‘Constant dialogue and lively exchange’: Akris’ Albert Kriemler on two decades of collaboration with choreographer John Neumeier
Akris’ Albert Kriemler has collaborated with John Neumeier on the costumes for ’Epilogue’, the choreographer’s final ballet as artistic director of Hamburg Ballet. Here, Kriemler tells Wallpaper* about their enduring creative partnership
’Ballet is a total work of art, a Gesamtkunstwerk,’ says Albert Kriemler, creative director of Swiss fashion house Akris. The German term, which rose to prominence in the late 19th century, refers to artworks that combine different mediums into a singular, coherent whole. For ballet, Kriemler lists choreography, lighting, set design, music and – as Kriemler is well-versed, having collaborated with Hamburg Ballet artistic director John Neumeier for over 20 years – costumes.
The latest collaboration between Neumeier and Kriemler is ‘Epilogue’, which sees the designer create a series of costumes for what will be the American director and choreographer’s final work as artistic director of the Hamburg Ballet, which he has led for the past 51 years. A poignant musing on chamber music, it features works by Richard Strauss and Franz Schubert, as well as Simon & Garfunkel, for what the company calls ’an abstract ballet of quiet tones and subtle movements’. It has its premiered last month at the Hamburg State Opera, with further performances planned later in the year and in early 2025.
Akris’ Albert Kriemler on two decades of collaboration with John Neumeier
Kriemler describes the process of working with Neumeier as one of ’constant dialogue and lively exchange’, with the designer often ’able to anticipate John’s thoughts’ having worked together for the past 20 years. ’It was clear with [this piece] that it would be autobiographical... that alongside his family, there would be five or six unique figures that have played a special role in his life,’ says Kriemler of ‘Epilogue’. ’John is really engaged – he appreciates that I take a theme and bring him ideas, rather than just designing to choreography.’
After the initial meeting, Kriemler will then come back with ’fabrics, volume studies, dresses’, which are then tested by the dancers in the Hamburg Ballet studio. Pieces will then be altered for each individual, with ideas ’changed and discarded’ right up until the show’s premiere. ’It is actually quite similar to the preparations for our défilé [runway show] in Paris,’ he says.
Colour – a hallmark of Akris’ fashion collections, which often see Kriemler inspired by an artist or artistic movement – was particularly important to this piece. Here, Neumeier has asked Kriemler to look towards the colour palettes of early Renaissance artist Piero della Francesca. ‘Colours and fabrics are my passion,’ he says. ’The Renaissance has never been [a theme for my collections], but Della Francesca’s colour fascinated me, resulting in a completely new colour world. The male dancers, for example, wear the omnipresent rust red from his work as cotton stretch tops, [which are also] a reference to a T-shirt that John wore in his very first ballet.’
Elsewhere, ’greige’ linen suits take on what Kriemler describes as ’the morbid grey of a monk’s robe we found in a small altarpiece’, becoming one of the ballet’s key pieces. A ’light, structured net dress’ worn by principal dancer Ida Praetorius to dance to Schubert’s piano sonata is called out by Kriemler as another, alongside ’tourmaline-green-blue’ organza dresses and crepe georgette trousers in yellow georgette. ‘They fitted like a glove right for the beginning, and were just made for dancing.’
Of his personal love of ballet, Kriemler says he is ’less interested in how humans move on stage, but rather what moves them and how they find their own language in ballet – with images, movements, and moods.’ ’I believe this is also what connects John and me: his desire to perceive not merely dancers on stage, but individuals who dance, and my aspiration to see them in real, creative clothes rather than costumes,’ he continues. ’There is more to dancing beyond mere technique and classical discipline.’
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
’Epilogue: Ballet by John Neumeier’ premiered at Hamburg State Opera on 30 June, 2024. Further performances will take place from November 2024 to February 2025, with full details and tickets here.
Jack Moss is the Fashion Features Editor at Wallpaper*, joining the team in 2022. Having previously been the digital features editor at AnOther and digital editor at 10 and 10 Men magazines, he has also contributed to titles including i-D, Dazed, 10 Magazine, Mr Porter’s The Journal and more, while also featuring in Dazed: 32 Years Confused: The Covers, published by Rizzoli. He is particularly interested in the moments when fashion intersects with other creative disciplines – notably art and design – as well as championing a new generation of international talent and reporting from international fashion weeks. Across his career, he has interviewed the fashion industry’s leading figures, including Rick Owens, Pieter Mulier, Jonathan Anderson, Grace Wales Bonner, Christian Lacroix, Kate Moss and Manolo Blahnik.
-
Our Tech Editor's selection of new and upgraded audio players covers the full spectrum of formats
Whether it’s vinyl, cassette, CD or mp3, or even sound sources you’ve captured yourself, you’ll find a suitable device in this round-up of pocketable and portable audio players
By Jonathan Bell Published
-
This Swedish summer house is a family's serene retreat by the trees and the Baltic sea
Horsö, a Swedish summer house by Atelier Alba is a playfully elegant retreat by the Kalmarsund Sea and a natural reserve
By Smilian Cibic Published
-
A new exhibition retraces 50 years of Pierre Paulin’s history around the table
‘Les Tables de Pierre Paulin’ shows a lesser-known side of the designer’s creative world, accompanied by a new book tracing his wife’s hospitality around his iconic table designs. ‘A creator is never alone in his creation…’
By Minako Norimatsu Published
-
Akris’ architecturally inspired Ai bag is an enduring shape-shifter
Fourteen years since its debut, Akris’ three-in-one tote remains a classic as it is reimagined for A/W 2024
By Simon Mills Published
-
Akris Spring 2024 is a vivid tribute to a textile design legend
Textile designer Felice ‘Lizzi’ Rix-Ueno inspires Akris’ Spring 2024 collection, which is alive with botanical references
By Simon Mills Published
-
Akris’ century-old roots in St Gallen, Switzerland, are explored in new textile exhibition
‘Akris: St Gallen, selbstverständlich’ at Textile Museum St Gallen explores the Swiss fashion house’s history of craft, backdropped by its home city’s links with fabric production and embroidery
By Jack Moss Published
-
Akris rethinks the hobo bag
Akris’ ‘Anna Hobo’ bag adds architectural detail to a slouchy, soft-leather classic
By Simon Mills Published
-
At-home exercises from ‘punk ballerina’ Karole Armitage
To mark International Day of Yoga 2023, we revisit our at-home stretch routine with Karole Armitage, maven of the New York dance scene
By Mary Cleary Published
-
Akris at 100: how the Swiss house is celebrating a century in fashion
By Jack Moss Last updated
-
Akris’ latest bag communicates aesthetics through function
Designed by Akris creative director Albert Kriemler, the new ‘Anouk Messenger’ adds to his growing range of discerning, artistically-inclined handbags
By Jack Moss Last updated
-
Akris’ tribute to the embroidery city of St. Gallen
Creative director Albert Kriemler on Akris’ Fall/Winter 2021 collection, which honours the heritage of its Swiss hometown
By Jack Moss Last updated