THE STORY BEHIND SACberlin
From the initial idea in 2006 to PRICE TAG in 2026
2006–2007 | The idea is born
Some companies are born from a business plan. Others from an obsession.
For me, 2006 didn’t just mark the beginning of a new project, but an idea that has stayed with me to this day: to free latex from its narrow, often clichéd context and establish it as a serious material for fashion, art, and design.
Back then, the scene was dominated by black, red, and transparent. The aesthetic rules seemed set in stone, as did the expectations. But I felt this material was capable of much more. Latex didn’t have to appear exclusively provocative or uniform. It could be colorful, modern, elegant, and surprisingly light.
In 2007, the first online shop was created – a decisive step at a time when e-commerce for independent designers was anything but a matter of course. What seems obvious today was a courageous attempt back then to make a very specific vision accessible to an international audience. It was the beginning of an idea that seemed small at first, but already contained the core of what defines my work to this day: creativity, precision, and the desire to rethink what already exists.
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2008–2011 | The years of pioneering work
The actual development phase of RubAddiction Berlin began with the first shop.
At a time when the latex scene was primarily characterized by classic color palettes, I consciously focused on color, younger models, and a more modern, fashionable visual language. My goal was not to cater to existing expectations, but to appeal to a new audience.
I worked with people, not models – people in their early twenties who did not fit the traditional ideal of the fetish scene. Not over-staged bodies, but genuine personalities.
Looking back, this specific decision was of central importance. Instead of orienting myself toward the perceptions of an established scene, I bet on a generation that was open to new aesthetics and new ideas.
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2011–2014 | Berlin subculture opens international doors
2011 marked a turning point.
Through the collaboration with Enrico Nawrat, the Staatsballett Berlin, and the German AIDS Foundation, the project “Wir können auch anders” (We can also be different) was born. The photographic implementation in Berghain became a statement for diversity, openness, and social responsibility.
To this day, I am the only designer who has been allowed to photographically stage an entire collection there.
Shortly thereafter, an inquiry followed from the United States. Initial designs evolved into a collaboration with an American production company. I lived in New York for several months, commuting between Berlin and Manhattan.
This time showed me that latex had long had the potential to be perceived internationally as a serious material in fashion and stage production.
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2014–2017 | The years of upheaval and new beginnings
The years between 2014 and 2017 were defined by personal changes and, at the same time, by a profound realization of what actually remains of creative work.
After more than thirteen years together, the relationship and collaboration with Alexander Nemitz came to an end. Looking back, I am above all grateful—and almost a little ashamed that there were times when we had to engage in legal disputes over comparatively small economic issues.
Because the essential thing had long been visible:
mutual respect.
To this day, many of my designs, basic patterns, and design concepts from the years 2011 to 2015 form the foundation of the menswear collections for which RubAddiction Berlin became internationally known.
I am particularly pleased that Regine and Edith remain part of this creative framework. Together, in the early years, we developed technical solutions that elevated latex to a new level of design.
It shows that sometimes three exceptionally experienced people, a clear signature, and a viable concept are enough to successfully continue a brand over decades.
2017 was therefore not an end, but a conscious new beginning.
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2017–2025 | Consulting, teaching, and international collaborations
Starting in 2017, the most versatile phase of my career began.
I worked as a designer, lecturer, consultant, and material developer. At colleges and universities in Europe and the USA, I spoke about latex as a material for fashion, art, and experimental design.
At the same time, I advised international companies and luxury brands on the development of latex projects and helped them better understand the technical possibilities and limitations of this material.
During this time, new interdisciplinary projects also emerged, including with DJ Fetisch alias Terranova, DJ Talisman from Echnoton, as well as the cultural platform CAmusic and later the non-profit association Voices of Creation e.V.
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2026 | PRICE TAG and the year of responsibility
2026 bundles everything that has emerged over the past two decades.
With PRICE TAG, my first major independent Berlin production is coming to life – a combination of fashion show, exhibition, charity project, and cultural dialogue.
On July 3, 2026, recycled denim, latex, music, photography, and performance will merge into a total work of art. The pre-collection, photographed by Andreas Fux, will be presented digitally. Subsequently, selected works will be auctioned off via eBay in support of Terre des Hommes.
The entire project is organized and administratively supported by Voices of Creation e.V.
PRICE TAG does not ask what fashion costs.
But rather, what fashion can effect.
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