The Perfect Stay at the Dolder Grand

Rhythm is a Dancer 01

Rhythm is a Dancer 02

Rhythm is a Dancer 03

Rhythm is a Dancer 04

Rhythm is a Dancer 05

Intimacy 01

A seamless Aesthetic

Longines 01

Longines 02

Sam Himself 01

Sam Himself 03

Sam Himself 02

Plisee 01

Plisee 02

Plisee 03

Pascal Moehlmann 01

Pascal Moehlmann 02

Pascal Moehlmann 03

Pascal Moehlmann 04

Pascal Moehlmann 05

Pascal Moehlmann 06

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<p>To celebrate the Dolder Grand's 125th anniversary, Charles Blunier &amp; Co. has curated a breathtaking vision – capturing the essence of the legendary hotel through the lens of renowned photographers. The result is a remarkable collection of enchanting artworks featured within <a href="https://www.thedoldergrand.com/en/special-offer/the-perfect-stay/">The Perfect Stay book</a>.</p>

<h3>For Stefan Armbruster, Yvonne Reichmuth became his muse, embodying the allure of an enigmatic woman – one who captivates from afar yet remains tantalizingly out of reach. Armbruster's cinematic style brings his signature blend of ephemeral sensuality, elegance and mystery to the Dolder Grand's milestone celebration. Yvonne wears the <a href="https://yvy.ch/shop/ready-to-wear/lambskin-nappa-open-vest" class="external-link">Open Vest</a>, the <a href="https://yvy.ch/shop/leather-body-pieces/double-strap-vest-black" class="external-link">Double Strap Vest</a>, and the <a href="https://yvy.ch/shop/belts/eyelet-belt-16" class="external-link">Eyelet Belt 1.6 </a>envelopes her leg.&nbsp;</h3>

<h3>Stillness and speed, the dual reality. A central core around which bodies eternally orbit: our trillion individual cells, and also planet Earth, and also our solar system, our spiraling galaxy. Each body autonomous, freely cleaving to a personal rhythm and wild time sense. Time curving and chaotic if we look too closely. Our existence is a ballet of solitary beingness and, simultaneously, a unified expression of togetherness. Could that also describe the dance<br> of human life; at once a solo and<br> an astral ensemble?</h3>

<h3>Five dancers from the Zurich Ballet melt into one another and wear a curated selection of YVY's core collection. Just as the unfolding day's light shifts its hues, so the leather binding the figures range from a dawn's clean white, melding to a dusky, deep chocolate brown to the finality of total black. Danseurs et danseuses; aligned and adorned; in their stillness and dynamic motion we see synchrony, we sense rhythmic unison.</h3>

<h3>Their poetic movement echoes the quantum harmonics of cells, echoes the gravitational balance of stars. Those blurred and whirling dancers going heaven for leather are harnessed by the core. Held in harmony. Now. Now they're interdependent, striking one chord, weaving one cloth. Listen to Zen master Dogen: time itself is being and being is time. There is only the time-being. There is only one dance.</h3>

<p>More than a fashion brand, YVY embodies a distinct design philosophy—one that transcends clothing and accessories to create a universe of aesthetics, craftsmanship, and vision. <em>Das Ideale Heim</em>, the renowned interior and architecture magazine, stepped into this world, visiting YVY’s store and founder Yvonne Reichmuth’s private loft.</p>
<p>Every detail in the store, from its spatial concept to the custom metal furniture, was envisioned by Yvonne herself, bringing to life an environment that mirrors the brand’s signature balance of minimalism and bold expression. This curated approach extends to her home, where iconic design classics seamlessly intertwine with her creative process—some even influencing pieces in YVY’s collections. And, naturally, YVY designs are present as more than just fashion; sculptural leather pieces are displayed like art, reinforcing the idea that each creation is timeless and made to be admired.</p>
<p>A heartfelt thank you to editor David Torcasso for capturing the essence of YVY—simple elegance, minimalism with an edge, and a deep appreciation for quality and craftsmanship—and to Mirjam Kluka for the stunning imagery.</p>

<h3>Simple Elegance</h3>
<p>Ten years ago, Yvonne Reichmuth founded her own fashion brand, YVY.CH. Today, global stars like Billie Eilish and Katy Perry wear her accessories.</p>
<p>Designer Yvonne Reichmuth is internationally known for her leather accessories. This global flair is also reflected in her loft in Zurich-Altstetten.</p>
<h3>International Design, International Home</h3>
<p>Her loft is not easy to find. Located in the middle of Zurich-Altstetten’s urban landscape, it sits in an area where such a home would be least expected. Nestled between a car rental service, a Spanish eatery, and garages, the exterior of the building resembles a commercial space, giving no indication that people live here.</p>
<p>That makes it all the more surprising when photographer Mirjam Kluka and I step inside and are met with an expansive open space. Such a generous loft is a rarity in densely built Zurich. The ceilings stretch over four meters high, and the studio spans approximately 140 square meters. Thanks to the wide window front, the space is flooded with natural light, which highlights the brick walls and enhances the modern industrial character of the home.</p>

<p>The exclusive designer furniture further emphasizes the timeless elegance of the space. The cool, cosmopolitan aesthetic gives the loft an international feel—it could just as easily be in New York, London, or Berlin.</p>
<p>“I love that my home is all in one open space, without walls or doors. It gives me the freedom to let my creative thoughts unfold,” says the 39-year-old designer.</p>
<p>Yvonne completed her fashion design studies in Zurich in 2008 and later deepened her expertise in leather craftsmanship in Florence. In 2015, she founded YVY, a brand that has since been embraced by global icons like Katy Perry and Billie Eilish. She frequently collaborates with prestigious brands, including Swarovski and Longines, for whom she designed a leather watch two years ago.</p>
<p>Her strong sense of aesthetics and design is evident in every corner of the loft. Two pieces stand out in particular: the Daybed by Mies van der Rohe from Knoll at the back of the loft and the Togo sofa by Ligne Roset, upholstered in cognac-colored leather and off-white bouclé. The ceiling light, a piece from Atelier R2D2, was a gift from a designer friend when they were both nominated for the Design Prize Switzerland.</p>
<p>Throughout the space, carefully selected pieces from smaller brands can be found, such as the side table from the Indian craft collective Phantom Hands.</p>

<h3>Inspired by Eileen Gray</h3>
<p>“My philosophy is all about ‘simple elegance,’” says Yvonne. This is perfectly embodied by the E 1027 table designed by Eileen Gray in 1927 for her house in southern France. The table, available through ClassiCon, was even the subject of a recent film.</p>
<p>“Eileen Gray has inspired me so much that I even dedicated an entire YVY collection to her,” Yvonne reveals. Pieces from the collection carry her name, including the ‘Eileen Choker,’ ‘Eileen Bracelet,’ and ‘Eileen Body Piece.’</p>
<p>Adjacent to the modern kitchen is the Table 7 by Hans Eichenberger, designed in 1983 for the then-young brand Wogg. It is paired with a set of Haussmann Unesco chairs, originally designed for the ‘Salle Suisse’ at the UNESCO building in Paris by Swiss architect Robert Haussmann. Yvonne particularly appreciates the combination of retro charm, brown leather, and timeless chrome steel elegance.</p>

<h3>A Passion for Interior Design</h3>
<p>Personal items are minimal in her home, revealing her preference for a clean and curated aesthetic. The String shelf, designed in 1949 by Swedish architect Nisse Strinning and his wife, holds books, vinyl records, and a few Polaroid photos of friends.</p>
<p>“We’ve hosted some legendary parties here,” Yvonne shares with a smile. But concerns about the furniture? None. “My circle of friends consists of creatives who appreciate and respect good design.”</p>
<p>When she’s not traveling, Yvonne can usually be found in her YVY store in Zurich’s Seefeld district. She personally designed the store’s interior concept in collaboration with the metal furniture duo Siro &amp; Kris. Each piece was custom-made, complemented by design classics like the Sity Daybed by Antonio Citterio.</p>
<p>Yvonne’s fascination with interior design deepened during her time working on Color &amp; Trim for Piëch Automotive. She continues to explore the idea of extending YVY’s aesthetic into other design fields. Sitting at her USM desk, surrounded by Eames ‘Soft Pad’ chairs, she envisions future possibilities.</p>
<p>With a loft and a store filled with carefully selected designer pieces, inspiration is never far away.</p>

<h3>THE EQUESTRIAN HARNESS</h3>
<h3>The Equestrian Harness is inspired by the Longines X YVY timepieces.</h3>
<h3>Yvonne Reichmuth wanted to create a unique matching set by combining these two pieces that share clear similarities in a subtle way. The D shape ring and the finish of the straps in V shape are a playful reference to the equestrian world.</h3>
<h3>Just like the watch, this harness is built modularly, so the belts can be worn separately as well.</h3>
<h3>The Equestrian Harness is a genderless piece that skillfully emphasizes the body, whether man or woman. Our most recent piece is handmade by our artisans in Zurich made from the finest Italian leather.</h3>

<h3>The dream of living the life of a rock star is one of the most recognizable modern aspirations: Sex, Drugs, &amp; Rock n Roll! And if we had to identify just one piece as the archetypal clothing for rock stars, there's little doubt it would be leather pants. They symbolically ooze the deviancy, rebellion, and sexuality, which is at the core of rock and its myriad offshoots.</h3>
<h3>Don’t you wanna do that thing</h3>
<h3>Raw reality, however, can reveal aspects of musical stardom to be relentlessly repetitious – words and actions recycled to the point of meaninglessness, even absurdity.</h3>

<h3>The leather pants worn by Sam Himself embrace the thematic notion of repetition with the endless avenue of buckles, painstakingly and meditatively affixed by YVY. Does this feature perfect the rock star’s essential apparel? The pants retain the leather's original erotic and anarchic power while adding the buckles' motif of repetitiousness as a visual echo.</h3>
<h3>In this chapter, conceived by Raya al Souliman and Horatiu Sovaiala, we hear a rockstar mumble the lyrics of his own song “Mr.Rocknroll” ad infinitum. Over time, generation loss gradually degrades the audio and video quality of the increasingly distorted VHS, and he sighs, “ Same old song, Rock’n’roll and so on”. His voice induces doubt about the rockstar's immortality, fear that his songs and fame will wear off over time, and dread of being forgotten someday like a long-lost memory.</h3>

<h3>In this new capsule, YVY explores the technique of hand pleating — an art almost extinct in its original form. Working with a patient craftswoman, who against time and industrial pressure, keeps the tradition alive, YVY reinterprets its strong leather designs with flowy pleated fabric. What emerges is something unexpectedly refined and raw, decorous and disobedient. The capsule features a bag and modular clothing, including tops, skirts, pants, and a dress. Feel the gift of timelessness through these intricately handcrafted pieces.</h3>

<h3>Eva Ott, who co-created this exclusive capsule, is the last artisan in Switzerland specializing in hand pleating. Numerous transformations of original designs were made that produced something one-of-a-kind: Eva developed the unique paper patterns; fabric and the softest leather were synthesized; geometric and flowing forms coalesced. At Eva's studio, two artisans work alongside each other: measuring, drawing, creasing and shaping each fold. Once the paper is folded, it is pressed tightly together, tied up and placed in a large steam oven, where the pleats get heat set. Without chemicals, nor additives; just pressure, heat steam and the cooling and drying give the textile its new shape.</h3>

<h3>In our age of mass-produced clothing, hand pleating is an unashamedly time-consuming process that gives value to the time and care taken to craft each piece. Hand-crafted is time made visible. To apply this old art is to feel a gift of timelessness through the work itself, the ritual, the quiet, being lost in the métier. Einstein's revelation in Bern in 1905 was that time is relative: one's frame of reference determines the rate at which time passes. For those absorbed in handcrafting, time can slow and stop. The clock and all else vanishes except touch, sound, and movement.</h3>

<h3><strong>Time in the craft of hand-pleating.</strong></h3>
<p><strong>An essay by Eva Ott.</strong></p>
<p>Hand-crafted is time made visible. The time taken and the time given to create the work. Therein also the time it took to learn and practice a craft, for the body to memorise its movements, its touches, over time enabling the kinesthetic senses to internalise the motions. Like a dancer memorising their choreography. In the process of making, time is movements, is sounds, is care and attentiveness. Immersed in the making, it can also let us forget time, we can lose and find ourselves in the mindful creation of the work, focussing on the details, the specifics, the uniquenesses.</p>
<p>The process of making is also a journey that gives value to the crafted piece. And in exchange the maker can draw meaning and self-worth from the creation process. The craft of textile pleating also offers the interaction and exchange of two fellow artisans working alongside each other, engaged in a quiet conversation – textile pleating is a craft done by two, thus a collaboration from the start, an exercise in listening, paying attention, communicating, negotiating, and finding a common rhythm. It feels like a good metaphor for, as well as a study of relationships. Practising the craft of pleating is a multisensory experience of the body and mind over time. We are in a studio space, large windows let the room fill up with sunlight, in the middle a long wooden table. A wide variety of weights in different sizes lie waiting underneath it; they fit well into the hand of the artisan, worn out over time – from decades of handling. Against the wall are shelves, filled with pre-folded, rolled up paper patterns, some new, others used, discoloured and over time repaired with care and attention – all of them folded by hand prior to the pleating process. Measured, drawn, creased and shaped by skilled hands and mind working together.</p>
<p>This is the studio of an artisan, a textile hand-pleater. A craft that has existed for thousands of years, has adapted and altered over time, but has stayed in its intricacy a craft done by hand. Over the long table in the studio, a layer of a paper pattern is stretched out and attached. A piece of textile is spread out onto the pattern, hands glide carefully over the surface of the material – just enough touch to even out any unwanted ripples. Sweeping away the last unevenness with a gentle blow of air. With a delicate touch the fingertips feel along the edge of the textile and the paper to ensure that it lies perfectly on the grain of the weave. Two people stand on either side of the table, facing each other, unfolding the top layer of the pattern very carefully over the material, with a subtle pull, matching up the folds exactly to its base counterpart. Carefully they place the weights on the layered paper, holding the layers in place, working in quiet understanding not to disturb the textile again. They begin forming the pleats, four hands shaping one fold after the other, along the length of the table. Standing side by side, feeling with their fingertips for each groove in the layered paper – pulling fold after fold together and towards them. The skilled fingers sensing the synchronicity of the layers. With the palms of their hands, their arms and body, they press gently against the formed pleats, so as not to let them unravel again. Steady and skillfully, they work their way forward, in a finely tuned rhythm. You can hear the sound of the paper sliding along the wooden table, fold by fold, like soft waves against a shore. Once the paper is folded up entirely, it is pressed tightly together, tied up and placed in a large steam oven, where the pleats get heat set. Without chemicals, nor additives, just pressure, heat, steam and the cooling and drying, give the textile its new shape. Nothing is forced or rushed, time is an important factor. Hurried preparations will cause flawed pleats and the process starts again. Once in the oven, it’s an exercise in patience, a call to hold on, to clear up the workplace, to refocus and prepare for new things. Thus, the process of pleating gives us time just because– time, one of today’s most precious commodities – we can learn to recognise and value the joy of waiting for something. In this gift of time, the excitement can be built up and savoured, curiosity and anticipation grows for the treat yet to come: the unravelling of the pleated piece of fabric.It is a luscious moment, when the paper pattern is opened up, the layers taken apart and the finished pleated material unravelled. Here it is, the moment when the pleated material for the first time moves in its new state, like a metamorphosis! The moment in which the new piece of fabric can be experienced in all its richness:</p>
<h3>&nbsp;</h3>
<h3>The texture</h3>
<h3>The drape</h3>
<h3>The touch</h3>
<h3>The look</h3>
<h3>The body</h3>
<h3>The movement</h3>
<h3>The depth</h3>
<h3>The shape</h3>
<h3>And the spaces in between</h3>
<h3>Time made visible</h3>

<h2>PASCAL MÖHLMANN AND YVONNE REICHMUTH DENY A PIGEONHOLED LABELING OF THEIR BOLD, SENSATIONAL ARTS AND CRAFTS AS PROVOCATIVE. IN AN INTERVIEW ON THEIR JOINT VENTURE IN THE EXPLORATION OF SKIN- DEEP BEAUTY, THE TWO INDEPENDENT MINDS BLITHELY DISCUSS THEIR SHARED INSTINCTIVE TASTES FOR, AMONG OTHER THINGS, SUBTLE HUMOR, AESTHETIC EXPRESSIVENESS AND AN OLD-FASHIONED PREFERENCE FOR EXPERIENCING ART IN PHYSICAL REALITY THAT PAVED THE WAY FOR THE CO-MAKING OF THE THREE PIECES OF ARCHAIC ARMOR DEDICATED TO AN IMAGINED WOMAN.</h2>
<h2>THESE BEAUTIFUL PIECES CAN BE SEEN AS EMBLEMS OF THE STRENGTH AND RESILIENT FEMININITY PERSISTENTLY REFLECTED IN YVY’S LEATHER DESIGN, AS WELL AS TOKENS OF COURAGE AND PERSEVERANCE THAT HAS MADE THIS INDEPENDENT BRAND THRIVE AND SHINE IN ITS UNWAVERING WAY.</h2>

<h3><strong>HOW DID THIS COLLABORATION COME ABOUT?</strong></h3>
<p><strong>PASCAL MÖHLMANN:</strong> EVER SINCE I CAME ACROSS THE BRAND MANY YEARS AGO, I’VE ALWAYS WANTED TO DO SOMETHING TOGETHER WITH YVONNE BECAUSE I LIKE HER WORK SO MUCH ― IT HAS AN “OLD” QUALITY. ALTHOUGH WE KNEW EACH OTHER ONLY CASUALLY FOR A LONG TIME, I ALWAYS HAD THE FEELING THAT WE WOULD CLICK. WE FINALLY GOT TO KNOW EACH OTHER BETTER DURING A STUDIO VISIT AND THERE WAS AN INSTANT SPARK BETWEEN US. IT WAS A COMPLETELY ORGANIC OCCURRENCE FOR ME, AS IF THERE WAS NO OTHER WAY AROUND IT. WE SIMPLY HAVE GREAT CHEMISTRY.</p>
<p><strong>YVONNE REICHMUTH:</strong> THERE ARE SO MANY COMMON INTERESTS AND SUBJECT AREAS THAT WE SHARE, EVEN THOUGH WE DO COMPLETELY DIFFERENT THINGS.</p>

<h3><strong>FOR EXAMPLE?</strong></h3>
<p><strong>YVONNE:</strong> WE FEEL A STRONG CONNECTION TO THE PUNK CULTURE, FOR EXAMPLE. AND BOTH OF US ARE OFTEN PIGEONHOLED AS “PROVOCATIVE”. BUT THIS ADJECTIVE PLAYS NO ROLE AT ALL IN OUR RE- SPECTIVE WORKS. WHILE OTHERS FIND NUDE BODY PARTS IN A PAINTING OR LEATHER ON NAKED SKIN ON A PHOTO PROVOCATIVE, WE SEE THIS SIMPLY AS AN AESTHETIC EXPRESSION. THESE “MISUNDERSTANDINGS” AMUSE ME, IN A SIMILAR WAY THAT MANY ELEMENTS IN PASCAL’S PAINTINGS DON’T HAVE TO BE TAKEN SO SERIOUSLY.</p>
<p><strong>PASCAL:</strong> YES, THERE ARE ALWAYS TRIVIAL THINGS TO DISCOVER IN MY PAINTINGS.</p>

<h3><strong>BUT YVY DESIGNS ARE NOT EXACTLY KNOWN FOR THEIR AMUSING SIDE, ARE THEY?</strong></h3>
<p><strong>YVONNE:</strong> IT’S TRUE THAT I CAN’T DO ANYTHING WITH “FUNNY FASHION”. I LIKE IT TO BE A LITTLE MORE SUBTLE. FOR EXAMPLE, WHEN YOU OPEN OUR LEATHER CIGARETTE BOX, YOU DISCOVER THE WARNING “LIVING KILLS” EMBOSSED WITH SILVER. OR ON A BUSTIER, THE INSIDE OF WHICH IS DECORATED WITH HUNDREDS OF SWAROVSKI CRYSTALS. BUT YOU CAN ONLY SEE THESE GLITTERING STONES WHEN YOU LOOK INTO THE NECKLINE FROM ABOVE. IT IS LIKE A KIND OF SECRET FOR THE WEARER AND A SURPRISE FOR ALL THOSE WHO INTENTIONALLY LOOK DOWN INTO THE WEARER’S CLEAVAGE.</p>

<p><strong>PASCAL:</strong> WHEN I PAINT PEOPLE NAKED, OFTEN WOMEN, IT IS OFTEN PERCEIVED AS PORNOGRAPHIC. I DON’T THINK MUCH OF IT, IT’S JUST MY DUTCH REALISTIC GAZE, WHICH IS THE PURE OPPOSITE OF AN OVERLY RETOUCHED BARBIE AESTHETIC.</p>
<p><strong>YVONNE:</strong> AND WHEN I DESIGN A LEATHER HARNESS, I USE LINES TO EMPHASIZE THE CURVES OF THE BODY. MANY PEOPLE THINK OF FETISH CLOTHING, BUT THERE IS NO SUCH INTENTION BEHIND, JUST A LOVE FOR BEAUTIFUL PROPORTIONS AND THE MATERIAL.</p>
<h3>&nbsp;</h3>
<h3>BUT YOU ARE AWARE THAT YOUR DESIGNS AND PAINTINGS EVOKE CORRESPONDING ASSOCIATIONS?</h3>
<p><strong>PASCAL:</strong> YES, THEY ARE NEVER INTENTIONAL, BUT THEY ARISE QUITE NATURALLY.</p>
<p><strong>YVONNE:</strong> ANOTHER EXAMPLE IS THE “RING BRACELET” AND “RING CHOKER”, WHICH IS OFTEN SEEN AS A SYMBOL OF BELONGING TO THE BDSM SCENE.</p>
<p><strong>PASCAL:</strong> CONVERSELY, MANY A WINKING DETAIL IS NOT RECOGNIZED AS SUCH: ON A SMALL STILL LIFE I ONCE STAGED A SMALL ROSEBUD BUTT PLUG. MY ACQUAINTANCES LIKED THE PICTURE SO MUCH THAT THEY WANTED TO BUY IT, ALTHOUGH THEY PERCEIVED THE ANAL PLUG AS A SALT SHAKER. WHEN I ENLIGHT- ENED THEM, THEY LIKED THE PICTURE EVEN MORE. I CHOSE THE OBJECT FOR THE STILL LIFE SIMPLY FOR AESTHETIC REASONS, BECAUSE IT HAS A BEAU- TIFUL SHAPE ― NOT<br> FOR THE SAKE OF PRO- VOCATION.</p>

<h3>BEAUTY SEEMS TO BE ONE OF YOUR FIRST SELECTION CRITERIA WHEN CHOOSING YOUR SUBJECTS, RIGHT?</h3>
<p><strong>PASCAL</strong>: YES!</p>
<h3>&nbsp;</h3>
<h3>HOW DID THE SUBJECTS FOR THE PROJECT WITH YVY COME ABOUT?</h3>
<p><strong>PASCAL</strong>: WE FIRST DISCUSSED THE COLLABORATION IN JULY. YVONNE TOLD ME ABOUT HER BOOK PROJECT, BUT I COULDN’T THINK OF ANYTHING CONCRETE RIGHT AWAY. SHE THEN MADE SOME INITIAL SUGGESTIONS.</p>
<p><strong>YVONNE:</strong> ACTUALLY, IT WAS MY DREAM TO HAVE A MÖHLMANN PAINTING ON ONE OR MORE YVY ACCESSORIES ONE DAY.</p>
<p><strong>PASCAL</strong>: AT FIRST WE DIDN’T KNOW WHETHER IT WAS TECHNICALLY POSSIBLE TO PAINT WITH OIL COLORS ON LEATHER. BUT AFTER SOME MATERIAL TESTS WE HAD THE CERTAINTY THAT IT WAS POSSIBLE.</p>
<p><strong>YVONNE:</strong> IN THE FIRST TEST, THE LEATHER ABSORBED THE PAINT TOO FIRMLY. THE SECOND MATERIAL TEST WITH COATED LEATHER THEN SATISFIED US.</p>
<p><strong>PASCAL:</strong> IT WAS NOT EASY TO PAINT ON LEATHER, ESPECIALLY ON BLACK. I ALSO LEARNED SOME- THING NEW AND PAINTED THE SKIN WITH A NEW RED. NORMALLY, I’VE BEEN USING THE SAME PIG- MENTS FOR SKIN ― NO MATTER WHAT ETHNICITY ― FOR YEARS, SUCH AS A VERMILION WITH COLD UMBER NATURAL BROWN. FOR THE PAINTINGS ON THE LEATHER SKIN, I ALSO USED PERMANENT RED FOR THE SKIN PARTS FOR THE FIRST TIME.</p>
<p><strong>YVONNE:</strong> PASCAL WANTED TO INTEGRATE MY FACIAL FEATURES AND HAD ME POSE SCREAMING, AMONG OTHER THINGS. ALTHOUGH CREATIVELY HE HAD ABSOLUTE FREEDOM, I WANTED PARTS NOT ONLY OF ME BUT ALSO OF HIM TO BE IMMORTALIZED.</p>

<h3>YVONNE, WHAT IS IT THAT FASCINATES YOU ABOUT PASCAL’S WORK?</h3>
<p><strong>YVONNE:</strong> THERE ARE SEVERAL THINGS: THE REFERENCE TO OLD MASTERS, THE HOMAGE TO THE CRAFT OF TRADITIONAL PAINTERS, BUT AT THE SAME TIME PASCAL’S CONTEM- PORARY TAKE ON IT. I ALSO HAVE A STRONG FASCINATION WITH TECHNIQUES OF TRADI- TIONAL CRAFTS IN MY WORK, BUT I INTERPRET THEM IN MY OWN WAY. BOWING TO ANCIENT ARTS AND MEANWHILE USING THEM IN A MODERN WAY IS ANOTHER PARALLEL BETWEEN PASCAL’S WORKS AND MINE.</p>
<h3>&nbsp;</h3>
<h3>ARE THERE CERTAIN WORKS BY PASCAL THAT YOU PARTICULARLY LIKE?</h3>
<p><strong>YVONNE:</strong> ON THE DOOR IN HIS STUDIO HANGS A POSTER OF THE NEUMARKT THEATER, ON WHICH KNEELS A NAKED MAN...</p>
<p><strong>PASCAL:</strong> THAT’S THE ACTOR MAX KRAUSE. HE WEARS NOTHING BUT HIS SOCKS IN THE PICTURE.</p>
<p><strong>YVONNE:</strong> WHAT FASCINATES ME MOST ABOUT THIS PAINTING IS ITS EXPRESSION.</p>
<p><strong>PASCAL:</strong> I’M VERY HAPPY THAT YOU MENTIONED THIS PAINTING, BECAUSE IT WAS EXTREMELY EASY FOR ME TO PAINT IT. IT TOOK ME ABOUT FOUR HOURS. I THINK IT’S QUITE GOOD MYSELF.</p>



<h3>WHY?</h3>
<p><strong>PASCAL:</strong> FOR ME IT HAS THAT EFFORTLESSNESS THAT I FIND EXTREMELY BEAUTIFUL LATELY. I FIND THINGS THAT SEEM EFFORTLESS VERY EXCITING AND IT’S A HIGHLY DESIRABLE ART FOR ME.</p>
<p><strong>YVONNE:</strong> MY TEAM HAS OFTEN BEEN AMAZED AT HOW QUICKLY I DESIGN THINGS. FOR MANY OUTSIDERS, MY DESIGN PROCESS ALSO HAS A CERTAIN EFFORTLESS- NESS. YET I OFTEN CARRY MY IDEAS AROUND IN MY HEAD FOR A VERY LONG TIME BEFORE I IMPLEMENT THEM IN NO TIME AT ALL.</p>
<p><strong>YVONNE:</strong> HOW LONG DID IT TAKE YOU TO PAINT THE YVY PARTS?</p>
<p><strong>PASCAL</strong>: I SIMPLY DON’T KNOW. ANYWAY, I PAINTED EACH FRAGMENT IN ONE GO.</p>
<p><strong>YVONNE:</strong> AND WHAT IS IT ABOUT THE VALKYRIE THAT YOU LISTENED TO WHILE PAINTING THE YVY PARTS?</p>
<p><strong>PASCAL:</strong> I’VE BEEN LISTENING TO WAGNER’S “DER RING DES NIBELUNGEN” BACK AND FORTH FOR MONTHS. I CAN’T STOP AND I’M REALLY ADDICTED TO THIS MUSIC, EVEN THOUGH I’VE NEVER READ THE STORY. THE “RIDE OF THE VALKYRIES”, WHICH YOU KNOW FROM THE MOVIE “APOCALYPSE NOW”, IS LIKE A DRUG: IT BRINGS TEARS TO MY EYES EVERY TIME. THIS PIECE WAS ALSO THE SOUNDTRACK FOR THE YVY PARTS. IT HAS SOMETHING MILITANT, BUT FOR ME ALSO SOMETHING FRIENDLY. I SEE THE VALKYRIES AS BRATS, TOUGH GIRLS WITH GIRL POWER. THEY GO WELL WITH THE YVY PIECES, WHICH LOOK LIKE ELEGANT, ARCHAIC ARMOR. ON THE THEME OF “COURAGE”, I WANTED TO MAKE SOMETHING ELEGANT THAT IS ASSOCIATED WITH PERSONAL VICTORIES AND COURAGE. I WANTED TO TRANSLATE THESE THEMES INTO MY CREATION OF BEAUTY.</p>
<h3>&nbsp;</h3>
<h3>ARE YOU SATISFIED WITH THE RESULT?</h3>
<p><strong>YVONNE:</strong> I AM MEGA-HAPPY. IT’S ART, AFTER ALL. IT THRIVES ON THE FACT THAT IT NEEDS TIME TO LOOK AT AND EXPERIENCE IN A REAL, PHYSICAL WAY. NO INSTAGRAM CAN GET THAT ACROSS, AS THE EMOTIONS ONLY COME UP IN THE REAL ENCOUNTER.</p>
<h3>&nbsp;</h3>
<h3>IS OUR VIEW TOO MUCH INFLUENCED BY THE WAY IT IS PRESENTED ON SCREENS?</h3>
<p><strong>YVONNE:</strong> YES IT IS, AND IT WAS A REAL LUXURY WHEN WE WERE ABLE TO LOOK AT THE PIECES WHILE PHOTOGRAPHING THEM FOR SIX HOURS. IT’S LIKE LISTENING TO A SONG ON YOUR PHONE AND THEN EXPERIENCING IT AT A LIVE CONCERT.</p>
<h3>&nbsp;</h3>
<h3>WHAT HAPPENS WITH THESE PIECES?</h3>
<p><strong>YVONNE:</strong> I WANT TO EXHIBIT THEM AND SHOW THEM TO PEOPLE. THEY ARE NOT MEANT TO BE SOLD. THEY ARE YVY’S FIRST UNIQUE PIECES.</p>

<h3>SO THEY ARE WORKS OF ART.</h3>
<p><strong>YVONNE:</strong> YES, THEY ARE NOT MEANT TO BE WORN, BECAUSE THE LEATHER WOULD BEND AND THE COLOR WOULD BECOME BRITTLE. THEY ARE ART OBJECTS, WITH THREE PARTS THAT BELONG TOGETHER, AS A KIND OF ARCHAIC ARMOR FOR<br> AN IMAGINARY WOMAN.</p>

<h3>PASCAL, YOU ALSO ADDED A YVY BELT TO ONE OF YOUR OWN PAINTINGS ― WHY?</h3>
<p>PASCAL: YES, I HAD BEEN WORKING ON THIS PAINTING FOR TWO MONTHS. I WAS STILL MISSING A BELT FOR THE WOMAN’S DRESS. AT SOME POINT, WHEN THE YVY ACCESSORIES WERE STILL IN MY STUDIO, I HAD THE INSPIRATION TO INTEGRATE THE “MOON BELT” INTO THE PAINTING. AFTER JUST A FEW BRUSHSTROKES I REALIZED THAT IT JUST HAD TO BE THAT WAY ― IT WAS MEANT TO BE. THE BELT FITS FORMALLY PERFECTLY WITH THE PAINTING AND IS AT THE SAME TIME A TRIBUTE TO YVY. HER DESIGN ENHANCES THE WHOLE IMAGE.</p>
<h3>&nbsp;</h3>
<h3>WILL YOU BE DOING ANY OTHER PROJECTS TOGETHER IN THE FUTURE?</h3>
<p><strong>PASCAL:</strong> I HAVE A HUNCH THAT IT WON’T STAY WITH THIS ONE COLLABORATION. IN ANY CASE, IT WOULD MAKE ME HAPPY.</p>
<p><strong>YVONNE:</strong> DON’T SAY THAT, MY HEAD IS ALREADY STARTING TO SPIN...</p>

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