knitter myself, I’m curious about creating clothing from a thread of yarn. I see this as not dissimilar to creating a collage from seemingly ‘meaningless’ pieces of paper. The way that FRISUR uses very small images in its line-sheet also got me thinking about miniature images such as stamps – the first book responds to that. But I knew I had to downsize the original notebook to get a format that was more suitable for my purposes; and I added a layer of even smaller catalogue cards to support the collages and frame them.


The pieces are made from eight sets of different materials. After having started with paper from used envelopes, I continued to work with material from books which I liked for their colour schemes and which had a strong focus on textiles. For example, the Kyrgyzstan series is made from a book on traditional jewellery that’s photographed on sumptuous cloth and laid out on glossy black paper. One of my initial ideas was to imitate what I imagine the research that a fashion designer has to make in order to develop the range of colours for a new collection would be; and I tried to do something similar by sticking to material from a single source for each book, thereby re-inventing more or less unintentional colour schemes.


I mostly make minimal collages, using only two to four elements. While they’re often about form and composition, many have a critical or more narrative character. But I also love producing something beautiful, and these series allowed me to put more philosophical or critical concerns aside and to engage more directly with beauty. All collages are glued on old catalogue cards, which were chosen as much for their convenient size as for the richness of the cardboard and the writing on them. After I exhausted the material, I chose twelve cards for each series to go into the downsized notebooks. So, for me, they are mood books as much as Musterbücher (sample books).


Last of all, what are your favourite pieces of the collection?


My favourite piece has got to be the knitted JEPPE jumper, and not only because of its name. I usually find geometrical patterns on jumpers quite tricky, but because of the gentle material and the dark’n’mellow colour scheme, this piece has a surprisingly natural feel to it. I also like the black velvet HANS jumper and striped JAKOB trousers.


All featured work: D.M. Nagu. Photography and Interview by Joshua Woolford


To see more of the artists work visit:

Project for FRISUR





Frey’s exploration of shape, perspective and depth actively blur the boundaries between image and space. From every angle a new element can be discovered and re-discovered through his paintings. Starting with a blank canvas and a can of spray paint, Frey shapes and contours the void until distinct elements are created. Generally reacting on the marks he leaves on the page rather intuitively, each piece informs his future choices and adds to his compositional archive.



Can you explain to me how you got in to making art? Where did it start?


There is no clear starting point. There’s no particular background in my family except my father was a talented hobby painter in copying old masters. It was a process from childhood being creative, drawing and painting - through Graffiti as a teenager until the decision to study art at a Kunstakademie and doing something that you could call “art”.


And if you look at your work today, how have things changed since the beginning?


It’s not easy to give a shot answer on that. But there’s a red line I’m following since then. It could be called “a method”: Creating an environment and trying to find out what’s possible within it. What mainly changed from the early beginning is that I don’t work in or with nature anymore but rather with industrial materials.


So we invited you to use the ‘untitled’ notebooks as a part of your creative process, how was that?


It was great. The way you designed the sketchbook really fits to my needs. The way I used it was more a “with” than an “in”. The result is more an object or independent piece of art than a common notebook. But it’s still a form of sketching in a way since I would normally do these works on canvas. For me the chance to disassemble the sketchbook easily to be able to work on one big sheet of paper made this way to work possible.


Could you talk us through what you’ve done in the notebooks and how that relates to your work?


As I mentioned I disassembled the sketchbook into single sheets of paper, I then folded the paper and sprayed over it in varying forms and repeated this process of folding and spraying 2 or 3 times. The result is something like a painting out of a systematic process, something that is mainly originated out of itself. This process sits very closely to that which I would use on my final canvas pieces; setting out methods or rules and applying them again and again onto the given form, reacting on the results until it is complete.


Last of all, what are your favourite pieces of the collection?


It was great to see all the pieces of the “The Artist” Collection live at the FRISUR studio. I like the minimal look but it is important to get a feeling for the details that give each peace a bit “more” than minimal. Applications that make a jacket pocket look bigger than it is. The special fabrics, the buttons - some with a pearlescent glimmer, some like silver. The pieces have a soul and that’s also the reason why I like that you give them names. So some of my favorite characters are Asir jacket, Lukas, Colin or Paul. I also like the Kata shirt - for women.



All featured work: Marcel Frey. Photography and Interview by Joshua Woolford.


To see more of the artists work visit:

Project for FRISUR





Descampes keen eye for composition and attention to detail results in works which initially appear minimal and stripped back, yet on closer inspection the complexity of her compositions are discovered. Layers blend seamlessly in places to the extent that you would be forgiven for mistaking them for digitally composed, printed or painted works. Her ability to combine found materials into a single image with a fresh and vibrant feel is what we fell in love with and why we asked her to leave her mark on a stack of Untitled notebooks.


Can you explain to me how you got in to making art? Where did it start?


Thanks to my mother, art has always been around me. I started making collage two years ago, but art in itself was already with me since Kinder garden!


And if you look at your work today, how have things changed since the beginning?


I can see my work changing with time, every series has it’s own story and it’s shows parts of my everyday life.


So we invited you to use the ‘untitled’ notebooks as a part of your creative process, how was that?


The ‘untitled’ notebooks became a really interesting part of my creative process.


Could you talk us through what you’ve done in the notebooks and how that relates to your work?


I worked on four out of the eight notebooks, each one is a distinctly different series with a different character and expression. I decided to revisit the past, working with old materials from series I had already done and imagining them in new ways. It was really fun to research into old images that I kept and to see where I took them.


Basically, the notebooks represent the evolution of what I have been doing since I began working with collage, the last books contain works which follow a new series and chapter in my work which is decollage, they are more experimental and explore the potentials of this new technique


Last of all, what are your favourite pieces of the collection?

I like the material and the oversized fit of the THOMAS jumper, I’d say that’s my favourite item. Also the layered KATA shirt and striped REA jumper are very nice, I like the combination of materials and graphic elements used. This collection has a lot of power, the lines and materials are well thought out which results in pieces that fit really well together. There is a nice harmony.


All featured work: Olivia Descampe. Photography and Interview by Joshua Woolford


To see more of the artists work visit:


Project for FRISUR