Christof Cremers’ work in the field of sacred art encompasses the development of new liturgical vestments, designs for liturgical vessels, temporary artistic interventions in space and spatial installations, as well as the artistic and architectural development of spatial concepts for sacred spaces. “Liturgy, liturgical vestments, and liturgical vessels present a major challenge for me as an artist and a Christian. I do not use liturgical vestments as a canvas onto which to apply symbols or patterns through painting or embroidery, but rather I develop the vestments through their cut and design. For me, the themes of transcendence, seeing and not seeing, concealing and revealing are essential design elements of my work. My focus here is not on modernism, but on restoring the connection between worship and vestments. In my view, this connection was lost through the industrial production of liturgical vestments and their design, which is often purely decorative. The fundamental questions that guide me in my sacred works are: What makes a person—a priest—worthy in a sacred space, during a sacred rite, and in the sacred drama? And what textile means can and must be employed to support this dignity? For me, two components are always important: On the one hand, the celebration of the Eucharist as the center of religious life and action, in which liturgical vestments are used and employed. On the other hand, the person wearing them, whose movements and gestures the sacred vestment supports and underscores. Here, opportunities can be developed—both for priests and for laypeople who lead a service or perform specific roles within it—that give space to the mystery. Thus, I also view the liturgical vestment as an object within a specific ecclesiastical space. Ideally, a liturgical vestment is designed for a specific person and a specific sacred space.
Anyone interested in liturgical vestments and liturgical items is welcome to contact our studio. Working closely with our clients, we develop custom designs that we bring to completion with great care and artisanal precision.
We look forward to hearing from you:
Atelier Cremer
Argentinierstrasse 53/5
1040 Vienna
Tel.: +43 1 505 51 81
Mobile: +43 664 160 90
atelier@christof-cremer.com
“Restoring the Connection Between Space, Ritual, and Attire”
PARAMENTS – Article on the sacred artworks of the Atelier Christof Cremer in “Das Münster”
Interview with Christof Cremer
in "Das Münster", Zeitschrift für christliche Kunst und Kunstwissenschaft
Verlag Schnell & Steiner, Regensburg
Issue 2/2026, published in july 2026
Author: Martin Matl
>> here you can read the article in german (PDF)
in "Das Münster", Zeitschrift für christliche Kunst und Kunstwissenschaft
Verlag Schnell & Steiner, Regensburg
Issue 2/2026, published in july 2026
Author: Martin Matl
>> here you can read the article in german (PDF)
Design of the Gospel Books for the German-Speaking Bishops’ Conferences – Artist’s Edition
Gospel Book for the Celebration of Holy Mass
Overall Artistic Concept:
Atelier Cremer
Graphic:
Atelier Oppermann
juliaoppermann.com
Illustrationen:
Atelier Christof Cremer / Christof Cremer, Julia Oppermann
3D Visualisations
Atelier Christof Cremer / Christopher Gruber
Artist's Edition:
Verlag der Buchhandlung Walther König GmbH & Co KG
buchhandlung-walther-koenig.de
Waldburger Embroidery Workshop
waldburgerstickerei.ch
Buchbinderei Brosche GmbH
buchbinderei-brosche.at
Ludwig Kyral, Artistic Sheet Metal Worker & Belt Maker
kyral.at
Retail editions:
Liturgie Herder Freiburg Publishing Consortium. Katholisches Bibelwerk Stuttgart Publishing House. Paulus Einsiedeln. Friedrich Pustet Regensburg. St. Peter Salzburg. Veritas Linz. Wiener Dom Verlag. Produced by: Friedrich Pustet GmbH & Co. KG, Regensburg
Overall Artistic Concept:
Atelier Cremer
Graphic:
Atelier Oppermann
juliaoppermann.com
Illustrationen:
Atelier Christof Cremer / Christof Cremer, Julia Oppermann
3D Visualisations
Atelier Christof Cremer / Christopher Gruber
Artist's Edition:
Verlag der Buchhandlung Walther König GmbH & Co KG
buchhandlung-walther-koenig.de
Waldburger Embroidery Workshop
waldburgerstickerei.ch
Buchbinderei Brosche GmbH
buchbinderei-brosche.at
Ludwig Kyral, Artistic Sheet Metal Worker & Belt Maker
kyral.at
Retail editions:
Liturgie Herder Freiburg Publishing Consortium. Katholisches Bibelwerk Stuttgart Publishing House. Paulus Einsiedeln. Friedrich Pustet Regensburg. St. Peter Salzburg. Veritas Linz. Wiener Dom Verlag. Produced by: Friedrich Pustet GmbH & Co. KG, Regensburg
Apollinaris Ornat
For St. Lambertus Düsseldorf
by Christof Cremer
The Apollinaris Festival / Apollinaris Fair in Düsseldorf brings together many different people with their diverse life stories. Believers, fairgoers, carnival workers, and residents of Düsseldorf. Their diverse life paths converge at the cross in Christ and, as it were, form the crossbeams of the cross. This is the story told by my new liturgical vestments for this occasion.
© Design: Christof Cremer; Illustrations: Andrea Költringer;
Project: Paramentenhaus Wefers, Cologne
by Christof Cremer
The Apollinaris Festival / Apollinaris Fair in Düsseldorf brings together many different people with their diverse life stories. Believers, fairgoers, carnival workers, and residents of Düsseldorf. Their diverse life paths converge at the cross in Christ and, as it were, form the crossbeams of the cross. This is the story told by my new liturgical vestments for this occasion.
© Design: Christof Cremer; Illustrations: Andrea Költringer;
Project: Paramentenhaus Wefers, Cologne
St. Martin’s Vestments
For St. Martin's Cathedral in Rottenburg
by Christof Cremer
Conceptual Approach – A Design for the 21st Century
“Martin constantly reminds us: The church is a diaconal church—a church that helps and heals. ... In Martin, Jesus himself lives on, calling us to follow him and to walk in his footsteps. ... The Church’s influence ... is never independent of its visible and perceived form, of the concrete way of life and practice through which the Spirit that reigns within it is expressed.” (Gebhard Fürst, Martin of Tours, Icon of Charity, p. 111 ff.)
In his account of Martin’s life, Sulpicius Severus vividly describes Martin’s charity when he gave half of his cloak to a poor man at the gate of Amiens. “When night had fallen and he (Martin) had fallen asleep, Christ appeared to him, clothed in the part of the cloak that he had given to the poor man. ... Truly, the Lord remembered the words He had once foretold: ‘Whatever you did for one of the least of these, you did for me.’” (Martin of Tours, Life of Martin by Sulpicius Severus; ed. Joachim Drumm, p. 25)
This draft design for a “St. Martin’s chasuble” takes up these ideas and interprets them artistically. In the act of sharing and cutting the cloak, the Church—which helps and heals, invokes Christ in its actions, and is guided by His deeds—becomes visible. And in and through the active Church, Christ Himself becomes visible, tangible, experiential, and indeed comprehensible.
Pope Francis never tires of calling on the Church—that is, the many people who profess their faith in this Church—to turn toward the defenseless, the weak, and the least among us, and—just as Martin did—to share their cloaks. Martin is a role model for the 21st century, a time when so many have so little, a time when so many depend on the kindness of others. Where people share, there Christ, the light of the world, becomes visible.
The garment that, in the story of St. Martin—in addition to the actual, warmth-providing cloak for the beggar—has also become the universal symbol of charity and sharing par excellence—and has done so for one and a half thousand years now, with an impressive legacy of influence throughout global Christianity —this shared garment is now to become a meaningful symbol in its own right, in both form and design, in the drafts for the St. Martin’s vestments.
Foreword by Bishop Gebhart Fürst
"Garments of Salvation" by Wolfgang Urban
“Contemporary Liturgical Vestments—The St. Martin’s Vestments as an Example” by Wolfgang Stracke
Related links:
Complete Bible for the 102nd German Catholic Convention in Stuttgart
© Design: Christof Cremer; Illustration: Andrea Költringer
by Christof Cremer
Conceptual Approach – A Design for the 21st Century
“Martin constantly reminds us: The church is a diaconal church—a church that helps and heals. ... In Martin, Jesus himself lives on, calling us to follow him and to walk in his footsteps. ... The Church’s influence ... is never independent of its visible and perceived form, of the concrete way of life and practice through which the Spirit that reigns within it is expressed.” (Gebhard Fürst, Martin of Tours, Icon of Charity, p. 111 ff.)
In his account of Martin’s life, Sulpicius Severus vividly describes Martin’s charity when he gave half of his cloak to a poor man at the gate of Amiens. “When night had fallen and he (Martin) had fallen asleep, Christ appeared to him, clothed in the part of the cloak that he had given to the poor man. ... Truly, the Lord remembered the words He had once foretold: ‘Whatever you did for one of the least of these, you did for me.’” (Martin of Tours, Life of Martin by Sulpicius Severus; ed. Joachim Drumm, p. 25)
This draft design for a “St. Martin’s chasuble” takes up these ideas and interprets them artistically. In the act of sharing and cutting the cloak, the Church—which helps and heals, invokes Christ in its actions, and is guided by His deeds—becomes visible. And in and through the active Church, Christ Himself becomes visible, tangible, experiential, and indeed comprehensible.
Pope Francis never tires of calling on the Church—that is, the many people who profess their faith in this Church—to turn toward the defenseless, the weak, and the least among us, and—just as Martin did—to share their cloaks. Martin is a role model for the 21st century, a time when so many have so little, a time when so many depend on the kindness of others. Where people share, there Christ, the light of the world, becomes visible.
The garment that, in the story of St. Martin—in addition to the actual, warmth-providing cloak for the beggar—has also become the universal symbol of charity and sharing par excellence—and has done so for one and a half thousand years now, with an impressive legacy of influence throughout global Christianity —this shared garment is now to become a meaningful symbol in its own right, in both form and design, in the drafts for the St. Martin’s vestments.
Foreword by Bishop Gebhart Fürst
"Garments of Salvation" by Wolfgang Urban
“Contemporary Liturgical Vestments—The St. Martin’s Vestments as an Example” by Wolfgang Stracke
Related links:
Complete Bible for the 102nd German Catholic Convention in Stuttgart
© Design: Christof Cremer; Illustration: Andrea Költringer
Design of the Complete Bible for the 102nd German Catholic Convention in Stuttgart
I designed a complete Bible for the 102nd German Catholic Convention in Stuttgart. The cover design features, on one side, the Cross of Christ representing the New Testament, as well as a stylized depiction of the beginning of the Book of Genesis in Hebrew. The text is set within a golden triangle. This triangle serves as a bridge to the St. Martin vestments I designed for Rottenburg Cathedral, which are also worn during church services. The central theme here is that God’s mercy is made visible through the sharing of the cloak. I have sought to capture the act of sharing in these vestments.
Related links:
St. Martin's Vestments for Rottenburg Cathedral
Cover design: atelier cremer / Christof Cremer, Julia Oppermann
© Visualization: Christopher Gruber
© Illustration of the vestments: Andrea Költringer
© Photos of the Complete Bible: Klaus Krämer
Liborius Ornat
For the Paderborn Cathedral
by Christof Cremer
CONCEPTUAL APPROACH
In addition to my examination of the life of St. Liborius, the legends told about him, and the well-known account of the transfer of the saint’s remains from Le Mans to Paderborn —in which a peacock plays a central role—the specific texts of the Liturgy of the Feast of St. Liborius and the study of the liturgical space for which the vestments now presented here were designed form the basis of my work. My exploration of the radiance of the Liborius Festival—which also symbolizes the power of the Christian faith and its place in our lives today—served as a significant foundation for the artistic design of the vestments. The Preface of Saint Liborius includes the prayer: “... For he (Christ) sent Saint Liborius to proclaim the Gospel of salvation and to enlighten the hearts of people with the light of faith. Following the example of Christ, the Good Shepherd, he labored for the flock entrusted to him. ...” It is a joyful, life-giving message that seeks to touch and move us. The message of God’s ineffable love for His creation, for us human beings. And it is the fact that Christ does not leave us alone in this life, but—like a good shepherd—is with us, around us, and within us. Not only that, but He Himself reveals Himself as “the Way” (John 14:6), which we are to discern and follow. All of this—and, as I’ve already written, the legends surrounding Saint Liborius—have occupied and captivated me as I’ve been working on the chasuble. In art history, the peacock, among other things, is associated with Saint Liborius as a symbol. However, for me today, it is no longer a matter of simply applying a peacock motif, but rather of delving deeper into these images and exploring their meaning. Like a (stylized) peacock’s eye, rays taper from the neckline to the hem of the vestment, both in width and in height. Gold represents the power of God; blue represents the source of the Pader River as a connection to Paderborn and, of course, to baptism in Christ. According to legend, the peacock guided the people of Paderborn during the transfer of St. Liborius’s remains, just as Christ guides us today. His message, his life, and his death on the cross serve as signposts for us on our life’s journey, on our pilgrimage. This is reflected in the vestment of the principal celebrant, who, as Christ’s representative, presides over the service. All vestments reference the peacock and the peacock’s eye. This fundamental design principle has been applied to all vestment styles—whether worn singly or layered—and varies accordingly.
Article from the exhibition catalog
Hans-Josef Becker, Archbishop of Paderborn: Foreword
Msgr. Joachim Göbel, Provost of the Cathedral: Foreword
CathedralVicar Gregor Tuszynski: “All of you who have been baptized into Christ...” (Gal 3:27)
Wolfgang Stracke: Contemporary Art and Liturgical Vestments
Video documentary on the vestments and the exhibition
© Photos: Julia Oppermann
by Christof Cremer
CONCEPTUAL APPROACH
In addition to my examination of the life of St. Liborius, the legends told about him, and the well-known account of the transfer of the saint’s remains from Le Mans to Paderborn —in which a peacock plays a central role—the specific texts of the Liturgy of the Feast of St. Liborius and the study of the liturgical space for which the vestments now presented here were designed form the basis of my work. My exploration of the radiance of the Liborius Festival—which also symbolizes the power of the Christian faith and its place in our lives today—served as a significant foundation for the artistic design of the vestments. The Preface of Saint Liborius includes the prayer: “... For he (Christ) sent Saint Liborius to proclaim the Gospel of salvation and to enlighten the hearts of people with the light of faith. Following the example of Christ, the Good Shepherd, he labored for the flock entrusted to him. ...” It is a joyful, life-giving message that seeks to touch and move us. The message of God’s ineffable love for His creation, for us human beings. And it is the fact that Christ does not leave us alone in this life, but—like a good shepherd—is with us, around us, and within us. Not only that, but He Himself reveals Himself as “the Way” (John 14:6), which we are to discern and follow. All of this—and, as I’ve already written, the legends surrounding Saint Liborius—have occupied and captivated me as I’ve been working on the chasuble. In art history, the peacock, among other things, is associated with Saint Liborius as a symbol. However, for me today, it is no longer a matter of simply applying a peacock motif, but rather of delving deeper into these images and exploring their meaning. Like a (stylized) peacock’s eye, rays taper from the neckline to the hem of the vestment, both in width and in height. Gold represents the power of God; blue represents the source of the Pader River as a connection to Paderborn and, of course, to baptism in Christ. According to legend, the peacock guided the people of Paderborn during the transfer of St. Liborius’s remains, just as Christ guides us today. His message, his life, and his death on the cross serve as signposts for us on our life’s journey, on our pilgrimage. This is reflected in the vestment of the principal celebrant, who, as Christ’s representative, presides over the service. All vestments reference the peacock and the peacock’s eye. This fundamental design principle has been applied to all vestment styles—whether worn singly or layered—and varies accordingly.
Article from the exhibition catalog
Hans-Josef Becker, Archbishop of Paderborn: Foreword
Msgr. Joachim Göbel, Provost of the Cathedral: Foreword
CathedralVicar Gregor Tuszynski: “All of you who have been baptized into Christ...” (Gal 3:27)
Wolfgang Stracke: Contemporary Art and Liturgical Vestments
Video documentary on the vestments and the exhibition
© Photos: Julia Oppermann
Design of the Lectionaries for the German-Speaking Bishops’ Conferences
The German-speaking bishops’ conferences have issued a call for proposals to redesign the lectionaries as works of book art. The goal is to develop a contemporary, symbolic design without text. At the same time, the style, color, and form should emphasize the dignity of Sacred Scripture and the solemnity of liturgical celebration. And, precisely as a work of art, it should be, in accordance with the Constitution on the Sacred Liturgy of the Second Vatican Council, “a sign and symbol of heavenly realities” (Sacrosanctum Concilium 122).
The lectionaries, as repositories of the written Word of God, serve the liturgy, which is the summit “toward which the Church’s activity is directed” and which “is at the same time the source from which all her strength flows” (Scorsantum Concilium 10).
The lesson plans designed by Christof Cremer in collaboration with Julia Oppermann are characterized by their simplicity and conciseness, while at the same time offering a high degree of recognizability and distinctiveness.
The design reflects the significance and process of proclaiming the Word of God. What were originally only oral traditions were recorded in writing, making them recitable in the same way everywhere. During the Liturgy of the Word, the written word is brought to life, and the Word of God spreads dynamically, like waves. The colorful parables on the cover symbolize the spread of the Word through speaking and reading. They come from infinity and return there, continuing to echo as if in an echo chamber. The books’ golden covers underscore the high value of their contents.
Christof Cremer, a freelance costume and set designer born in Heinsberg (Germany), lives in Vienna and works internationally. In addition to his work in theater, Christof Cremer conceives and curates exhibitions and works as a scenographer. Sacred art is another facet of his work. In this field, his projects include the development of new liturgical objects and vestments, as well as the design of church interiors and spatial installations.
Cover design: atelier cremer / Christof Cremer, Julia Oppermann
© Visualization: Christopher Gruber
Related links:
Liturgical Institute of German-Speaking Switzerland
Jacobus Ornat – Hilden
Concept
In addition to exploring the life of St. James and the legends surrounding him, I attended several services at the parish. Both—the life and message of St. James as a person and the actual liturgical practice—as well as the liturgical space for which the vestments were designed, were and remain essential focal points of my work. My exploration of questions regarding martyrdom, the history of martyrs’ feasts, their significance for the development of the early Church, and their place in our lives today served as important foundations for the design of this vestment.
A Call to Follow the Cross – In celebrating a martyr’s feast day, on the one hand we commemorate the specific individual and his or her faithfulness to Christ and the faith that enabled that person to endure suffering and death; on the other hand, the specific martyrdom can serve as an example and a model for us Christians on our own journey of faith—even if it must continually be “translated” anew into the context of our time. “Take up your cross and follow me…” This unambiguous yet controversial statement by Jesus points the way: Christian discipleship—especially following the cross—can only succeed when sustained in and through the security of Christ’s love. Following the cross is following the faith. I am tempted to say: A white, empty cross awaits everyone….
And then there is a second point: “Wherever we go, we always carry the death of Jesus in our bodies, so that the life of Jesus may also be made visible in our bodies. For even while we live, we are constantly being handed over to death for Jesus’ sake, so that the life of Jesus may also be revealed in our mortal flesh. Thus death exerts its power on us, but life on you.” (2 Cor 4:10–12) This is the reading for the Feast of St. James. Taking up this thought, I placed a breastplate at the center of the garment—like a heart. This breastplate penetrates the garment and thus the body of the wearer. The front of the breastplate shows an exposed, recessed white—and thus empty—cross, the cross that awaits us. This breastplate is embedded in the golden
T-shaped cross of Christ, the cross of love and security. The wearer’s white alb becomes clearly visible, both at the side and at the bottom hem of the garment, thereby extending the golden cross from the chasuble into the alb and thus bringing it even closer to the wearer. A visual transition takes place. Through their hemline, the vestments echo the shape of the pointed arch of the neo-Gothic church. These fundamental design principles were applied to all vestment styles for the various ministers and their respective roles. The golden cross, however, is reserved for the principal celebrant, who, as the presider of the service, is the representative of Christ in the celebration of the Mass.
Items from the catalog
Msgr. Ulrich Hennes: Background and Objectives
Msgr. Ulrich Hennes: The New Man in a New Garment
Dr. Wolfgang Stracke: A Symbolic Stroke of Luck
Photos: © Julia Oppermann
In addition to exploring the life of St. James and the legends surrounding him, I attended several services at the parish. Both—the life and message of St. James as a person and the actual liturgical practice—as well as the liturgical space for which the vestments were designed, were and remain essential focal points of my work. My exploration of questions regarding martyrdom, the history of martyrs’ feasts, their significance for the development of the early Church, and their place in our lives today served as important foundations for the design of this vestment.
A Call to Follow the Cross – In celebrating a martyr’s feast day, on the one hand we commemorate the specific individual and his or her faithfulness to Christ and the faith that enabled that person to endure suffering and death; on the other hand, the specific martyrdom can serve as an example and a model for us Christians on our own journey of faith—even if it must continually be “translated” anew into the context of our time. “Take up your cross and follow me…” This unambiguous yet controversial statement by Jesus points the way: Christian discipleship—especially following the cross—can only succeed when sustained in and through the security of Christ’s love. Following the cross is following the faith. I am tempted to say: A white, empty cross awaits everyone….
And then there is a second point: “Wherever we go, we always carry the death of Jesus in our bodies, so that the life of Jesus may also be made visible in our bodies. For even while we live, we are constantly being handed over to death for Jesus’ sake, so that the life of Jesus may also be revealed in our mortal flesh. Thus death exerts its power on us, but life on you.” (2 Cor 4:10–12) This is the reading for the Feast of St. James. Taking up this thought, I placed a breastplate at the center of the garment—like a heart. This breastplate penetrates the garment and thus the body of the wearer. The front of the breastplate shows an exposed, recessed white—and thus empty—cross, the cross that awaits us. This breastplate is embedded in the golden
T-shaped cross of Christ, the cross of love and security. The wearer’s white alb becomes clearly visible, both at the side and at the bottom hem of the garment, thereby extending the golden cross from the chasuble into the alb and thus bringing it even closer to the wearer. A visual transition takes place. Through their hemline, the vestments echo the shape of the pointed arch of the neo-Gothic church. These fundamental design principles were applied to all vestment styles for the various ministers and their respective roles. The golden cross, however, is reserved for the principal celebrant, who, as the presider of the service, is the representative of Christ in the celebration of the Mass.
Items from the catalog
Msgr. Ulrich Hennes: Background and Objectives
Msgr. Ulrich Hennes: The New Man in a New Garment
Dr. Wolfgang Stracke: A Symbolic Stroke of Luck
Photos: © Julia Oppermann
Festive Regalia of Admont Abbey
Concept
The designs for the liturgical vestments, which were developed around the theme of Paradise, are based on the ideas of the Last Supper, self-sacrifice, death on the cross, and the Resurrection on Easter morning. Only salvation through Jesus Christ enables human beings to enter Paradise after death. In the celebration of the Eucharist, people can sense the coming Paradise.
The vestments are designed in the shape of an ellipse. On the one hand, they draw on the theme of the mandola—bread—fish; on the other hand, they reflect the shape of the Gothic or Neo-Gothic pointed arches of the Admont Abbey Church, which are also found in the Admont coat of arms. Two chasubles layered one on top of the other lend the vestment greater three-dimensionality and more volume. They also allude to the Benedictine monk’s habit, particularly the scapular. The basic shape of the chasubles also alludes to bread and thus to Holy Thursday. The white cross, revealed by the golden areas, symbolizes Christ’s Resurrection on Easter morning. The red cross with red panels on the lower chasuble symbolizes the suffering and death of Christ on the cross on Good Friday. These fundamental concepts—and thus the design language—are varied in the other vestments.
Further Reading
Fr. Winfried Schwab, OSB
So that God may be glorified in all things! Or: Are contemporary liturgical vestments also in keeping with the times?
Dr. Wolfgang Stracke, Paramentenhaus Wefers
: A contradictio in adiecto—a contradiction in terms? On the works of Christof Cremer
Photos: © Julia Oppermann
The designs for the liturgical vestments, which were developed around the theme of Paradise, are based on the ideas of the Last Supper, self-sacrifice, death on the cross, and the Resurrection on Easter morning. Only salvation through Jesus Christ enables human beings to enter Paradise after death. In the celebration of the Eucharist, people can sense the coming Paradise.
The vestments are designed in the shape of an ellipse. On the one hand, they draw on the theme of the mandola—bread—fish; on the other hand, they reflect the shape of the Gothic or Neo-Gothic pointed arches of the Admont Abbey Church, which are also found in the Admont coat of arms. Two chasubles layered one on top of the other lend the vestment greater three-dimensionality and more volume. They also allude to the Benedictine monk’s habit, particularly the scapular. The basic shape of the chasubles also alludes to bread and thus to Holy Thursday. The white cross, revealed by the golden areas, symbolizes Christ’s Resurrection on Easter morning. The red cross with red panels on the lower chasuble symbolizes the suffering and death of Christ on the cross on Good Friday. These fundamental concepts—and thus the design language—are varied in the other vestments.
Further Reading
Fr. Winfried Schwab, OSB
So that God may be glorified in all things! Or: Are contemporary liturgical vestments also in keeping with the times?
Dr. Wolfgang Stracke, Paramentenhaus Wefers
: A contradictio in adiecto—a contradiction in terms? On the works of Christof Cremer
Photos: © Julia Oppermann
In the Garment of Salvation
Contemporary Altar Linens Art
Exhibition at the Catholic Academy in Schwerte (
) from December 9, 2012, to February 3, 2013.
Martha Kreutzer-Tremming
Wally Schulz
Leo Zogmayer
Christof Cremer
Further Information
© Costume: Christof Cremer, Photo: Mike Siepmann
Exhibition at the Catholic Academy in Schwerte (
) from December 9, 2012, to February 3, 2013.
Martha Kreutzer-Tremming
Wally Schulz
Leo Zogmayer
Christof Cremer
Further Information
© Costume: Christof Cremer, Photo: Mike Siepmann
St. Ruprecht – Vienna
Liturgical Items
St. Ruprecht, Vienna
Design: Christof Cremer
Photos: © Julia Oppermann
St. Ruprecht, Vienna
Design: Christof Cremer
Photos: © Julia Oppermann
Praise to God
Church textiles from the time of Maria Theresa
Imperial Treasury, Vienna: “
” May 4–November 7, 2016
Executive Board of the KHM Museum Association: Director General Dr. Sabine Haag and Dr. Paul Frey
Project Manager, Exhibition Production: Dr. Katja Schmitz-von Ledebur
Exhibition Contribution: Christof Cremer
The Ecclesiastical Treasury houses a significant collection of 18th-century vestments, which cannot be permanently displayed for conservation reasons. It owes its origins primarily to the generous endowments of Emperor Charles VI (1685–1740) and his wife Elisabeth Christine (1691–1750), as well as their daughter Maria Theresa (1717–1780). In many cases, precious fabrics from France or Italy were used to make the liturgical vestments, which were further embellished with embroidery. Imperial robes were also occasionally altered to serve as chasubles.
The exhibition offers a glimpse into the diversity and high quality of the textile collection at the Vienna Treasury, which eloquently bears witness to the *Pietas Austriaca*, the piety of the House of Austria.
The exhibition also features a selection of contemporary liturgical vestments designed by the two artists Christof Cremer and Stephan Hann. They illustrate the high standards still expected of liturgical vestments today, which remain an essential part of the worship service.
Further Information
© Photo: KHM Museum Association / Thomas Ritter
Imperial Treasury, Vienna: “
” May 4–November 7, 2016
Executive Board of the KHM Museum Association: Director General Dr. Sabine Haag and Dr. Paul Frey
Project Manager, Exhibition Production: Dr. Katja Schmitz-von Ledebur
Exhibition Contribution: Christof Cremer
The Ecclesiastical Treasury houses a significant collection of 18th-century vestments, which cannot be permanently displayed for conservation reasons. It owes its origins primarily to the generous endowments of Emperor Charles VI (1685–1740) and his wife Elisabeth Christine (1691–1750), as well as their daughter Maria Theresa (1717–1780). In many cases, precious fabrics from France or Italy were used to make the liturgical vestments, which were further embellished with embroidery. Imperial robes were also occasionally altered to serve as chasubles.
The exhibition offers a glimpse into the diversity and high quality of the textile collection at the Vienna Treasury, which eloquently bears witness to the *Pietas Austriaca*, the piety of the House of Austria.
The exhibition also features a selection of contemporary liturgical vestments designed by the two artists Christof Cremer and Stephan Hann. They illustrate the high standards still expected of liturgical vestments today, which remain an essential part of the worship service.
Further Information
© Photo: KHM Museum Association / Thomas Ritter
Design of the Gospel Books for the German-Speaking Bishops’ Conferences – Standard Edition
Gospel Book for the Celebration of Holy Mass
Artistic Design
This design follows in the tradition of sacred book design, yet remains contemporary. The overall design of this Gospel book draws on the tradition of historical sacred book design and adapts it to the present day.
The texts of the four Gospels are the most important and sacred document, the foundation of the Christian faith. Given their significance, they are secured and encased within two “ribbons” that are wrapped in a cross shape around the entire text of the book, much like relics placed within an altar. These ribbons extend from the flyleaf, over the two-tone gold-edged pages, to the endpaper. The entire collection of texts is encased and protected by a book cover.
On the book’s cover, the openings of the four Gospels are abstractly positioned on the front, and their closings on the back, in Ancient Greek. The four Gospels tell the single story of salvation under the sign of the cross; this cross emerges as an (empty) cross through the positioning of the texts on the book cover and continues the motif of the cross found in the book block and the gold-edged pages.
As an additional layer, an expressive mandorla shape is superimposed over the texts, drawing the viewer into the book, as it were. On the one hand, the artistic drawing serves as a bridge to the design of the newly redesigned lectionaries; on the other hand, it is a reference to the depiction of Christ enthroned within the mandorla. A golden cross is shown on the reverse side.
Artistic Concept: Illustrations
The illustrations in the Gospel Book are based on the desire to add a visual expression to the text, drawn from the text itself. These illustrations reference the cover design, which also incorporates the texts—specifically, excerpts from the text—as a central design element. The guiding principle here is that the text speaks to the viewer through its dynamism and its inherent movement. The focus is on the gesture rather than on illustration in the classical sense.
The illustrations are the result of a complex, multi-step process. The foundation and starting point is a theological analysis of the biblical passages. This led to the distillation of the specific text’s message into a movement. This movement was then performed by a dancer in a guided improvisation and documented using long-exposure photography and video.
The movements, superimposed across different image layers, were isolated, graphically edited, and abstracted. The forms resulting from this process were filled with selected abstracted texts from ancient Greek and placed on an equally abstracted background layer, where they were colored in the corresponding liturgical color.
The Gospel Book does not merely invite us to “read aloud” from it in the literal sense and to “read aloud” from it, but through its form and design, it also encourages us to “pause” and to “reflect” on what we see and hear.
Detailed Information / Ordering:
Verlag Herder GmbH
P.O. Box 100 154, D-79120 Freiburg Tel.: 0761 / 2717-300
Email: kundenservice@herder.de
Publisher: Katholisches Bibelwerk
Silberburgstraße 121, D-70176 Stuttgart Tel.: 0711 / 61920-26
Email: bestellung@bibelwerk.de
Friedrich Pustet Publishing House
Gutenbergstraße 8, D-93051 Regensburg
Tel.: 0941 / 92022-0
w Email: bestellung@pustet.de
Wiener Dom-Verlag (Austria)
Stephansplatz 4/VI/DG, A-1010 Vienna Tel.: 43 (0) 2236 / 41924
Email: auslieferung@domverlag.at
St. Stephen's Cathedral Radio Podcast:
https://radioklassik.at/programm/sendeformate/thema/das-neue-evangeliar/
Cover design: atelier cremer / Christof Cremer, Julia Oppermann
© Visualization: Christopher Gruber; Photos: atelier cremer/Jovan Sertic
Artistic Design
This design follows in the tradition of sacred book design, yet remains contemporary. The overall design of this Gospel book draws on the tradition of historical sacred book design and adapts it to the present day.
The texts of the four Gospels are the most important and sacred document, the foundation of the Christian faith. Given their significance, they are secured and encased within two “ribbons” that are wrapped in a cross shape around the entire text of the book, much like relics placed within an altar. These ribbons extend from the flyleaf, over the two-tone gold-edged pages, to the endpaper. The entire collection of texts is encased and protected by a book cover.
On the book’s cover, the openings of the four Gospels are abstractly positioned on the front, and their closings on the back, in Ancient Greek. The four Gospels tell the single story of salvation under the sign of the cross; this cross emerges as an (empty) cross through the positioning of the texts on the book cover and continues the motif of the cross found in the book block and the gold-edged pages.
As an additional layer, an expressive mandorla shape is superimposed over the texts, drawing the viewer into the book, as it were. On the one hand, the artistic drawing serves as a bridge to the design of the newly redesigned lectionaries; on the other hand, it is a reference to the depiction of Christ enthroned within the mandorla. A golden cross is shown on the reverse side.
Artistic Concept: Illustrations
The illustrations in the Gospel Book are based on the desire to add a visual expression to the text, drawn from the text itself. These illustrations reference the cover design, which also incorporates the texts—specifically, excerpts from the text—as a central design element. The guiding principle here is that the text speaks to the viewer through its dynamism and its inherent movement. The focus is on the gesture rather than on illustration in the classical sense.
The illustrations are the result of a complex, multi-step process. The foundation and starting point is a theological analysis of the biblical passages. This led to the distillation of the specific text’s message into a movement. This movement was then performed by a dancer in a guided improvisation and documented using long-exposure photography and video.
The movements, superimposed across different image layers, were isolated, graphically edited, and abstracted. The forms resulting from this process were filled with selected abstracted texts from ancient Greek and placed on an equally abstracted background layer, where they were colored in the corresponding liturgical color.
The Gospel Book does not merely invite us to “read aloud” from it in the literal sense and to “read aloud” from it, but through its form and design, it also encourages us to “pause” and to “reflect” on what we see and hear.
Detailed Information / Ordering:
Verlag Herder GmbH
P.O. Box 100 154, D-79120 Freiburg Tel.: 0761 / 2717-300
Email: kundenservice@herder.de
Publisher: Katholisches Bibelwerk
Silberburgstraße 121, D-70176 Stuttgart Tel.: 0711 / 61920-26
Email: bestellung@bibelwerk.de
Friedrich Pustet Publishing House
Gutenbergstraße 8, D-93051 Regensburg
Tel.: 0941 / 92022-0
w Email: bestellung@pustet.de
Wiener Dom-Verlag (Austria)
Stephansplatz 4/VI/DG, A-1010 Vienna Tel.: 43 (0) 2236 / 41924
Email: auslieferung@domverlag.at
St. Stephen's Cathedral Radio Podcast:
https://radioklassik.at/programm/sendeformate/thema/das-neue-evangeliar/
Cover design: atelier cremer / Christof Cremer, Julia Oppermann
© Visualization: Christopher Gruber; Photos: atelier cremer/Jovan Sertic
Presentation of the New Libori Vestments
for the Cathedral of St.
, Paderborn
by Christof Cremer
along with the Libori vestments
by Edith Ostendorf (b. 1940–1977)
Exhibition at the Diocesan Museum in Paderborn
From July 6 to September 28, 2014.
Further Information
© Poster design: Diocesan Museum of Paderborn
, Paderborn
by Christof Cremer
along with the Libori vestments
by Edith Ostendorf (b. 1940–1977)
Exhibition at the Diocesan Museum in Paderborn
From July 6 to September 28, 2014.
Further Information
© Poster design: Diocesan Museum of Paderborn
This post is also available in: German