The intimate atmosphere of the Horror Vacui show had its advantages. To start, it emphasized the strengths of the label, which has earned a reputation for its craft far beyond the borders of Berlin. The physical proximity of the guests to the models made it possible to see the workmanship of the materials quite well: honeycomb smocking and pleating as far as the eye coud see, and with a precision that would inspire even the most experienced couture ateliers. All the finishing is done entirely by hand in Anna Heinrichs’ studio in Ukraine, which has continued to operate under difficult conditions, including constant power cuts, since the war began.
“With my work, I don’t want to express visually what is happening in the world right now. But also to show, metaphorically, that it is in our hands to change it,” explained Heinrichs after the show. She returned to the theme of childhood and dedicated her collection to self-love. The looks included the pieces with which she started her career over 10 years ago: long dresses in colorful fabrics, lots of sweet details such as squirrel and heart appliqués, and large volumes. “It’s all about not hiding anymore. We have to use our own voice and make space for ourselves. No one should be silent,” she insisted. Bloomer pants and skimpy shorts were reminiscent of undergarments, rugby shirts were joined by bows and floor-length high-neck dresses, and everything was reminiscent of historical silhouettes.
This time, her work was given variety by new materials such as loden and boiled wool, which created a subtle contrast to the small-format prints she loves to combine. “In this vast cosmos, in which our world plays a role no larger than a grain of sand, each of our existences is a miracle—even from a biological point of view alone,” she said. “It is up to us to make something of this opportunity. It is a responsibility that we have not only towards others, but even more so towards ourselves.”
