Coin Cabinet & Fashion Stage and Couture in dialogue - from embossed Details to textile forms
1
Leonard Chiba
A winter that never ends: cold creeps into one’s thoughts, silence becomes unbearably loud. Perception shatters into fragments, a whisper in the white, shadows in the mist, a path leading ever deeper into the lost. Inspired by Anna of Austria, Queen of Spain, as a symbol of duty, power and inner solitude, the coat, made of wool and cashmere, appears long, heavy and protective, like the last refuge against final disintegration.
2
Cindea Costina
The inspiration draws on the clear, controlled visual language of Maria Theresa’s silver thaler. What is interesting here is not so much the ornamentation as the attitude behind it: presence without volume, strength through reduction. The deep black and the flowing pearl gradient translate the cool metal surface into fabric, whilst the collar, worn as a hat, echoes the formal rigour and dignity of the historical coin.
3
Carina Enengl
The inspiration is based on the coin of Emperor Sigismund, who stands for strength and authority. The design translates these values into a contemporary image of womanhood. The lamellar structure of his headgear is rendered through textile forms, shaping sculptural, architectural silhouettes. Crafted from 18 metres of silk lamé, asymmetries create volume and tension, whilst earthy, metallic colours draw on historical references and emphasise the connection between past and present.
4
Jana Erspamer
Inspired by Empress Maria Theresa in her widow’s veil, who is regarded as a symbol of fertility and gentleness, the model embodies feminine elegance: stylish, clear and expressive. It pays homage to female authority, dignity and strength. The bodice, embroidered with fine pearls and delicate lace, is enveloped in a softly draping silk veil reminiscent of historical veil styles; precise lines and the finest craftsmanship emphasise the feminine silhouette.
5
Hannah Friedrich
Cosimo II de’ Medici, a patron of the arts and sciences, inspires this haute couture gown. Historical elements such as the eight-pointed ruffle are abstracted and given a contemporary interpretation. Asymmetries, diagonal stripes and precise tailoring characterise the technical execution, creating tension and movement. The result is a fusion of historical references and modern design language, with a clear, elegant silhouette.
6
Carolina Hager
The design is inspired by Girolama Farnese’s coin and translates its visual language into form and structure. The eye-catching feature of the design is the jacket, which has been draped and crafted from crêpe de chine. With its sculptural form and volume, the jacket is a real head-turner. In deliberate contrast to this are the corset and the wide-cut trousers in silk toile, which lend the overall look a clear, elegant balance.
7
Hannah Grube
A garment, modernly interpreted and inspired by the Renaissance, with its sweeping dresses, magnificent and opulent, adorned to the utmost. As self-determined and self-empowering as only men could afford to be in history, my purple look blossoms all the more freely, for the future of today’s women. No roles. No male gaze. Free self-expression. Let us bloom.
8
Johanna Hickersberger
The striking collar in the painting of Marie de Raet, best known for a portrait by Anthony van Dyck, serves as inspiration for a cape crafted from silk chiffon, which complements the silk satin evening gown. Delicate lace appliqués on both pieces echo this detail and lend the ensemble an elegant, contemporary touch.
9
Sarah Susanne Huschek
The La Chispa collection is inspired by Anna of Austria and her joie de vivre, grace and strength. It is based on a portrait from 1571 featuring flowing, controlled forms. Materials such as silk duchesse and organza, as well as bobbin lace, emphasise elegance and lightness. Double box pleats and volume characterise the expressive silhouettes. The contrast between structure and transparency symbolises the tension between social obligation and personal freedom.
10
Helene Kaindl
The collection explores transience at the moment of greatest beauty. Between baroque opulence and quiet transience, the concept of vanitas is reinterpreted: all that glitters is fleeting. Contrasts define the visual language – deep blue stands for emptiness and death, warm gold for fleeting power. Flowing fabrics meet denim, corsets meet ruffles. Clothing becomes a shield and a reminder of the body’s transience.
11
Karner Lena
The dress was created for the exhibition theme ‘Kopf und Kragen’ and is inspired by a coin from the time of Louis XIII. In contrast to the restricted freedom of movement in historical women’s clothing, the design emphasises lightness. Gold and bronze tones with warm brown create a striking effect. Silk, pleats and handmade flowers create a lively, three-dimensional structure.
12
Janosch Kopeinig
Historical headdresses from medals and coins, and in particular a coin featuring Pope Sylvester, provided the inspiration for this evening gown in black taffeta. The meanings associated with these items, such as value and representation, are deconstructed; structures are fragmented and translated into contemporary designs that vary between form-fitting silhouettes and loose-fitting styles.
Inspired by the coinage of Archduchess Magdalena, the overall effect is one of quiet authority and movement: the dress, cropped at the front and tapering into a gentle train at the back, evokes the relief texture of an embossed surface with its subtle box pleats. Beneath it, trousers with undulating shapes flow, bringing a sense of dynamism akin to the fine lines of an engraving. The transparent veil drapes over it like a delicate patina, uniting all the elements into a serene, almost timeless silhouette.
13
Laura Nowak
Inspired by “head and collar” and historical portraits, the outfit translates the significance of the collar as a sign of identity into a modern form. The focus is on the process of heating, shaping and cooling coins, visually realised through hand-pleated organza. Warm hues and fluid textures meet calm, skin-toned surfaces – a balance of close-fitting lines and sculptural presence.
14
Lukas Pansy
The design embodies understated luxury and high-quality craftsmanship. The right half has been crafted in a classic style, whilst the entire surface of the left sleeve has been adorned with piping. The sleeve lining has also been finished in this way. This evokes the silhouette of Emperor Frederick III’s clasped crown. Paired with this are classic trousers, which impress with their soft, matte drape. A light beige silk crêpe satin was chosen as the fabric.
15
Catharina Paukner
The piece takes up the motif of the Golden Fleece and refers to Isabella Clara Eugenia, Governor of the Netherlands. In her position of power, she shaped politics, culture and education for women. Inspired by her coin, the hair structure becomes a central design element and a symbol of power. As the “Vellus Aureum”, the object takes the form of a hood-like structure made of interwoven lurex threads and steel – an interplay of textile and metal that unites protection, representation and power.
16
Tanya Preville
Fear of Loss explores the fear of loss and tells the story of growing up. The focus is on the process of coming to terms with traumatic experiences, remaining strong and never giving up. The inspiration was the 1918 non-ferrous metal coin “War Widow”. But the silver coin by Helmut Zobl, the 1972 Worldthaler titled “HOMMAGE Á ARCIMBOLDO”, also shapes this outfit. Its surrealist forms were taken and embroidered with black pearls onto the hooded bolero, the gloves and the mask.
17
Reiner Ida
The coin by Karl Perl (1910/20) depicts a resting, almost floating or dancing figure. This depiction forms the basis for the design. Flowing lines, delicate beadwork and an open back with beaded chains echo the relief-like, shimmering surface of the medal, translating the aesthetic of the transitional period between Art Nouveau and Modernism into a contemporary, elegant form.
18
Eva Schedl
Inspired by the medal of Maria Eleonora of Brandenburg (1599–1655), a corset dress was crafted from fine tulle. This is adorned with transparent, feather-like drapings of blue organza, which recall the feather-like headdress depicted and flatter the neck. This is complemented by pearl embroidery – on both the dress and the matching hairpiece – as well as earrings made of pearls in shades of blue and violet, which complete the outfit.
19
Valentina Schmoll
The Tower of Babel
What drives us to always want to reach higher? Is it the hope of achieving the impossible? Or is it the fear of staying below?
The design is inspired by the painting The Tower of Babel by Pieter Bruegel the Elder. The architecture of the tower is reflected in individual elements. Geometric shapes such as ovals, arches and rectangles characterise the design. Cut lines and appliqués echo the architectural lines and are incorporated into the surface design.
20
Emma Schrammel
Inspired by Maria de Medici, a white haute couture dress has been created from fine silk, characterised by intricate floral smocking, flowing draping and an oversized bow at the back. It reflects her assertiveness, her strong claim to power, and her penchant for luxury and opulent style. Through precise craftsmanship, intricate detailing and a clean design language, it embodies elegance, opulence and a regal aura.
21
Stiegler Larissa
Inspired by a coin depicting Adam and Eve, the draping of the dress echoes the motif of a loosely draped sheet, lending the design a gentle, flowing movement. Crafted from cloqué fabric and silk, it combines structure and lightness. The corset shapes the silhouette, whilst the hand-draped skirt emphasises the natural grace and delicacy of the theme
22
Lisa Streicher
Inspired by the Ildefonso Altarpiece, this couture dress combines historical grace with modern elegance. The white lace lends the design a refined aura, whilst the light shades of the draping emphasise femininity and softness. The clean lines and accentuated silhouette give the dress an expressive yet elegant appearance. The result is an interplay of delicate lightness and self-assured strength.
23
Kim Lilian Taferner
This dress combines a striking presence with historical inspiration. Drawing on the example of Mary of Burgundy, whose authority stemmed from her poise and charisma, it translates this strength into a modern form. The deep burgundy jacquard lends structure and depth to the voluminously draped garment, whilst wide sleeves and a delicate veil create movement and lightness. The result is a powerful yet feminine appearance.
24
Verena Draxler
The stage costume focuses on medals and their function as mementos. As their small surfaces usually show only fragments, Renaissance paintings served as an extension. To transport these historical influences into the present, the costume was created like memories themselves: details were pieced together fragmentarily, certain representations distorted, bathed in different colours and supplemented with new materials.
25
Anna Enzi
Anna Enzi’s stage costume is inspired by Queen Elizabeth I, a strong ruler in a male-dominated era. Her self-determination, dignity and power are particularly striking. The iconic, almost symbolic representation of the medal is translated into the costume, conveying strength and elegance. The aim is to make modern self-confidence and a majestic presence visible.
26
Janina Graf
The costume was inspired by Elizabeth I of England, known today as the ‘Virgin Queen’, a title that brought her both great acclaim and veneration as well as ridicule and malice. As the daughter of Henry VIII and Anne Boleyn, the future queen always led a difficult life, dominated by the conventions of the court and her own efforts to maintain her royal status as best she could following her mother’s death and her father’s remarriage.
27
Emely Greschitz
Inspired by Maria de’ Medici, the design combines history and dance. The central element is a reinterpreted, eight-gore-inspired tutu with historical references. The design combines a Stuart collar, lace appliqués and a multi-layered petticoat that defines volume and shape. Tulle, taffeta, satin and lace create contrasts of transparency, texture and sheen. Shades of pink enhance the effect of lightness, elegance and romantic charm.
28
Lino Grundner
The Burning Witch addresses witch hunts as systematic femicide. Beneath the red cloak of flames – representing the institutionalised violence of church and state – the charred undergarment symbolises physical violence and the erasure of female identity. The duality of ash and fire symbolises destruction and resistance. The burning is a deliberate act of deterrence and the eradication of female knowledge, yet the figure is not a victim, but a symbol of female autonomy and transformation.
29
Anna Huber-Prantl
The costume is inspired by seventeenth-century fashion and the historical figure of Anna Maria of Austria. The design is based on her depiction on a coin. Historical forms have been taken up and combined with modern silhouettes. This creates a reinterpretation bridging the past and the present, in which the choice of wine-red gives the costume a distinctive touch.
30
Doreen Jahn
Isabel Clara Eugenia, daughter and political advisor to the Spanish King Philip II, ruled the Spanish Netherlands and turned the region into a centre of art and education. Her efforts towards peace were shattered by renewed war. The costume references the golden armour from the portrait of her husband, Albert VII, as a typically masculine status symbol. Delicate trimmings and ruffles emphasise courtly elegance and a feminine ceremonial role, contrasting with the armour’s defensive aura.
31
Anne Fred Klopp
A costume about a girl.
Determined by others from birth,
placed on the world’s pedestal,
burdened with responsibilities
which a 14-year-old child cannot bear.
Stripped bare,
taken from home,
sent to a foreign land,
to keep the peace.
Not governed, criticised
Ruled, criticised
Still no children?
She’s 23 now
Not a good mother!
What a waste, Madame Deficit!
She can’t govern at all!
What is King Louis XVI doing?!
1789
The cries of her children
Cut off her head!
32
Mia Straganz
Mary Stuart inspired the costume, for which various paintings of the Scottish queen were used as inspiration and incorporated into the creative process.
Mary was very fond of pearls as decorative elements, and they therefore feature prominently in the costume. The historical reference is also reflected in the colours of the design. The red pearls on the ruff allude to the queen’s cruel end: Mary was beheaded in 1587.
33
Kaja Vospernik
Empress Elisabeth went down in history as a beautiful yet ruthless ruler. This costume focuses on her romantic, dreamy side.
‘O swallow, lend me your wings,
O take me to a distant land,
How blissfully I would break all bonds,
How sweet every binding tie!
And if I could soar freely with you up there
In the eternally blue firmament,
How enthusiastically I would praise
The God they call Freedom.”
(Empress Elisabeth, Winter Songs, 1853)
34
Elisabeth Waldschütz
Goldesel is a composite of various historical figures who had their portraits minted on coins, thereby becoming part of every single transaction within their domains and beyond. The character craves to be seen and worshipped at any cost. She wants her wealth to be marvelled at by all and her influence to be feared. For once one controls money, the rest is child’s play. And so the fairy tale unfolds …
Isabella (1566–1633; daughter of King Philip II of Spain and Isabella of Valois) married Archduke Albert VII in 1599. Their joint rule as the sovereign regents of the Spanish Netherlands began in 1601. Widowed in 1621, Isabella continued to govern alone until her death in 1633. After the Twelve Years’ Truce expired, she attempted to renegotiate terms of peace between Spain and England, asking Rubens to represent her in the diplomatic negotiations.
Title:
Infanta Isabella Clara Eugenia
Attributed to:
Jacob Jordaens (1593 Antwerpen - 1678 Antwerpen)
Time:
around 1618
While in Mantua, Rubens copied two portraits that Titian had painted 70 years earlier of Isabella d’Este (1474–1539), who was known for her patronage and passion for collecting. One of them, of which the original has been preserved (Inv. No. GG 83), depicts Isabella as a young woman; the other, of which the original has been lost, depicts her dressed in a red velvet garment when she was about 50. The present painting is Rubens’s copy, in which he emphasised the brilliant appearance and well-endowed femininity of the Renaissance princess in the style of the Baroque.