Liturgy, the religious ceremony, is also a sacred play to everyone. The sovereignty and grandeur of liturgical ceremonies should correspond to the style, form and color of the employed vestments and instruments.

As a freelance costume and scenic designer, beside my work at theater, I engage myself intensively with the development of sacred vestments. Liturgy, liturgical vestments and liturgical instruments present a major challenge for me as an artist and a Christian. I do not use the sacred garb as a canvas to apply symbols or pattern by means of painting or embroidery; I rather elaborate the garments according to their form.

The topics of transcendence, seeing and not-seeing, concealing and unveiling are significant design elements of my work. Here, I strive to restore the connection between the ritual and the garb, not to create modernisms. In my view, this connection has been lost by reason of the industrial fabrication of liturgical vestments and their design, which is oftentimes only a mere decoration.

The fundamental questions that lead me during the creation of my sacred works are: What renders a person, a priest, in a sacred space, during a sacred act, during a sacred play dignified? Which textile medium can and must be applied to foster this dignity?

Two components are always important to me: First, the celebration of Eucharist as the center of religious life and action being used and applied in the liturgical garb. Second, the character of the wearer, whose movements and movement patterns are supported and emphasized by the sacred garb. Both priests and laity who lead a divine service, more specifically take part in particular duties are to develop options that hand a mystery to a space.

In this way, I also see the sacred vestment as an object in a specific ecclesiastical space. This means that the vestment should not only be designed for a specific person, but also for a specific space. Ideally, a sacred vestment is designed for a specific priest/person and a specific sacred space.