PROSPECTS: MELITTA BAUMEISTER

Sculptural, bold, and utterly unique—Melitta Baumeister is a boundary-pushing artisan who is redefining what it means to design. Her work, which emphasizes exaggerated volumes and challenges traditional notions of garment construction, has garnered critical acclaim across the industry, marked by her CFDA/Vogue Fashion Fund win in 2023. Applauded for her innovative reimagining of form, Baumeister has a knack for fluidly navigating the space between artistic expression and wearability, blending rebellious, punk-fueled elements together to create an almost otherworldly aesthetic.

Beyond Noise sat down with Baumeister and partner Michal Plata, the label’s art director, to uncover the duo’s creative process, the philosophy behind their designs, and their shared vision for the future.

SANJ PATEL: What led you to pursue fashion design, and how did your journey begin?

MELITTA BAUMEISTER: I’ve loved sewing from a young age and have been curious about techniques for as long as I can remember. I’ve also always been surprised at how clothes make such a difference when it comes to how people look at someone—and how, quite often, garments can feel reflective of that. As for my journey, I went to tailoring school in Germany because I felt that was something I knew best and wanted to learn more about. From there, it was really just one school after another.

SP: How has your German heritage influenced your approach to design?

MB: I went to school in Milan, where I met Michal [Plata], who is our art director. It was kind of an offshoot of the Bauhaus, where you learn about aesthetics and semiotics and to think in an art context, as well. I would say it was quite an influential time for both of us. In Germany, there is almost a daily understanding of precision and focus on industrial design. I feel like Germans are always trying to critique things when they’re not good enough. It’s almost ingrained in that field; you very quickly get into a mindset where you are thinking about making and how to improve things.

MICHAL PLATA: I studied transportation and car design—very much unrelated to fashion in a sense. But Germany is not very fashionable; it’s almost a cultural thing. Luxury fashion is very quiet there, so you don’t really see it, but people know you’re wearing something proper. The idea of ornamented, Chanel-like dressing up doesn’t really take place. At our school, the focus was always on the idea of innovation. As a German brand, you could either like Jil Sander or The Row, or lean toward subculture, where there’s a strong appreciation for design. That’s where we realized it’s okay to do luxury fashion. Obviously, now we’ve come to understand the importance of quality, sustainability, and timelessness which all add to the story of our garments.

SP: You’ve since relocated to New York. Do you feel the city and metropolitan culture there has impacted your designs?

MB: I moved as a student after studying in Germany. I don’t feel like New York is necessarily a city I would gravitate to naturally. But what I did find attractive was the idea of going somewhere there weren’t so many creatives, just so I could stand out more. I would say that New York has an energy that impacts you to build things that embody an entrepreneurial spirit, which is a lot more daring.

SP: How would you describe the philosophy that guides your creative process?

MB: I feel like it is very important to have a statement when you wear pieces, and we want our garments to give wearers a voice. It’s something we try to achieve in all that we make. We do things that have a certain shape, so that when you walk in a room, you will be seen. It’s garments that have an expressiveness about them, because we feel that’s where fashion is the most powerful. I think our philosophy is that we don’t really fall into these conventions that push the idea of the stereotypical body, the glamorous red carpet, and all those things that, as designers, we don’t always want to question.

SP: Are there particular artists, designers, or movements that have profoundly inspired your work over the years?

MB: I’m inspired by designers who don’t compromise and stick to what they want to say. In terms of movements, it’s that idea of things lasting for a long time. I think sustainability should be a given in terms of fabrics; vendors shouldn’t even make materials that are not sustainable. I’m more drawn to sustainability in terms of design: making things that don’t age.

SP: Your work often blurs the line between fashion and art. How do you see these worlds intersecting?

MP: In the beginning, the brand was well-known mainly for its focus on materiality. The garments were very sculptural, made up of fabrics that were pretty uncommon in the fashion world. Ever since we launched, there has been a connection between art and fashion—not only for the brand, but in general. I would say that Balenciaga started to do a lot of work in this space, but now contemporary art has started coming in on a serious note. It’s not only about the spectacle of beautiful materials that seem unwearable, or the question of, ‘What is this? What am I seeing?’ It’s about how the idea of art has expanded. It’s about thinking of design and garments as applied art—objects you can interact with in your everyday life. It’s very experiential, very transformative, and much stronger than standing in front of a piece that just looks like a sculpture. I feel that fashion, and the creative world in general, is finally starting to understand that when we look at art through this lens—how it transforms us—fashion and design become very much a part of it.

SP: Can you share some insights on your latest collection?

MP: The whole thing was very much driven by the fact that we were doing a runway presentation. For this collection, in particular, we exaggerated the idea of speed and movement, allowing it to become part of the design language. I think that movement and fashion are quite often associated with those kinds of typical silky silhouettes. From the beginning, we knew that was something we wanted to avoid. We focused on everything around that. Having a runner and performer in the show was also part of telling this entire story, about how we envisioned movement.

SP: How did you find the experience of putting on a show?

MB: If you’ve never done it, it’s very difficult. It’s hard to predict what sort of problems will come up, and then fix them in a short space of time. Of course, there’s a pressure to be part of the whole system—to feel like you have to partake, otherwise you don’t exist. The structure for young fashion brands isn’t getting any easier, especially with retail weakening. But it’s about putting context into the presentation of our garments, so the show felt like a natural next step.

SP: Are there any standout pieces from your latest collection that embody the spirit or message you aimed to convey?

MP: We experimented a lot with points this season; it’s something we haven’t really tried before. We used circles held in shape with foam and boning, creating the effect of blurry motion, almost as if it was printed on to give a sense of movement. We even printed zeros, like those seen on sports jerseys, with a blurred effect, as if you’re catching a glimpse of someone [as they run].

SP: Many of your designs convey themes of femininity, strength, and vulnerability. How do these ideas relate to your personal philosophy on fashion?

MP: The type of woman we aim to dress has long been rooted in a fascination with powerful, timeless, intelligent, and creative [individuals]. It’s funny, because with the little marketing that we do, we’ve found that people end up gravitating to our garments naturally.Our intention is clearly communicated over time through our pieces, which is incredibly exciting. We’ve made small statements, like adding hidden pockets to gowns that might appear on the first or last page of Vogue. It’s all about creating images that encourage strength, which we view as less conventional—less focused on overt sexiness or youthfulness.

Recently, we’ve been really trying to reflect diverse perspectives in our shoots. In our last video, for example, we worked with streetcast women and men in France, learning about their hobbies, which became part of our Fall/Winter collection video. Empowering and embracing our community has become central to our vision.Our slogan—‘you bring the body, we bring the shape’—reflects this inclusive vision. We don’t expect anyone to fit a certain body type. The garments don’t require perfection in form; instead, they ask for a confident attitude. It’s not about being conventionally sexy—it’s about a sense of strength and self-assuredness.Ultimately, it’s about the garments speaking for themselves, which, to me, is a modern take on femininity: Whoever you are, bring your courage, embrace expression, and be unapologetically yourself.

SP: How do you maintain your unique voice and perspective in an industry that can be heavily trend-driven?

MB: Doing stuff on our own time frame is definitely one part of it. There’s always the advice to make things easier or lighter, but in our experience, that just doesn’t work; what we’re doing needs to grow at its own pace, more like an artistic practice than a commercial brand that pushes product and is all about growth. Longevity is so important. We don’t do this for the sake of fame or ego. The focus is really on growing the brand from the inside out, building our studio as intentionally as our visibility. We take the entire garment-making process very seriously, thinking about how we can make this work long-term. Staying independent and avoiding early investors has been crucial for us to stay in control of our message. And at the heart of it all is our love for design and for crafting beautiful, thoughtful pieces.

SP: Has your journey changed since winning the CFDA/Vogue Fashion Fund?

MB: Winning any award or fund is amazing, because obviously the money is great. It always helps. Being able to have conversations and a platform certainly opens doors—you can ask for collaborations and [start to] mean something in an industry that’s pretty loud. It’s very important from a recognition perspective because we are fully aware that we are not your typical New York brand—if that still exists. It feels like we have just arrived at a place where we feel really proud. Supporting and contributing to this industry, which feels like it’s shrinking, has been a tough commitment, but one we’ve invested in deeply.

SP: What advice would you give to other designers aiming to achieve similar recognition?

MB: I feel things like this are so important to do at the right time. What’s great about the CFDA, and what I didn’t expect, was how much they look at where you are with your business. You have to have some sort of history, because if you’re only two seasons in, it’s very hard to say if you are ready for it.

SP: As a designer known for challenging norms, where do you see your work going in the next few years?

MB: We’re really embracing more of a dynamic lifestyle that reflects our way of living. Seeing that as our niche is not a marketing scheme. We’re constantly asking ourselves, ‘What kind of bike do we need to have to be able to wear those garments and cycle to a gala instead of taking an Uber?’ Those are very exciting challenges.

Obviously, we create products that you can use in certain moments of your life, but it’s very interesting—having access to more resources means that we can create products for other moments, too. Plus, we don’t want to keep things a fantasy. We really love that people wear the pieces, and there’s so much more that can be done when it comes to building the full spectrum of what you can wear.