Bernhard Willhelm, a 31-year-old designer from Ulm, Germany, studied at the Royal Academy of Fine Arts in Antwerp and now resides and works in Paris. In addition to his own men’s and women’s wear collections, he designs a prêt-à-porter line for the Italian couture house Capucci in Milan. Rejecting a national perspective, Willhelm follows his own path, a philosophy reflected in this interview with Kodex.
Just two years ago, you were considered an up-and-coming designer. Now you’re part of the established set. Do you feel that shift? Was it easier being a young designer on the rise?
Am I finished or just beginning? That’s what I ask myself daily. Whether I’ve arrived or am still moving forward, the question is more important than the answer. Being established is less about a status and more about continuing with the next collection. There’s always work to be done and material to work with.
Does the pressure increase with each season, both from external sources and internally?
I’m quite resistant to pressure. Sometimes I roar like a bear; other times, I’m as quiet as a genetically modified tomato.
How is it working at your company?
The key is blending conceptual work with physical enjoyment, which acts as both a cure and a source of happiness. The company grows with its work and its team. We’re a group of young, mostly female creatives who love making fashion together. Fashion thrives on teamwork.
How has working in Paris changed things for you?
It’s amusing—since moving to Paris, I feel like a young Roman. There’s so much to explore and experiment with. I’m still observing and don’t want to rush things.
What’s it like to oversee new designers and support them?
You support others by discovering and nurturing their talents, sharing what you’ve learned along the way.
Can you offer any advice or values for young talent?
Keep your eyes open! If you’re interested in values and ideas, follow the Dalai Lama. My designs are invitations to the imagination; they don’t carry a moral message.
What does Antwerp mean to you?
I have fond memories of Antwerp, but I’m not particularly attached to specific places. My home is everywhere and nowhere. What matters is having my own bed—it’s an oak dream with amazing down bedding.
What drew you to Capucci?
The idea of a free, untainted house is quite appealing—something everyone dreams of.
What does your work at Capucci represent? Is it evidence that a designer can work outside their own fashion world?
My work isn’t proof of anything. Each collection silently documents a process, raising questions that can have many answers, even within the same team. There are no rules.
How has working for Capucci influenced your own collections?
My dreams and ideas are abstract. I often dream of squares. What does that mean?
Is it still possible to live and work by your own rules?
Nobody can fully live by their own rules. We all have duties and deadlines that keep the world moving.
How do you avoid overconfidence?
I’m not sure. I’m not interested in possessions, but spending money is fun. Finding balance is the answer.
Your work often courts controversy. Can something pushed to its limits still be enjoyable?
It’s not about making it amusing but about testing boundaries. Collections often gain strength and interest through opposition.
What’s it like to be considered Germany’s most successful designer after Karl Lagerfeld?
The question is, how do you go beyond success? While I’m saddened that ultimate success belongs to Lagerfeld, I find comparisons narrow-minded. Lagerfeld is the only designer many Germans know. My generation has something different to say, and we want to be heard on our own terms.
With the rise of new magazines and clothing shops in Germany, do you see a new visual language developing?
It feels too computer-driven to me. I miss the handmade, imperfect feel of publications. A bit of sloppiness can be refreshing if the concept is strong. As for shops, there are far too few. Every town needs at least two of each type of store. Shops should set an example—I love them!
Are you working on any special projects right now?
We’re launching our first book in January in Berlin, created with graphic designers Carmen Freudenthal and Elle Verhagen. We’ve developed our own visual language over the past four years and wanted to document it.
How would you describe your work ethic?
My work is spontaneous and fast, with intuition playing a crucial role. Surprises often come from mistakes. An unsuccessful idea excites me more than a perfect one. Aesthetic perfection doesn’t interest me; perfectionism is important in the making of the clothes. The mind is chaotic, and chaos contains beauty. What we truly love matters more than perfectionism.
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