Melitta Baumeister is a German fashion designer based in New York City. After training as a seamstress, she earned an MFA in Fashion Design from Parsons School of Design before launching her own brand. In 2014, Melitta's debut collection was shown at New York Fashion Week. This led to her being featured in Vogue Magazine, The New York Times, i.D., Numeró and Self Service, among others, giving her career a huge boost and allowing her to show her work at prestigious events in London and Paris. Melitta Baumeister is interested in the sculptural nature of clothing. She exaggerates volumes and remodels silhouettes, often using unusual materials and experimental techniques. This distinctive approach has been highly acclaimed by international boutiques and museums alike.

1. You moved to New York City to study - what motivated you to take such a big step and how did you manage to find your start and space at first?

Studying in New York was never planned and was out of the question for various, mostly financial reasons. The fact that it came about despite all this is thanks to Shelley Fox, the founder and then director of the Master's programme in Fashion Design and Society. In her search for talent for the new programme, Shelley toured the design schools at the time and thus became aware of my graduation collection. Her energy and the idealism inherent in the programme, as well as a full scholarship, convinced me to take the plunge. I have not regretted this decision.

2. What do you think distinguishes German fashion from American fashion? What do you think designers based in Germany can still learn from American brands?

Although the brand has been based in the USA since it was founded, I find it difficult to categorise our design in the US tradition. The landscape here is clearly commercialised and innovative design is usually subordinate to innovative business strategy. Our design remains European at heart because of the uncompromising nature of the form, which is largely due to my education. (Even the professors at Parsons were European) I would advise German designers to focus first and foremost on their authentic, honest and contemporary design. America is a role model that you can commercialise almost any idea, but the question is whether we really need such products in a world that is facing major challenges in the future. Technological innovation, efficiency and a certain clarity and sobriety may be clichés, but for me they harbour a lot of potential for the future. The advantage, as well as the great challenge, is the fact that the fashion industry does not have a clear position in the world; I am convinced that this must now emerge from within.

3. Your collections combine many elements of art and fashion - how do you see the connection and what inspires your designs in particular?

It's always a great compliment for me when this connection is made, even if we primarily see our work as fashion! For me, art is the place where creativity can unfold in principle without boundaries, always in discussion between the artist, the viewer and society. The more honest and free of filters, the more successful, that's what I find exciting. Through my partner, an artist with a car design background, who joined the brand 8 years ago as art director, our design meetings have become more and more artistic in tone, purpose and references, which is incredibly important, especially as a contrast to the Excel spreadsheets and sale-troughs that are a big part of any brand.

4. Last year you won the CFDA/VOGUE Fashion Fund. How has this win helped your label and what advice would you give to the finalists of the FCG/VOGUE Fashion Fund, the German equivalent?

I would advise the finalists to see the award as confirmation and reinforcement of their own vision. Every brand has its own process and speed. The award is important feedback that this work is recognised and appreciated. This appreciation is exactly what made our win so important for us. In addition, we received a one-year mentoring programme with an expert of our choice from the large pool of CFDA members. These professional insights, which would otherwise not be possible due to either time or financial constraints, are among the most important outcomes of our win.

5. In recent seasons, Berlin Fashion Week has undergone a transformation and is now increasingly focussing on innovative formats, young designers and sustainable concepts. How do you rate this positive change for Berlin Fashion Week in an international comparison and where do you still see room for improvement?

Keep up the good work! A platform, especially for young designers in fashion, is incredibly important for the industry. The potential lies in adding a new tone to the Fashion Week landscape with Berlin. The only question is how much courage and radicalism can be mustered and what this tone will ultimately be. The fact that this is not yet so clear to me speaks for the time that such an endeavour requires. I am watching this development with great interest.