There were actually two experiences that led me in this direction. The first was when Nils Holger Moormann asked me to develop rugs for his hotel, berge. It was an exciting challenge that encouraged me to look at textiles from a completely different perspective.

The second moment was less inspiring, but all the more defining. During a preliminary meeting in the fashion industry, we were discussing whether to use organic or conventional cotton. The price difference was just 50 cents per T-shirt.

Despite this, the decision was made in favour of conventional cotton. After so many years in fashion, I became increasingly aware that I wanted to do things differently: to make meaningful use of existing resources and turn them into something special. That was ultimately the idea behind LPJ Studios.

When surplus material arrives at your studio, what qualities determine whether it can become an LPJ product, and how does the design evolve from there?

The key factor is quality. The surplus yarns and fabrics need to be of a high standard and have the potential to become something special.

We're never short of ideas or designs. The real challenge is translating our vision into something that is both technically feasible and aesthetically compelling. That takes time, patience and sometimes a few detours along the way. We spent almost two years experimenting before finding a technique that would make our blankets look equally beautiful on both sides.

Sustainability is a term that is often used rather freely these days. What criteria does a textile product need to meet for you to genuinely consider it sustainable?

For me, sustainability starts with something quite simple: using resources responsibly. There are already so many high-quality materials available, from overproduction to surplus stock that, for various reasons, can no longer be used in their original production processes. At LPJ Studios, we therefore try to work as consistently as possible with these existing materials, giving them a second life.

Another important aspect is local production. It reduces transport distances and allows us to be closely involved in every stage of the manufacturing process. In this way, we create distinctive textile products with character, quality and a story of their own.

Make the opening more directStrengthen the connection to LPJ Studios

You come from fashion, I come from interior design. What made you realise early on that our creative styles were a good match, and how do our different perspectives complement each other today?

I still remember my first visit to your Scheune, which was still your home at the time. I was immediately captivated by you, your taste and your exceptional sense of space and design.

Coming from a background in high-end fashion, colour, pattern, materials and craftsmanship have always played a central role in my work. I recognised these same qualities in your designs, and I think that gave us a strong foundation from the very beginning.

Today, we complement each other beautifully. You bring your interior design perspective and your instinct for spaces, while I contribute my textile expertise and passion for materials and colour. Together, we create pieces that not only look beautiful but also fit naturally into your projects.

Our collaborative throws are a lovely example of this. But we also enjoy exploring new ideas, such as the Big Pillows for Acapulco. And sometimes we simply provide the right surplus fabrics, which then find a new life in your designs for Studio David Pompa.

What I particularly love about our collaboration is how easy, open and full of curiosity it feels. We both enjoy experimenting, trying new things and occasionally taking an unconventional approach.

Which textile technique are you currently looking to develop further, and what new product could we create together beyond our throws?

I find Steffi's idea of developing a room divider together incredibly exciting, and it's something I'd really love to explore. A project like this would allow us to bring our different areas of expertise together and experiment with materials, textures and transparency.

Another project I'd love to work on is a pouf. I see plenty of opportunities to create something distinctive using our materials and textile techniques.

What I enjoy most is when an initial idea develops through conversation into something neither of us had imagined before. Those are exactly the kinds of projects I find most exciting.