Poison.

I created a series of paper costumes inspired by the intricate shapes of vintage perfume bottles, fascinated by their delicate curves and ornate details. Each costume reflects the unique silhouette of a classic perfume bottle, incorporating elements like pleats and flared structures.
Assistants: Camilla Gravlund Henriksen
Louise Permiin.

Here you can see all the tools and materials I used while creating this work.

I selected bottles with unique silhouettes, details, and curves that I found intriguing to reinterpret in costume form.

These initial pencil sketches capture the basic structure and proportions, allowing for quick adjustments before moving on to more detailed renderings.

Cutting out large details is a crucial step in establishing the foundational shapes of the design, serving as the structural framework upon which the rest of the composition is built. This process allows for an initial exploration of volume, silhouette, and the overall spatial relationships between different elements. By working with larger components first, it becomes easier to assess how the form interacts with the human body and how it might evolve as additional details are introduced.

At the same time, experimenting with textures adds depth and character to the piece. The choice of materials and surface treatments—whether smooth, pleated, layered, or perforated—affects how light interacts with the design, altering its perception from different angles. These textural decisions not only enhance visual complexity but also influence the tactile and structural qualities of the costume.

Here you can clearly see how the shape of the bottle transforms into a costume, with its curves, contours, and intricate details reimagined through fabric, structure, and silhouette

I tested how the shapes would interact with the body.
I experimented with various shapes and color solutions, refining their structure to ensure balance and flow.
By adjusting proportions, I could create a design that felt both dynamic and harmonious.

Here you can see the main techniques for creating texture: folding (pleating) and connecting paper modules with thread, placing beads as spacers between the sheets of paper.

We came up with the idea of combining the costume form with video projection so that the background image could convey the scent of each bottle. We conducted a test shoot to see how the projection interacts with the costume.

One of the challenges was ensuring that the projections moved naturally with the costume, adjusting angles and light intensity to prevent distortion while maintaining a striking visual impact

I sketched my ideas with a pencil.
These sketches show the composition of the frame and the relationship between the background and the model's figure.

Here you can see the shape and texture from a different perspective—not in interaction with controlled studio lighting, but with natural light, which introduces subtle variations in shadows and highlights. Unlike the static, predictable illumination of a studio, natural light constantly shifts, creating a dynamic interplay between brightness and shadow that enhances the depth and dimensionality of the material.

As the sun moves, the costume takes on new qualities—soft morning light gently diffuses across its surface, revealing delicate folds and textures, while the sharper midday sun casts dramatic contrasts, emphasizing structure and form. The play of light and shadow brings out unexpected details, making the costume appear almost alive, constantly evolving depending on the time of day and the surrounding environment.

This interaction with natural elements allows for a more organic connection between the costume and its surroundings. The fabric catches glimpses of dappled sunlight filtering through tree branches, or reflects the golden hues of a sunset, merging the boundaries between the designed object and the natural world. This ever-changing relationship between light, texture, and movement transforms the costume from a static piece into something fluid and immersive—responsive to its setting in a way that artificial lighting could never fully replicate.

Performance. Since I create most of my costumes for performances, we staged a performance that combined projections, costumes, and expressive movement.

Here you can see a video recording of the performance.

Filmed in both studio and outdoor settings, the video showcases how the costumes adapt to different surroundings, emphasizing their versatility and how they respond to natural and artificial light.