Press

It's Interval, No. 6 Legacy, June 2026, page 125: opening spread of an interview feature, a close-up photograph of cream and gold woven fringe titled Claudia Hill Weaving Her World

It's Interval, No. 6 Legacy, June 2026, page 126: Claudia Hill's essay Mythos beside a full-page photograph of her wearing a towering indigo woven garment in her studio

It's Interval, No. 6 Legacy, June 2026, page 127: four Polaroid-style photos of Andean weavers in Peru, beside the start of a David K. Shields interview with Claudia Hill

It's Interval, No. 6 Legacy, June 2026, page 128: full-page installation photograph, two tall woven tapestries beside a wooden loom, captioned Exhibition at Shedhalle Zurich

It's Interval, No. 6 Legacy, June 2026, page 129: interview text beside a large detail photograph of a densely woven, fringed textile piece captioned Grounding

It's Interval, No. 6 Legacy, June 2026, page 130: interview text beside an outdoor photo of tall indigo woven pieces in a field, and two close-up textures in yellow and orange

It's Interval

Artforum artguide screengrab, 18 Oct 2024: Kate Werble Gallery listing for Here we leave solid ground, with an installation photo of woven hangings and framed photographs

Artforum

Let’s Not Get Used to This Place, back cover: black cover with a synopsis of the Meg Stuart book, below it a color photograph of dancers in a floor-level lift, one's feet and hands braced against another's raised legs

Let’s Not Get Used to This Place, front cover: title and editor credits over a photograph of a figure walking across a dark stage, one foot stepping between the outstretched legs of dancers sprawled at each side

Let’s Not Get Used to This Place, page 106: a page-filling stage photograph of two dancers caught in motion, one flinging an arm and leg upward in a pale shirt, another beside in an olive top

Let’s Not Get Used to This Place, page 107: text page headed Sketches/Notebook, a quote from Meg Stuart about the piece, with a small photograph of dancers lifting and embracing before a seated audience

Let’s Not Get Used to This Place, page 108: a soft-focus, full-page photograph of a performer in a pale draped costume, a beaded cuff visible on the wrist, lit in warm backlighting

Let’s Not Get Used to This Place, page 109: text page headed Blanket Lady, Meg Stuart's essay on the character she created with costume designer Claudia Hill

Let’s Not Get Used to This Place, page 110: text page, the poem Lift It by Myriam Van Imschoot, printed on a plain dark green background

Let’s Not Get Used to This Place, page 111: text page opening an interview with Claudia Hill titled I Was Suddenly Wearing Antlers, on character building through costume design

Let’s Not Get Used to This Place, page 112: text page, two columns continuing the interview with Claudia Hill and Meg Stuart on the Blanket Lady costume

Let’s Not Get Used to This Place, page 113: interview text beside a photograph of a dancer in an orange floral wrap over a white top with a dark draped headpiece and fringed skirt, another figure reaching up behind her

Let’s Not Get Used to This Place, page 114: text page, the poem Boat by Ezra Green on a plain dark green background

Let’s Not Get Used to This Place, page 115: a full-page stage photograph, a dancer seen from behind lunging in a pale wrinkled shirt and dark trousers, small lights glowing above

Let’s Not Get Used to This Place, page 116: a full-page motion-blurred photograph, a woman's face in close-up beside her own outstretched, bandage-wrapped arm, dancers blurred against blue light

Let’s Not Get Used to This Place, page 117: a full-page motion-blurred photograph of dancers' outstretched arms and legs crisscrossing the frame under teal stage light

Let’s Not Get Used to This Place, page 118: a performer in sunglasses and a sequined top holds a glowing green panel marked with a handprint, beside text describing the piece's light installation

Let’s Not Get Used to This Place, page 119: text titled Borderland by Jorge De Hoyos beside a photograph of hands holding a glass prism that scatters rainbow light, a blurred figure above

Let's Not Get Used to This Place, page 120: opening page of an interview on humour with Meg Stuart and Astrid Kaminski, two columns of white text on a plain dark green background

Let's Not Get Used to This Place, page 121: continuation of the humour interview with Meg Stuart, again set as two columns of white text on dark green, no image

Let's Not Get Used to This Place, page 122: end of the humour interview text over the top third of a colour stage photograph, dancers piled together in pink, blue and sequinned costumes

Let's Not Get Used to This Place, page 123: full-page stage photograph, a performer reclining in a teal satin jacket with a wrapped pink headcloth, arms raised, beside a bag on the floor

Let's Not Get Used to This Place, page 124: full-page abstract photograph, a figure seen from behind walking away, distressed with scratches and a dark blue stripe over a peach background

Let's Not Get Used to This Place, page 125: text page titled 'Hunter', Meg Stuart's note on her solo, printed over a faded blurred photograph in orange and yellow-green tones

Let's Not Get Used to This Place, page 130: a page of first-person prose beside a photograph of a woman in a white top and coral jacket standing next to a large suspended speaker cone on a dark stage

Let's Not Get Used to This Place, page 131: the prose continues, with the edge of the same hanging speaker cone visible at lower left against a dark stage background

Let's Not Get Used to This Place, page 132: page of short aphoristic notes by Meg Stuart, in white text over a dim greenish stage photograph with vertical light poles

Let's Not Get Used to This Place, page 133: text on Yoko Ono above a full-width photograph of a nude performer lying on the floor under green stage light, captioned as an excerpt from Hunter

Let's Not Get Used to This Place, page 345: two columns of text on the making of Hunter's soundscore, with an inset portrait of a woman with gold star decorations on her face, mouth open

Let's Not Get Used to This Place, page 383: text on ballet and flight beside a photograph of a dancer in a fringed cream feathered costume leaping before a rolled-up projection screen

Let's Not Get Used to This Place, page 406: interview text over a wide photograph of an audience seated on the floor around a performer in a blue robe amid furs and instruments

Let's Not Get Used to This Place, page 407: interview text over a photograph of a man in a gold sequinned top addressing a seated audience beside a colourful painted cloth on the floor

Let’s Not Get Used to This Place

Meg Stuart

Thoughts Play Hide & Seek, page 176: a close-up photograph of the hanging textile installation, overlapping folds of blue, purple, yellow and teal fabric against a pale ceiling

Thoughts Play Hide & Seek, page 177: a text page on a solid purple background introducing Claudia Hill as an interdisciplinary artist

Thoughts Play Hide & Seek, page 178: a full-page photograph of two people crouching on floor mats beneath a canopy of colorful hanging fabric panels, framed artworks on the wall behind

Thoughts Play Hide & Seek, page 179: a full-page photograph of a person in an inverted backbend on floor mats under the fabric canopy, beside the words "Does your dream country have any borders?"

Thoughts Play Hide & Seek, page 180: a full-page photograph of three people lying on their backs looking up, beneath green, yellow and blue hanging fabric panels

Thoughts Play Hide & Seek, page 181: a full-page photograph of two people lying on the floor beneath a yellow panel painted with a tree silhouette, next to a shiny magenta fabric panel

Thoughts Play Hide & Seek, page 22: illustrated text page headed 'Claudia', white text on a purple background describing Claudia Hill's studio, with a faint silhouette figure

Thoughts Play Hide & Seek

Rebecca Raue

Hidden in the Cave We Forge of One Another, page 54: a person in Claudia Hill's hand-woven striped poncho before a mirrored sphere reflecting trees, at the Tanzkongress conference in Dresden

Hidden in the Cave We Forge of One Another, page 55: two people arm in arm in a doorway, one in a striped poncho, the other in an orange, red and yellow dress

Hidden in the Cave We Forge of One Another

CA Conrad

Numéro Homme Berlin, Volume C-18, Spring/Summer 2024, page 20: full-page fashion photograph, a figure in an orange tunic and shorts on a wooded path, vertical credit naming a Claudia Hill dress

Numéro Homme Berlin, Spring/Summer 2024, page 21: full-page color photograph of Casey Spooner performing on stage in a shredded gold costume, bare-chested, under purple-blue stage lighting

Numéro Homme Berlin

Monopol, March 2023, clipping: German feature on a children's art exhibition, a photograph of children lying under a colorful fabric canopy in an installation by Claudia Hill

Monopol

DAMN, Winter 2022, cover: issue 80, Cultural Calendar, a photograph of a large handwoven textile of denim and colorful rag strips on a loom against a brick wall

DAMN, Winter 2022, page 1: text page introducing the exhibition Weaving Roots by Claudia Hill and Jared Gradinger, with a photograph of a wooden hand loom strung with pastel and red threads

DAMN, Winter 2022, page 2: continuation of the Weaving Roots feature, two color photographs of woven, patchwork-hung installations and looms at the Bärenzwinger, Berlin, above further text

DAMN

Unacknowledged Loss II, pages 44-45: two-page grid of about ten photographs showing different people wearing the same striped woven poncho in everyday settings, a couch, a bed, a keyboard, a stairwell, a bathroom mirror

Unacknowledged Loss II

HAU Hebbel am Ufer

Unacknowledged Loss, page 22: chapter-opening portrait of Claudia Hill outdoors in winter, in a hooded parka with a fur-trimmed collar, hands clasped in fingerless knit mittens

Unacknowledged Loss, page 23: German-language interview text on ritual, transitions and their political meaning, no photograph

Unacknowledged Loss, page 24: German-language interview text on family conflict and loss, no photograph

Unacknowledged Loss, page 25: German-language interview text on dreams, a family dinner ritual, and rituals missed as a young mother, no photograph

Unacknowledged Loss, page 26: German-language interview text describing lying in a coffin and devising the two-part ritual Softcore, no photograph

Unacknowledged Loss, page 27: German-language interview text, closing with a description of singing with a rose held in the mouth on a rooftop, no photograph

Unacknowledged Loss, page 112: blue chapter title page reading Claudia Hill, Softcore, with a short German description of the ritual's rope and clothing elements

Unacknowledged Loss, page 113: colour photograph of a woman sitting cross-legged on a rooftop ledge with a rose in her mouth, singing above a courtyard of onlookers at dusk

Unacknowledged Loss, page 114: two stacked performance photographs; top, a woman kneeling on a dark stage applying red lipstick; bottom, dancers assembling tall wooden pole frames amid scattered chairs in a brick studio

Unacknowledged Loss, page 115: two stacked photographs; top, a dancer raises a wooden frame tied with rope; bottom, a brick set with window frames, one framing a seated figure in the distance

Unacknowledged Loss

HAU Hebbel am Ufer

frieze, April/May 2013, page 24: Dance Moves, a review of Meg Stuart's work, opening with a full-width photo of two performers on a dark stage holding large backlit iridescent panels, above bilingual text

frieze, April/May 2013, page 25: continuation of the review, mostly English text, with a color photograph at bottom of a performer in a pale quilted patchwork robe and raised mechanical-looking arm

Frieze

Moments, pages 178-179: photograph captioned as a Meg Stuart Open Lab performance at ZKM, 2012, two performers in pale quilted costumes with a kneeling monitor and a silhouette projection

Moments, pages 280-281: four ZKM Open Lab photos: artists before a Marina Abramovic projection, moving a Reinhild Hoffmann sculpture, and Meg Stuart performing with costume designer Claudia Hill

Moments, pages 282-283: photographs of Meg Stuart performing Forti Playing Face Tunes in a quilted costume with mirrored arm braces, perched on a video monitor, then gesturing to an audience

Moments, pages 60-61: black-and-white photo captioned as a Meg Stuart Open Lab performance at ZKM, a guitarist seated beside a performer in a padded costume, above German critical text

Moments

ZKM Karlsruhe

Interview Magazine

Tranoi Blog screengrab, 8 December 2010: fashion story, five photographs of a model in draped silk and knitwear against pale backdrops, some images topless

Tranoï

Herald Tribune / Haaretz

Textile Designers at the Cutting Edge, page 70: photograph of a heap of rolled fabric offcuts on a wood floor, a bundle labeled Hose in handwriting

Textile Designers at the Cutting Edge, page 71: numbered captions beside a woman in a frayed black textured top, a tweed cardigan close-up, and a garment on a form

Textile Designers at the Cutting Edge, page 72: a red crocheted lace shrug reflected in a mirror, and a close-up of dark garments with a fan-pleated blue back panel

Textile Designers at the Cutting Edge, page 73: numbered captions with a ruffled slip dress bearing trinkets, a woman kneeling in a kimono-collared jacket, and a knitted cape

Textile Designers at the Cutting Edge

Bradley Quinn

The New York Times, 3 November 2007, page E1: Ben Brantley's review of the Wooster Group's Hamlet, with a large blue-tinted photo of Scott Shepherd beside a screen showing Richard Burton

The New York Times, 3 November 2007, page E12: continuation of the Hamlet review, with a black-and-white photograph of Kate Valk and Scott Shepherd in the Wooster Group's production

The New York Times

The Economist, 24 February 2007, clipping: Books and arts review of the Wooster Group's Hamlet, with a full-width color stage photograph of actors around a bench before a video-screen backdrop

The Economist

Time Out Tel Aviv, 2007, page 54: Hebrew fashion feature, with a color photograph of a model wearing a white crocheted tank top with frayed fabric appliqué by Claudia Hill

Time Out Tel Aviv, 2007, page 55: Hebrew fashion spread, a full-page photograph of a woman in a floral blouse beside a red deer sculpture, and a smaller shot of a red knitted top open at the back

Time Out Tel Aviv, 2007, page 56: continued Hebrew feature, a full-page photograph of a red felt gown filling a gallery floor, with a grid of garment, portrait and sculpture photographs below

Time Out Tel Aviv

moodjournal

Zoo

WeAr, Summer 2005, page A: full-page photograph of a shop interior with a floor-to-ceiling cylindrical installation of draped white shirts, beside a rack of black and yellow garments

WeAr, Summer 2005, page B: shop listing for Claudia Hill Berlin with contact details, a photograph of the storefront and seven photographs of racks, wall displays and a window installation

WeAr

Elle Decoration Germany, January/February 2005, clipping: product page, a large photo of a model in a Claudia Hill silkscreen-print coat embracing a tree, beside small jewelry and shop-interior photos

Elle Decoration Germany

Fudge

ahead, Winter 2004/05, page 20: opening spread of the fashion story Ménage à trois, a black-and-white photograph of a man in a white shirt with a black shaped collar by Claudia Hill, seen from behind

ahead, Winter 2004/05, page 21: black-and-white photograph from the same story, a shirtless tattooed man beside a woman in a branch-print dress by Claudia Hill, against a white pillar

ahead, Winter 2004/05, page 22: color photograph from the same story, a woman in a black beanie crouching in a dark blue tailcoat and wide trousers by Claudia Hill against a metal grille

ahead, Winter 2004/05, page 25: color photograph closing the fashion section, a woman in a black open-sleeve jacket by Claudia Hill standing beneath a spiky ceiling light fixture

ahead

Deutsch, August 2004, clipping: German STYLE column on the opening of Claudia Hill's Berlin shop, with a small photograph of the minimalist interior, garments and accessories on display

Deutsch

Die Tageszeitung, 3 July 2004, clipping: German feature 'Mitten in die Mitte' on Claudia Hill's Berlin shop opening, black-and-white photograph of a model perched in a tree in a dark lace dress

Die Tageszeitung

Modern Weekly (周末画报), 3 July 2004, clipping: Chinese-language news roundup, a photo of a sheer red garment twisted into a knot beside a hanging red blouse, on Claudia Hill's first Berlin shop

周末画报

Lufthansa Exclusive, July 2004, clipping: German feature Konzeptionelle Mode, a full-page photograph of Claudia Hill barefoot in a tree wearing a leaf-print dress, beside her portrait

Lufthansa Exclusive

ARD Morgenmagazin

Deutsche Welle Euromaxx

Zitty, 24 June 2004, clipping: German feature on Claudia Hill's new Berlin store, with a photograph of a woman in a printed dress climbing a tree branch

Zitty

William Forsythe, page 114: Dana Caspersen's German essay on 'shearing', with a photo of Georg Reischl pulling Allison Brown along the floor by a pole in Decreation

William Forsythe, page 78: Ion Garnika and Jone San Martin entwined in red fabric in Sleepers Guts; performers around a table watch a dancer leap over two collapsed figures in Decreation

William Forsythe

Gerald Siegmund

Frankfurter Allgemeine Sonntagszeitung

Süddeutsche Zeitung Magazin, No. 36, 2004, page 43: German fashion photo of a red-haired model in a hooded dress Claudia Hill made from blue Smart Fortwo seat fabric, over a La Perla lace dress

Süddeutsche Zeitung Magazin

DB mobil, May 2003, clipping: German article on Claudia Hill's costumes for Forsythe's Decreation, with a small backstage photo and a large color close-up of a sheer, strappy costume study

DB mobil

Style & The Family Tunes, N° 60, page 36: German feature 'Hill Top', full-page photograph of a woman reclining in a white draped garment bound with black cord, eyes closed

Style & The Family Tunes

Frankfurter Allgemeine, 26 April 2003, clipping: German article on Claudia Hill outfitting Forsythe's Decreation, a full-width black-and-white photo of a fitting room with hanging garments and Hill seated

Frankfurter Allgemeine

Vogue.com, 24 April 2003, screengrab: German news page on Claudia Hill's costumes for William Forsythe's Decreation, with a costume study photograph and a portrait of Hill

Vogue.com

Frankfurter Neue Presse, 14 April 2003, clipping: German article on Claudia Hill's secondhand costumes for Forsythe's dancers, a small portrait and a black-and-white action photo, one figure seen from behind in briefs

Frankfurter Neue Presse

Asymptote: Flux, page 222: title page for Claudia Hill's TimeSpace installation and fashion show in New York, a blurred nighttime photo with gold text overlaid

Asymptote: Flux, page 223: full-page abstract blurred photograph in pale blue-green tones fading to a dark diagonal edge, no discernible subject

Asymptote: Flux, page 224: a blue page with a grid of small dark video-still photographs showing models and performers in dim stage lighting from the TimeSpace fashion show

Asymptote: Flux, page 225: essay on the TimeSpace installation, above a photo of a model in green on the runway and grids of dim stills of models behind mirrored vitrines

Asymptote: Flux

Lise Anne Couture & Hani Rashid

All Events Are Even, page 1: black-and-white photograph of a model alone in a bare-branch-print top, a long polka-dot scarf, and wide grey trousers

All Events Are Even, page 2: black-and-white photograph of three young women together, draped overhead in white fabric, in mismatched layered outfits

All Events Are Even, page 3: black-and-white photograph of three young men, backs to the camera, one holding up a garment printed with bare branches

All Events Are Even, page 4: black-and-white photograph of a woman standing alone in a full-length branch-print dress, hands clasped at her waist

All Events Are Even

Mark Borthwick

*Surface

Bolero, November 2001, clipping: German review headlined Claudia Hill: Konzeptmode aus N.Y., a dense text column beside a small photograph of Hill outdoors in the snow

Bolero

Collections, 2001/2002 Autumn & Winter, New York & Milan, page 175: opening page for Claudia Hill, a full-page photograph of a model in a beige hooded knit dress seated on a beach railing

Collections, 2001/2002 Autumn & Winter, New York & Milan, page 176: three runway photographs, a mustard dress with a black collar, a black top with brown trousers, and a brown skirt over fishnets

Collections, 2001/2002 Autumn & Winter, New York & Milan, page 177: three runway photographs, a white blouse and navy trousers, a white shirt, and a cobalt turtleneck sweater with an asymmetric skirt

Collections, 2001/2002 Autumn & Winter, New York & Milan, page 178: three runway photographs, a navy asymmetric jacket, a charcoal coat with white sleeves, and a black wrap coat with a striped belt

Collections

Fashion News, Autumn/Winter 2001/2002, page 079: Japanese runway report, a grid of nine small photos of draped black, navy and beige garments plus one large color photo of a blazer and sequined trousers

Fashion News

gap Press Prêt-à-Porter, Autumn/Winter 2001/2002, page 165: bilingual runway report, nine small photos of draped black, navy and beige garments plus one large photo of a blazer and sequined trousers

gap Press Prêt-à-Porter, Autumn/Winter 2001/2002, page 166: full-page color runway photograph of two models in draped dresses, one black with a white bow choker, one cream, both in fishnet tights

gap Press Prêt-à-Porter

gli

Black Book, Summer 2001, clipping: the Beats fashion column, a portrait photograph of a model in a knit beret and black draped coat above a dense text column on Claudia Hill's 3-D fashion shows

Black Book

Elle Japan, May 2001, clipping: Japanese fashion-week diary page, a dense grid of runway photos from New York, including Claudia Hill's draped black and oatmeal dresses and elsewhere a partly nude model in an open robe

Elle Japan

Harper’s Bazaar Japan, May 2001, clipping: Japanese group feature on new fashion talent, a photo spread including a labeled Claudia Hill photograph of two models in dark draped dresses

Harper’s Bazaar Japan

High Fashion, Spring/Summer 2001, clipping: fragment of a grid feature, The Style of Avant-garde, with a labeled Claudia Hill photo of two models holding hands and two embracing figures

High Fashion

Wallpaper

Yomiuri Shimbun (読売新聞), 19 February 2001, clipping: Japanese newspaper page on New York Fashion Week's independent designers, with runway photos of three labels, one captioned Claudia Hill, models on a lit stage

Yomiuri Shimbun (読売新聞) website, 19 February 2001, screengrab: Japanese title card '2001-2002 Fall-Winter New York Collection' on black, with a photograph of a model striding in a dark belted coat

Yomiuri Shimbun (読売新聞) website, 19 February 2001, Japanese screengrab: page headed 'Claudia Hill' with six runway photographs on black, models walking a lit stage with large shadow figures behind them

読売新聞

Senken Shimbun (繊研新聞), 10 February 2001, clipping: Japanese article on young designers' asymmetric fall/winter 2001-2002 New York collections, with three color runway photographs, one captioned Claudia Hill

Senken Shimbun (繊研新聞), 10 February 2001, screengrab: Japanese webpage on 2001-2002 fall/winter New York collections, runway photographs captioned Claudia Hill, Miguel Adrover and others

繊研新聞

Jessica, November 2000, page 108: Chinese-language spread of tearsheets of Claudia Hill's designs in other magazines, a photo grid with a runway look and models with cropped hair

Jessica

Fashion Tsushin

*Surface, Fall 2000, clipping: 'Surveillance' column 'Collector Items' on Claudia Hill's fall collection, with a photograph of Hill cutting fabric with scissors at a worktable

*Surface

Composite, Vol. 2 No. 15, clipping: a portrait of two older models seated together, Peter in a red and black T-shirt by The Number After 10, Cindy in a black, white and red striped top

Composite

Composite, Vol. 2 No. 15, clipping: Japanese article headlined Lights, Camera, Fashion!, a photograph of Claudia Hill smiling in a wicker chair beside a dense text column

Composite

Nylon, April 2000, page 52: 'Cut to the Chase' feature on five designers, close-up photograph of a lavender top's black funnel collar and back cutout, plus an inset of Hill at work

Nylon

The Village Voice, Vol. XLIV No. 52, 4 January 2000, clipping: black-and-white photograph for the Streetstyle feature, a figure in a lab apron over a turtleneck examining a vial among beakers

The Village Voice

Paper, May 1999, clipping: 'The New Designers' feature on five designers, black-and-white photo of two models in Claudia Hill's tweed, one wearing an oversized-collar coat with harness straps

Paper