How can politics encourage creativity and innovation?
By offering a monthly, stable salary to all creatives: about 1,000 euro in Vienna and 1,300 euro in Tokyo would be good.

What do you like best about Tokyo?
Definitely the food, which is very delicious, detailed, multi-layered and nice to look at. Also the people – their behaviour and the way they interact with each other is very nice. The first time you come to Japan, the country looks closed to foreigners. It is very hard to get into real contact with Japanese people. But when you get to know them better, they are always very friendly and respect you. They don’t see their own opinion as the best – they also attach great importance to the opinion of their conversational partner. It is also a very safe city. If I leave my jacket in the bicycle basket, I can be sure that it is still there when I come back. I lost my wallet twice, and both times I got it back at the police station with my money and cards inside. And last but not least, the variety of Tokyo street styles, some of which include a very exciting and amazing mix of high-fashion items.

What should the world know about your work?
In Buddhistic thinking, in Japan there is this “mu”, which means “nothing”. I try to express this kind of nothing in my fashion style. It is very difficult to transform that symbolic term into textiles and fashion, but I am working on it. It is my predominant theme. My goal is to become very satisfied with this “mu”, and that the consumer really wants to have it and buy it. My work with fashion is best described as doing concept fashion, which is based on an intensive discussion about different cultures and societies, interdisciplinary work with other creative disciplines and conceptual realisation. It is more a process and thinking about fashion than just designing fashion.