Christina Seewald on shooting her first COVID-compliant runway show

We caught up with the Austrian knitwear designer to discuss Virtual Show, her latest collection and accompanying multimedia presentation

Eager to soak up London’s cascade of creative opportunities, Austrian knitwear designer Christina Seewald left Graz at 19 to pursue a BA in Fashion Textiles at the prestigious Central Saint Martins (CSM). What began as a single-minded quest quickly evolved into a seven-year stint in the capital, during which she also completed her MA in Fashion for Knitwear at CSM, before relocating to Vienna to establish her eponymous knitwear label.

Finesse and quality remain central to the brand’s ethos, but provocation and conceptual depth are never far behind. Seewald frequently explores the tension between perceived fragility and self-determined feminism by blending 1980s power-dressing silhouettes with delicate accents such as sheer panels, flowing threads and soft textured fabrics that exude femininity.

Seewald told us: “What I love the most about my job is the endless possibilities knitwear offers. It’s fascinating to study the behaviour of fibres, fabrics and the human body, and to be inspired by these influences. I knit all my own fabrics myself or invest in producers whom I trust completely and who meet my high standards. Quality over quantity always.”

When the pandemic disrupted the industry, she refused to put her yarn and knitting needles down, crafting a full womenswear collection with matching lingerie and accessories. Determined to showcase her work despite being stuck indoors, Seewald teamed up with Berlin-based videographer Paul Herrmann and electronic music producer MCR-T to orchestrate a COVID-compliant, fully digital runway show. Yesterday, Virtual Show went live on social media, masterfully transforming confinement and isolation into intimacy, collaboration and experimentation.

We caught up with Seewald following the launch to discuss the making of Virtual Show, the challenges of remote artistic direction, and the possibilities of digital fashion storytelling.

Congratulations on launching Virtual Show! It must have been intense having to completely rethink how you typically present a new collection. Were you pleased with the outcome?

Thanks Lucy! (Seewald grins). My team and I were very happy with the result. There are always things to improve, of course, but this was my first virtual show. We’ll learn from this experience and find a strong balance between physical and digital presentations.



Before we discuss the ins and outs of producing your first digital runway, could you tell us more about the collection?

The collection focuses on the interplay between sensuality and strength — combining sheer and matte materials to highlight natural femininity and inherent sexuality. It was essential for me to merge comfortable and sexy elements, creating pieces that women can wear both in a professional setting and when going out.

The sheer elements represent softness and sensuality, but also independence: the idea of an unapologetic woman owning and displaying her body whenever she chooses. I was very inspired by 80s power dressing — especially the women who used tailoring to claim authority in male-dominated spaces. I wanted to translate that into knitwear, without linings, so the garments remain comfortable and fluid.

The mixture of a more traditional approach to handmade crochet — made in my studio — and modern knitting — developed in Italy — is the focus of my development for the collection. The current socio-political issues were my main source It is much more difficult for women to present themselves in the current society we live on. The interplay of female fragility and self-determined feminism is the foreground, which is embodied in my label, Christina Seewald.

Whilst some creatives have thrived working alone during the pandemic, others have found it an impossible battle to stay motivated. How did you manage to keep the ball rolling whilst self-isolating and preparing for this launch?

There are always moments in life where you need to push a little harder than usual. Of course it was frustrating being on my own without my team in the studio, but I decided to use the time to make, reinvent and rethink. Along the way, I discovered new ways of working.



Thinking about those ‘new ways of working’, how did you ensure your artistic vision was still realised from afar?

It was difficult to maintain full control over how the models and team interpreted the project. But it was beautiful to see how each model filmed herself differently – the atmosphere in every room had its own world. They all created their own interpretation of the collection’s inspiration. It’s new for all creatives, adjusting our visions to these conditions, but it can lead to great outcomes.



Instagram has become a full-blown creative hub during quarantine, with many showcasing their new work via its ‘Live’ function. How pivotal was this platform for producing the show?

It was essential, both for promoting and presenting the show! I usually rely on physical shows – meeting people in person, having a showroom. But exploring the social-media side more deeply was a new experience for my brand.

When casting models for the collection, what exactly were you looking for and why?

For the casting, I worked closely with Karo, the stylist, and Joana, my visual coordinator. Most of the casting happened through Instagram – our contacts, DMs, WhatsApp groups. It was important to find girls who felt comfortable being sensual and feminine.



What were the benefits of having the models record their own videos?

It made everything more individual and gave more responsibility to the models. Karo ensured the looks were styled correctly, while Joana recorded herself giving guidance on filming and set decoration. She exchanged countless emails to make everyone feel confident and comfortable with the camera – which really shaped the girls’ attitude on screen. The goal was to bring out their inner sensuality and confidence, and they did that beautifully.

Hopefully we won’t be stuck indoors forever and your next collection will be presented in person. That being said, can you picture yourself producing another digital show post-lockdown?

I think I’d consider incorporating virtual elements, yes. But I also love physical shows – you can’t beat the energy in the room, from the communication with models and make-up artists, to the spontaneity on set.



For other designers out there keen to recreate something similar, what tips would you give them?

Plan ahead. Make sure your shipping is organised, like really organised. Communicate constantly to minimise misunderstandings – working virtually can make aligning mindsets very challenging. But most importantly, be open to creating a new experience.