Airbrush, disorder and childlike wonder, an interview with Gerrit Jacob.

Graffiti art and airbrush, an aesthetic that ranges from kitsch to glamour and a desire to not go unnoticed: Gerrit Jacob, an artist and designer from Hamburg, is a rising star in the fashion world. After completing his studies at Central Saint Martins and dressing celebrities like Lil Nas X, Burna Boy, and Rosalia in vibrant colors, he became the first designer to be featured in the new showcase format, Intervention, created by the communication agency Reference Studios. His collection, in which the aerographic aesthetic is always present, marked the beginning of Berlin Fashion Week, evoking the 90s hip-hop world with a modern twist. It was a dive into Jacob's mind to "convey the disorder and randomness that comes with growing up, following your own path. And what I realized during the seven months it took me to design these pieces: I am not organized, I am not sober, my brain is a mess." To delve deeper into this intimate glimpse, we met with him for an informal chat, covering topics from the troubles of German taxes to the sense of wonder that comes with doing a job you truly love. Silhouette oversize, transparencies, vibrant colors, and graffiti patterns: tailoring meets noise and embraces color for the artist, but this time adds a new piece, an unprecedented feminine dimension. Low-waisted pants and romanticized bustiers with kitsch elements blend in with streetwear enriched by aerographed prints of techno cats in neon colors. A mix of seemingly random elements born from a "sort of childlike wonder": "In the design process, I always try to follow my intuition as if I was in a trance. If it doesn't make me feel something in my stomach, I don't follow that idea. And that's where joy comes in: I have to feel joy in doing something, otherwise I won't do it." On one hand, extravagance is part of his character, but he is aware that, in the general saturation of emerging brands, there is a need for something that makes noise to truly catch attention. "Some people create things that are really wearable, more focused on luxury and comfort. Others create more flashy things that work on a stage, I would include myself in the second category." Not surprisingly, among the most frequent destinations for Jacob's ensembles is the stage, and among his admirers stand international artists like A$AP Rocky and Rosalía. When I ask him what differentiates the work rhythms of Berlin from the canonical fashion capitals - from the frenzy of Paris to the bourgeois taste of Milan - he bursts into laughter and tells me that the biggest difference is the German tax authorities and the annoyances they cause. Then he gets serious, thinks it over, and adds: "The downside is that you are farther from things, but at the same time I feel that you can't live your life just for work opportunities, so there is also a sense of blissful ignorance. When I'm in London for the weekend, which happens often, I feel like there is competition everywhere, there are so many brands that people can write about, so much to buy. The competition is objective: when you have a job interview, you don't want to know about all the other candidates." Despite Gerrit's success in making a name for himself outside of his home country, Berlin remains a free space to create and express oneself with more human rhythms than the other fashion poles. His creations have contributed to promoting the German capital as a new beacon of the industry, a melting pot of influences and new voices that want to participate in the narrative of fashion without compromising on methods. Celebrating one's individuality, embracing one's history, and creating connections with the world around us: Jacob's example reflects a generation of new designers who seek to make their mark on the world, without trying to change it.