With its high and painted ceilings, marble columns and elaborate décor, the Palais am Festungsgraben is the perfect historical location for hosting cultural events in the heart of Berlin. Yet it was also the ideal place for a special fashion event organised during Berlin Fashion Week, the presentation of Markus Lupfer’s Autumn/Winter 2009-10 collection.

In the last few years the London-based German designer has done consultancy projects and collaborations with different brands and fashion labels, among them Cacharel, Topshop and Mulberry, and has contributed in the re-launch of Spanish label Armand Basi. But last week’s presentation in Berlin was an exclusive event to present the collection from his eponymous label to his home country.

The collection featured both casual and tailored jersey pieces, some enriched by vivid prints and dusted with sequins, others characterised by simple lines and asymmetrical cuts. The overall impression was of a glamorously functional look for modern and dynamic women. 

Dazed Digital: What is the main theme behind the collection you showcased at Berlin Fashion Week?
Markus Lupfer: There wasn’t really a theme as such, but there were different elements, such as music. I wouldn’t define it as a “punkish” collection, yet there are some elements of that. Besides, there’s a sort of continuity between what I’ve done in the last couple of seasons and this collection.  

DD: So far, which is your favourite Markus Lupfer collection?
ML: Looking back I think it was the one with black and white faces from around 2002 as it was technically rather challenging and featured very nice elements. I loved its aesthetics which is echoed in some ways also in my Spring/Summer 09 collection.  
  
DD: You worked for different labels and fashion houses: what did you learn throughout the years from these collaborations?
ML: That every company is different and has got a different heritage. I love working for Armand Basi because I’m really moving the brand into a new and modern direction and they just let me do it, so that’s really exciting, yet at the same time it can be a difficult task as taking forward a big company is a tough job. It was great also to be working with Topshop as they are very supportive and nice to work with and they understand designers a lot and make things work.

DD: You are well known outside your home country, but how do you feel about the fashion scene in Germany? Do you find it difficult for young fashion designers to emerge in Germany?
ML: I think it’s quite difficult because there’s not really a design history in Germany and the attitude towards designers is also different compared to the UK where there is much more support for young designers, for example there’s nothing like Topshop in Germany. Besides, while everything in the UK is focused around London, in Germany often things are not focused all in one place and, as a consequence, it’s much harder for a young designer to emerge.      

DD: Is there a German designer you particularly like?  
ML: I like different designers for different reasons. I really do admire for example what Jil Sander and Hugo Boss have developed and built up both in their designs and in their businesses.

DD: What has changed in your way of creating fashion since you graduated and started working in this industry?
ML: Fashion has become much more international than it was before, it’s literally everywhere now and things have grown and expanded tremendously over the last few years. Now there are fashion events everywhere, from America to China and Japan and in many other different countries. It has become more global, but styles have also developed and fashion houses have moved on, focusing also on accessory lines. Now if you want to work in the fashion industry you really have to believe in what you’re doing and build up a solid brand with a great style and you must be able to sustain that brand. Thirty or forty years ago there were few designers, but there are so many now that the competition is fierce.     
          
DD: In your opinion, what’s the best and worst thing about the various fashion weeks? Do you feel there is too much pressure nowadays on designers?
ML: The worst thing is that every season the fashion media focus on what’s the new trend, but fashion is also about selling because if you don’t sell you don’t exist. So usually the pressure comes both from the press and from the buyer, though ultimately you get more pressure from the latter especially if it’s a big buyer you’re dealing with. The good thing is that you’re in this business because you love fashion and it’s exciting to show your collection and show your view of what’s modern at the moment.