TATi on Knits & the Industry

Tatjana Haupt won the Wilhelm Lorch Foundation Award in 2023 for her collection “The Power of my Hands”, with which she earned her Master’s degree at the Paris fashion institute IFM.

This is exactly where we met, since I, together with my co-author Kathleen, was also among the winners. I’ve been following her journey on Instagram ever since, and I was absolutely thrilled when she agreed to my interview request.

In Tatjana’s work, The Power of Hands stands on one hand for the craftsmanship of fashion, knitting, embroidery, crocheting, and on the other for the power of women to emancipate themselves and forge new paths. She was especially influenced by her mother and grandmother: while one excelled at crocheting and knitting but remained a housewife her whole life, the other broke free from punk to computer science professor and now head of the Computer Science department at the University of Basel.

You can read more about Tatjana’s career path and how she built her brand to reach where she is today in our interview.

We conducted the interview on August 2nd 2025.

---

The Interview

My first question: Could you briefly introduce yourself and your label? What should readers know about you and Tati Things? Feel free to also share a bit about your career path – how did you get to where you are today?

Tati: “I studied fashion design at HGK (University of Art and Design) in Basel and did an exchange semester at the Royal Academy of Arts in The Hague during my studies. That’s where I first discovered machine knitting. I had no idea you could knit mechanically. At the same time, I also discovered textile art and textile design for myself.

Back in Basel, I completed my bachelor’s degree. That was right in the middle of the pandemic, and I went straight into the master’s program at IFM, the Institut Français de la Mode in Paris. There, I specialized in knitwear and fashion design with a focus on knitwear. Among other things, I learned how to program industrial machines, for example, the Stoll machine, which we also used during our studies.

After graduating, I initially worked at Kenzo and then freelanced. During that time, I learned that on my mother’s side, my family once ran a knitting company in the Allgäu region. The area used to be known for its textile production, although it has declined significantly today.”

Do you know exactly when this knitting company operated?

Tati: “I think they closed about 25 years ago, so they operated until the early 2000s. I believe they decided to stop sometime between the 1990s and 2000. Back then, they even ran their own sportswear label.”

Exciting. So what happened next for you after working at Kenzo?

Tati: “During that time, I realized that in large brands, especially in a corporate context, you’re often very far removed from actual production. Of course, some houses, like Dior or certain Italian labels, still produce in Northern Italy or Portugal. But most of it, I’d estimate around 80%, is now made in China.

What I missed was working with my hands and having direct access to production. Instead, you spend a lot of time in front of a screen, designing in Illustrator or InDesign – it’s just not very hands-on. That can vary depending on the brand, but I realized: I don’t want that long-term.

When I then learned about the knitting company in my family, it sparked something in me. I wanted to find out if any machines still existed, if there was still a way in. Unfortunately, the company had long since closed.

But a colleague at Kenzo pointed me to an Italian platform, basically the Italian eBay, subito.it. I searched for knitting machines there and came across a listing: a woman was selling machines from an old workshop on behalf of her mother.

Maybe it was a bit naive, but I just thought: enough with Paris, back to the Rhine! I grew up there, right on the border with Basel. So I convinced my parents, we went to Italy, and picked up the machines.

At first, I set up my studio in my parents’ garage, but it quickly became too small.”

Just a quick interjection: As a young designer, finances can really be a challenge. Private university tuition costs, the machines too – how did you manage it? Did you have support? Savings?

Tati: “In the beginning, I did a lot of freelance work. And honestly, I entered every fashion competition I could find, including international ones. I even won a few of them.”

So you lived with your parents and set up your studio there, right?

Tati: “Exactly. Back then, I set up a studio in my parents’ garage and just got started. At first, I wasn’t entirely sure which direction I wanted to take. I initially thought I could make money through commissions for others while building my portfolio. I had already worked for Charles Jeffrey Loverboy, Kenzo, and another print designer named Chanida Voraphitak – all within a similar creative universe, with bold colors and a clear identity.

At the beginning of last year, I took on commissions for young designers – still all from the garage. Shortly after, I received a grant from Pro Helvetia, which was a huge push for me. I knew: now was the moment to fully focus on my own work. And honestly, if I’m being completely truthful, it wasn’t until June of last year that I really worked 100% on my own projects.”

Tati Things – was that your start?

Tati: “Exactly. The brand was simply called Tati Things at the beginning because I was doing pretty much everything. I wasn’t entirely sure myself yet: Is this consulting? Or is it actually my own brand? I was still figuring it out. The name reflected exactly that – basically, ‘so many things.’“

And how did you reach the point where you fully dedicated yourself to your own brand?

Tati: “After my master’s, I received a lot of inquiries from concept stores, especially from independent shops. This was during or shortly after the pandemic, so much of it was still online. One of the stores was the Apoc Store, which is relatively large. But I quickly realized: I really wanted to focus on my own work, but I didn’t have the space or capacity.

In June of last year, I moved into a proper studio in Basel. Since then, I’ve been working 100% on my brand. Today, I simply call it “Tati“.”

Knitting is clearly a central part of your work. My first association is my grandmother – she still loves to knit today. To me, it feels warm, but somehow also a bit old-fashioned. How did you come to focus on knitting? Was it your own focus during your studies, or was it assigned?

Tati: “Actually, my master’s program was entirely focused on knitwear. You apply to the program knowing that this is the sole focus. It’s a very small program. Back then, there were only eight of us, now I think there are twelve.

For me, it was also a strategic decision: I didn’t yet know if I would later start my own brand. My goal was more to make the right contacts through IFM, perhaps to work for a larger label later. But I definitely wanted to specialize, because the market is extremely competitive, and specialization opens doors.

I wasn’t sure whether it would be textiles, knitwear, or accessories. In the end, knitwear simply convinced me – the material, the feel, the possibilities.“

And do you actually knit by hand yourself as well?

Tati: (Laughs.) “Interestingly, I’m not really a passionate hand knitter. I do enjoy crocheting, but in the traditional sense, I wouldn’t call myself a knitter. What fascinates me most is the technology behind industrial knitting. Many people don’t realize how technical it actually is; in part, it’s pure programming. And interestingly, it’s often men who program these machines, not women.

Take the company Stoll, for example, whose machines I also use – their headquarters are in Reutlingen, Germany. There’s much more behind knitting than most people think. Brands like Nike or Adidas also use knitted components for their sports shoes. So knitting is by no means old-fashioned; it’s highly modern and technological.”

So more nerdy than nostalgic?

Tati: “Absolutely. I really liked this nerdy, almost mathematical aspect. Many people in fashion design have a lot of respect for knitting because it’s so technical. It requires a lot of precision, planning, and understanding. That intrigued me, and I wanted to dive even deeper to truly understand what’s behind the surface.”

In the fashion industry, many people seem afraid of specializing too much – how do you experience that?

Tati: “Yes, I know that feeling. Many people think that if they go too deep into a niche, they’ll overly limit their portfolio. But I see it completely differently. Often, the biggest advantage lies exactly in the niche, because it creates a unique selling point. For me, that’s knitting. Not many people truly know how to work with it. Over time, I’ve built an expertise that gives me a clear advantage. If someone wants to do something with knitwear, the market of competitors is relatively small – and that’s exactly where I come in.”

What does this specialization in knitwear mean to you personally?

Tati: “For me, honestly, it was a very conscious, almost strategic step. Even if I eventually stop actively running my brand, this expertise will remain. I could always switch to consulting, since the inquiries are already coming in.

But what fascinates me isn’t just the professional benefit. I’m genuinely interested in knitting, even though that wasn’t always the case! My grandmother knitted an incredible amount, but back then, I didn’t wear her sweaters. My mother occasionally persuaded me to put them on, but I found them terrible. Still, the topic never completely left me.

Today, I see knitting as a creative tool to build my own world. I have no interest in just knitting a gray sweater – sure, I could do that, but it doesn’t excite me. I love using knitwear as a medium for my ideas. It’s an expression of my creativity, and I think that’s exactly what keeps me so connected to it and drives me.”

What does your creative process look like when designing? Do you start with sketches, or do you jump straight into digital work?

Tati: “I actually work very conceptually. Most of the time, everything starts with a mood board. I gather visual inspirations and develop an overarching concept. Then I think about how to translate it visually and graphically.

Next comes the color mood board, and in the process, I also research suitable yarns. Especially with regard to sustainability, this is a very important step. After that, we create color samples with different yarns and test how they behave, how the colors appear, and how the materials feel.”

So you start with the material and move toward the graphics, rather than the other way around?

Tati: “Exactly. The graphics are then translated into the material. We knit the first samples, often already on machines. This sampling process takes up a lot of space. We always have plenty of swatches, from which we select what will be further developed.

Once we are confident with the material, the shape comes into play. I design the patterns, which are often relatively simple since it’s ready-to-wear. Then the knit pattern is aligned with the cut, meaning everything has to be calculated precisely because we work with shaped knitting. This creates almost no waste – we knit directly to size.”

So shaped knitting means that, for example, a T-shirt is knitted directly in its final form, right?

Tati: “Exactly. A fabric isn’t produced first, only to have a piece cut from it later. Instead, the shape is knitted directly – completely without waste.“

You often speak in the plural – what does your team actually look like?

Tati: “Basically, it’s just my interns and me. I usually have two to three at a time. I also train them – many come with some background, but they first get a two-week crash course and are then immediately integrated into project work. This way, they learn an incredible amount in a short time.”

I’ll ask directly: Are the internships paid?

Tati: “The internships themselves are unpaid, yes. But I provide lunch and cover transportation. When they participate in projects, like trips to Paris or Italy, I also cover accommodation and train costs. That’s part of it for me.

Additionally, they get a room, which is arranged through my parents. They own the house, and there’s a spare room that the interns can use for free. Most of them gladly take up the offer.”

Okay, that sounds fair. I remember my own internships – I got a lot less back then.

Tati: “I felt the same way. During my first internships, I got nothing – no food, no support, nothing at all. Sometimes I worked 12-hour days without breaks or meals. That’s why I try to do better now. Of course, I can’t pay for everything, but I give what I can. Most of them come with Erasmus funding, are still in school, and they also know they can learn a lot with me.”

Let’s quickly talk about your collection. You don’t work purely on a project basis – how do you sell your pieces?

Tati: “I work with a few concept stores, both physical and online. You can buy my pieces through my own website, but also via curated platforms or Instagram.”

If I order from your webshop, what happens then? Do you produce on demand?

Tati: “It depends on the product. Some pieces we keep in stock, so they ship immediately. Others are made-to-order, which takes between one and three weeks, depending on how elaborate the piece is.”

Which concept stores currently carry your collection?

Tati: “At the moment, my pieces are available at Apoc Store, among others. Soon, Fussy in New York will be added, which is super exciting. And in Tokyo, there will also soon be a store carrying my work.”

How is the collaboration with these stores organized? Do they work on consignment, or do they purchase your pieces upfront?

Tati: “It varies. At Apoc Store, a purely online store (they now also have a physical shop in London), everything works on consignment. That means I keep the merchandise, they promote me on their channels, and they get 30 – 40% of the sale. As soon as a piece is purchased, I receive an email and ship it myself.”

Yes, but maybe I can briefly say something about sustainability.

Tati: “Sustainability is really important to me. However, I often find it a bit cringe when brands just hang up a big sustainability sign. For me, it means something different: I focus on in-house production. I pay close attention to using materials that are either 100% recycled, for example, we often work with recycled denim yarn, or made from pure wool. I also try to work in a modular way. That means the garments can be taken apart if they ever need to be disposed of. It makes recycling or upcycling much easier.”

Got it. Cool. So what’s your current bestseller?

Tati: “My bestsellers are actually my upcycled necklaces. They’re pretty popular.”

A more general question, maybe: What actually inspired you to study fashion design and go down that path?

Tati: “I actually started out by doing a foundation course at the School of Design in Basel.
Back then, I thought I’d study graphic design or art education, simply because I had no idea what was out there. Being creative, to me at the time, basically meant either graphic design or art. During the foundation year, I visited different universities and went to an open day.
By chance, I walked past the fashion design department, and the textile samples and garments immediately fascinated me. I spontaneously applied there. I think I was lucky to even get accepted, because I was honestly such a noob back then. My portfolio was pretty much bought. I was really young and inexperienced, but I wanted to explore. Originally, I actually wanted to study fine art, but that felt too uncertain at the time. Fashion design seemed safer, because I thought I might be able to work for a company afterwards. But in the end, I learned that there’s barely any real security in the fashion industry.”

That’s true, security and fashion often don’t go hand in hand. May I ask how old you were when you started your studies?

Tati: “I did the foundation course when I was 19. In Switzerland, we call it “Vorkurs,” but in England, it’s a “foundation course.” It’s basically a sort of preliminary study before the actual fashion design degree, which I started when I was 20.”

Pretty young, right?

Tati: “Ja, ich war wirklich jung. Einige meiner Kommilitonen haben das Studium als Zweitstudium gemacht, da war ich oft die Jüngste und vielleicht auch ein bisschen naiv.”

Just a general question: What are your biggest challenges as a young designer right now?

Tati: “I’d say it’s mostly mental challenges. Financially, I’ve found a certain balance by now; things are moving forward step by step. But mentally, it’s often hard to believe in yourself every day, especially as a young woman in the entrepreneurship world. You’re not always taken seriously, and sometimes you feel underestimated or pitied. Many of my former classmates are now working for big brands like Burberry, Louis Vuitton, or Dior. And here I am, doing my own thing. It’s really tough to keep believing in yourself and pushing forward every day. Financially, I’d probably face similar challenges even if I worked for someone else. For me, though, the biggest challenge is maintaining that inner conviction to believe in myself.”

That sounds really interesting, but also challenging.
Do you have a specific example of when you particularly felt not taken seriously?

Tati: “I’ve participated in many entrepreneurship programs in Switzerland, Germany, and France.
For example, in one program in Germany, I felt pitied because I was so young. At the same time, I didn’t feel fully taken seriously, maybe also because I’m a woman. The people there were all different ages and very experienced in the textile industry, and I often felt like the little chick in the group.”

It’s interesting. You often notice that young women in creative fields don’t always get the recognition they deserve. Fashion is a female-dominated industry, but it’s still not always taken seriously. I notice this too when I share cultural projects that excite me. They’re often mocked or misunderstood because they’re not necessarily practical. But fashion, like art, doesn’t always aim to be for everyday use. It’s often about design, statement, and identity. A Porsche isn’t a family car; it’s a sports car. That’s how I see haute couture – it doesn’t need to be mass-market, it’s about expressing creativity and culture.

Tati: “That’s an important point. Maybe the problem lies in the fact that fashion is often seen as a purely commercial product, when it can also be an art form. Exactly, there are some super extravagant showpieces that will never be sold, but are made just for pop stars or as an image statement. Then there’s everyday clothing, which is more commercial and aimed at the mass market.
Most people don’t understand that there are different levels, from exclusive artworks to everyday T-shirts. The understanding is often lacking, and many people judge quickly.”

That’s a great example. How about social media? Do you use any platforms besides Instagram for your work?

Tati: “Instagram is still very important, but the platform has changed a lot. It used to be more about photos and processes, but now it’s more of a video app. TikTok is gaining more and more traction, especially among younger people. I also started using TikTok a bit more regularly this year, even though I wasn’t a big fan before. But the reach and video consumption there are just huge.
Instagram will probably remain important for the slightly older generation, around 25 to 40, but I believe the trend is clearly moving towards TikTok.”

That sounds realistic.
How do you feel about the infrastructure for young female designers in Switzerland, Germany, or France? Is there enough support and funding available? Or do you see room for improvement?

Tati: “I’d say it’s extremely competitive in France. It’s very difficult to get funding. As far as I know, there are no grants like the Wilhelm Lorch Foundation in Germany. I really did my research, but I couldn’t find anything comparable.

There is the villa Noailles festival in the south of France, which is very big, but also very elitist. I think only people who’ve studied at renowned schools like Parsons, IFM, or CSM (Central Saint Martins) in London stand a chance there. I’ve heard they don’t even accept everyone from CSM. It’s very French in nature. I think someone from Germany, the US, or even from UdK (University of the Arts, Berlin) or Weißensee in Berlin would have little chance there.

In short, that’s also one of the reasons I decided to come back to Basel. In Switzerland, there’s less competition, but a lot of grants are regularly awarded because there’s never enough funding. If you’ve studied abroad like I have and then returned, you have great opportunities there. The competition isn’t as fierce.

In Germany, there are programs like the Wilhelm Lorch Foundation or grants at UdK, which offer about €2000 per month to help build a brand. I know a few people who’ve taken advantage of that. But the competition there is just bigger.

I often refer to the German Fashion Council, which has established some great funding programs in recent years. Particularly in Berlin, there’s a lot of support, especially if you want to host your own show or look for further education programs after finishing your studies.

View this post on Instagram

I think Germany and Switzerland are really great locations with a lot of support. Even my French friends who’ve started brands say that in France, you only have advantages if you speak good French and come from Paris. For international designers, it’s harder there. Usually, you need a local partner.

Every country has its own Fashion Council that offers support. London would definitely be the best, but the cost of living and tuition fees are very high there. It’s extremely competitive, and without a degree from CSM, it’s almost impossible to get a foothold.”

Super interesting. You were also recently mentioned in Vogue Germany, in the issue featuring 55 labels to discover on page 90. How did that come about, and did you get any reactions to it?

Tati: “Yeah, that was cool. On one hand, I know Patrick, who creates the TikTok videos for Vogue Germany, because I was part of the German Fashion Council’s FASHION X CRAFT program. We had a stay in England, and that’s when I met him. So, he already knew me a bit.

I’ve also exhibited at the Berliner Salon quite a few times, where we exchanged ideas as well. Eventually, they announced they would be featuring young labels, so I reached out to Patrick. I think he remembered me from there.

Such features are often a mix: Some editors or influencers are fans and want to support, while others come through competitions or personal connections. So, it’s usually a combination of personal relationships and the quality of the work.“

We were just talking about connections. What do you think are the key factors to make it in the fashion industry and be successful? I’ve prepared a few points: financial resources, talent, degree, connections, and language skills.

Tati: “For starting your own brand, perseverance is the most important thing. After that comes financial resources, because in the beginning, you have to secure your livelihood while also investing in your brand. I’d place a degree third, because a university provides not only knowledge but also important connections and visibility.

Competitions are also crucial for networking. I was one of the first from IFM to be a finalist in an Italian competition, which helped me a lot. After that, language skills and talent come into play.”

So, you don’t rate talent that highly, then?

Tati: “Exactly. Talent is important, but it’s not the deciding factor. I know many extremely talented people who don’t have any business sense. They’re often artistically free and lack control over their business. You need someone to handle the management. Many are emotional, have their ups and downs, and can’t organize themselves well. Talent alone isn’t enough to turn it into a sustainable business.

I know people whose work I love and who have huge potential. With professional management, it could become a business, but they often can’t manage it on their own.

In the end, I’d say language skills aren’t that important. Talent in fourth place may sound strange, but that’s how it is from my experience.

Although language skills can be very important. I assume that everyone speaks English. That’s indispensable nowadays. Many think they can get by with translations, but I believe that if you want to build your own business, everything needs to be in English to reach a wider audience. Communicating only in German or French just isn’t enough anymore.

I’m just thinking… If a product doesn’t quite convince, community building plays a huge role. A cool idea alone isn’t enough. You have to build a community.

I know someone in Basel who’s built a very strong community over the last five years. It’s mostly older Swiss women with purchasing power. Her designs speak to this target group. Maybe not super modern, more minimalist, but very refreshing for these customers.

I admire her a lot because she’s managed to make money through her community while staying creative. I see her talent exactly in that.”

That sounds fascinating. What do other designers think about that?

Tati: “Some friends who study at international fashion schools initially found her designs strange or not very “trendy.” They couldn’t understand the branding and were rather critical.

But honestly, she’s making money with her products, enjoys what she does, and has built a community. She’s not dependent on wealthy parents; she’s doing her own thing.

I also know another brand in Paris, whose founder is financed by her parents. She hasn’t made any money for years. Sometimes, I do wonder which approach is more successful.”

That’s an interesting point. So, is it more important to build a business model than to have the perfect design?

Tati: “Exactly. I know this might not be the classic “talent” definition, but I believe the ability to build a community and manage a business is a talent in itself.”

I agree with you!
What advice would you give your younger self if you look back?

Tati: “”Take yourself seriously.” – Sometimes I was naive and just went through my studies without really thinking about the reality. For example, during my bachelor’s, I sold earrings – more for fun. Back then, I didn’t really think about turning it into a serious business.

Now I know: You have to believe in yourself and take yourself seriously. You need perseverance and the conviction that what you’re doing will work. That’s what gives you strength.”

Was there any feedback that particularly stuck with you?

Tati: “Offline, I’ve often experienced that especially women from older generations reacted to my work. Many could identify with my themes because they themselves couldn’t speak openly about them. I found that very touching.

Online, I often receive positive feedback for the punk aesthetic and the message behind my work. I’m happy that my network is seen as exciting and not boring.

There was negative feedback as well. Some found it too direct or provocative, especially with controversial topics like masturbation. That led to trigger reactions, which I actually see as a sign that the topics are having an impact.”

What are some labels that you find particularly interesting right now?

Tati: “I would give up my own things in a heartbeat for Chopova Lowena. Do you know them? They’re based in London, work with traditional folk elements, and have a very unique style – super cool and fresh.

I also love Charles Jeffrey Loverboy. I’ve worked for them, and I think what they’re doing is fantastic. The team is amazing, and I would work for them again in a heartbeat, even for little money.”

And what’s next for you?

Tati: “I will be exhibiting at Mode Suisse in Zurich. That’s going to be really exciting. After that, I’ll be working on a new collection that I hope to present in March next year.”

Would a fashion show ever be an option for you?

Tati: “Yes, Mode Suisse is exactly the kind of show that represents young designers. It’s fully sponsored, which is, of course, fantastic.”

That sounds really exciting! I wish you lots of success with it, and I’m very curious to see your upcoming projects.

Thank you so much for your time and openness, dear Tati!