From Alexander McQueen’s theatricality to Diane von Furstenberg’s effortless sophistication, Ginny Litscher has honed her craft within some of fashion’s most storied ateliers. Today, she channels that experience into a practice that dissolves the boundaries between fashion, fine art, and interiors. Known for her intricate fringing technique – a process that earned her a nomination for the Swiss Design Prize – she creates pieces that can take months or even years to complete. In this interview, Ginny opens up about her creative process, the intuition that guides her hand, and why her latest show in Ascona felt more like a dreamlike garden than a runway.

In the past you have worked at Vivienne Westwood, Alexander McQueen, and Diane von Furstenberg – what did you take from each of those experiences and has your time at those brands shaped the way you design at all?

From each experience I took away my own learnings. Each designer has a very unique way of working – from how they direct their team to their design-language. To this day Alexander Mc Queen is one of my favourite artists / designers. His talent was so unique.

Your intricate fringing technique earned you a nomination for the Swiss Design Prize. Can you explain a little more about the technique?

It is a technique that I developed, where I print the fringes individually and then work on the fringes with small scissors.

You often spend months, even years, on a single artwork. How do you know when a piece is finished?

I feel it in my body and heart. If nothing about it bothers me or gives me the impulse to continue to work on it, it’s finished.

Do your artworks dictate the textile or vice versa? How do you translate a painting into a fabric design without losing the original energy?

I normally have a visual of the final design, which comes to me intuitively. Then I create the painting, which is normally very intricate and time consuming. Then I create a digital file (from a photo or scan of the painting). The first Image that comes to my mind is what I work towards.

Your work moves seamlessly between fashion, fine art, and interiors. How do these worlds inform one another?

To me there is no real boundary between these worlds. It all works together and compliments each other.

From scarves to full-room installations, you can do it all! Is there one medium that you find the most fulfilling creatively? And which challenges you the most?

Creating the original artwork is probably the biggest challenge every time. I enjoy working with my hands and trying to do justice to the image in my mind.

You recently presented your Giardino show in Ascona. What inspired that format, and what did it allow you to express that a traditional runway might not?

The flora and fauna of the hotel was very inspiring to me, as it is a big part of my design language as well. I imagined the models walking over the pond of the hotel and it helped to visualize the full collection.

What are you most excited about right now? Are there any projects or collaborations you can tease?

I am very excited to show my collection at London Fashion Week.