In Iris van Herpen's workshop, innovation and craftsmanship intertwine in a space that defies expectations. Far from resembling a cold laboratory, the studio is filled with mini mannequins, specialized tools, and unconventional materials, from feathers to resins that harden under blue light. Each element is part of a creative process that merges science and haute couture, where experimentation is the norm and technology, such as 3D printers and laser cutters, is used only when it truly adds value. Van Herpen, who is almost always dressed in vintage garments and her own pieces, describes her working method as chaotic and non-linear, in contrast to the traditional approach learned in university. Her daily routine is a mix of research, development, and creation, where inspiration can arise from the materials themselves rather than a predefined mood board. The decision to reduce her production to a single annual collection has transformed her workflow, allowing her to delve deeper into research and collaborate with scientists on projects that require years of development. An example of this is her "living look," a dress made of 125 million microalgae, presented at the Fall-Winter 2025 Haute Couture Week. Keeping this dress alive was a challenge, especially during a heatwave in Amsterdam, which forced the team to create optimal conditions and constantly monitor the algae. Collaboration with museums has posed another challenge, as the living nature of some of her pieces raises questions about conservation and long-term collection. However, Van Herpen sees these challenges as an opportunity to rethink the relationship between art, fashion, and sustainability, and to open a dialogue about the climate crisis. The designer primarily uses artificial intelligence as a research tool and to find collaborators, but she avoids employing it in her creative process, which she considers deeply personal. She attempted to develop an AI-based virtual assistant for her exhibition "Sculpting the Senses," but halted the project due to concerns about data protection and authorship of her knowledge. Van Herpen acknowledges that copying is an inherent risk in fashion, but her artisanal work and the complexity of her pieces make mass reproduction difficult. She criticizes the use of AI to generate collections inspired by her style without recognition or benefit for the original creators. Her experience in Alexander McQueen's workshop shaped her artistic vision, giving her the freedom to experiment and reaffirming her desire to move away from mass production. The invitation from the Fédération de la Haute Couture was a turning point, allowing her to consolidate her unique approach within haute couture. Van Herpen does not feel proud of the fashion industry as a whole, especially due to overproduction and the inhumane pace it demands. She advocates for a more conscious and sustainable model, where creation is based on real demand and sufficient time is given to develop meaningful ideas. She hopes the industry evolves towards a more flexible system, similar to that of art or music, where works are presented when they are ready and not out of calendar obligation. Source: lavanguardia.com