JENNA’S RULES FOR CREATING WITHOUT LIMITS
WHEN COLLABORATING WITH AN ARTIST, WHAT’S THE FIRST THING YOU WANT TO UNDERSTAND ABOUT THEM BEFORE CREATING A LOOK?
The first thing I want to understand is the occasion and how the artist wants to feel in the look. It really depends on the project. For a tour, artists like Kehlani often already have a specific creative direction or moodboard in mind, so it’s about understanding their vision and finding a way to bring it to life.
For red carpets, award shows or performances, it’s often a little different. Artists like SZA or Cardi B approached me because they were drawn to my crocodile latex pieces and wanted to create something based on those designs, but tailored to their own personality and aesthetic.
I think that’s what I enjoy most about working with different artists, finding that balance between both worlds and creating something that still feels recognisably mine, but at the same time completely personal to them.
WHAT’S ONE CREATIVE RULE YOU’VE LEARNED TO BREAK, AND HOW HAS IT CHANGED THE WAY YOU APPROACH YOUR WORK?
I don’t think materials should be limited to what they’re traditionally associated with. Latex became my signature material and it’s a perfect example because people immediately connect it to fetishwear or something very specific. I’m much more interested in treating it like any other fabric and seeing how far I can push it.
I also find a lot of inspiration in places that aren’t necessarily intended to be inspiring. For my recent adidas collaboration, I was inspired by shelf liners when developing a latex texture that resembles knit. I love taking something very ordinary and turning it into something unexpected. That idea of making familiar things unfamiliar is a big part of my work.
YOU’VE DESIGNED FOR ARTISTS INCLUDING CARDI B AND A$AP ROCKY. IS THERE A PARTICULAR COLLABORATION THAT CHALLENGED YOU CREATIVELY OR PUSHED YOU IN A NEW DIRECTION?
Working with Rocky on his AWGE collection definitely pushed me in new directions. The challenge was finding a way to bring my own design language into his world, while making sure the collection still felt entirely like him.
We experimented a lot with materials and techniques, like sewing latex onto puffer jackets and translating the sporty prints I’d previously explored with my latex soccer jerseys into racing-inspired designs that reflected his aesthetic.
It was also my first time working on an entire runway collection, which was very cool. I learned so much throughout the process, and it definitely made me excited to have a runway show for JENNAX in the future. I’m now preparing to release my first ready-to-wear collection in a couple of weeks after doing the show with him earlier this year.
HOW DO YOU BALANCE BRINGING AN ARTIST’S VISION TO LIFE WHILE MAKING SURE YOUR OWN DESIGN IDENTITY REMAINS RECOGNISABLE?
I think the reason people approach me in the first place is because they connect with my aesthetic, so I never feel like I have to completely change my design language for someone else.
For me, it’s about finding the intersection between their world and mine. I’m always open to adapting and experimenting, but there has to be something that feels authentic to both of us.
WHAT’S SOMETHING YOU’VE HAD TO UNLEARN ABOUT BEING A DESIGNER AS YOUR CAREER HAS PROGRESSED?
I’ve had to unlearn being overly critical of my own ideas. Sometimes I’ll create something that doesn’t feel particularly groundbreaking to me because I’ve spent so much time thinking about it, experimenting with it and looking at it from every possible angle. But then I’ll put it out into the world and people respond to it as something completely new and unexpected.
I think when you’re so close to your own work, it’s easy to lose perspective on what makes it interesting in the first place. So I’m learning to approach my ideas with less judgment and not overthink everything before giving it a chance to exist.
WHAT DO YOU THINK MAKES A LOOK TRULY MEMORABLE BEYOND THE PERSON WEARING IT?
I think when it makes you feel something. We live in such an oversaturated world, so I think what really makes something stand out is its ability to create an emotional response.
For example, for my adidas collaboration last year, we reinterpreted the German national football team’s jersey in latex. It received a lot of press because it was so unexpected. There was a lot of excitement around it, but it also made some people uncomfortable, and I think that’s interesting. I don’t necessarily want everyone to have the same reaction to my work.
Another thing I’ve noticed is that people often choose my pieces for special occasions, whether it’s a birthday, a red carpet or a performance. I love the idea that someone thinks of JENNAX when they have an important moment coming up. It means my designs become part of a memory, something that’s connected to a particular feeling or experience. And I think that’s really special.
WHAT’S ONE DECISION YOU’VE MADE IN YOUR CAREER THAT REQUIRED YOU TO FULLY TRUST YOUR CREATIVE INSTINCTS?
I originally studied fashion design in Berlin but ended up spending seven years working in the film industry. When I moved to LA, I started doing more styling and creative direction again, but deep down I always knew that designing was what I really wanted to do. I just hadn’t found the right outlet for it yet.
When I started experimenting with latex soccer jerseys, something just clicked. I had this gut feeling that I was onto something that could actually become culturally relevant, even though I had no idea where it would lead.
That eventually led to my first collaboration with adidas last year, and from there, more and more doors started opening. I think the biggest decision was to fully trust that instinct and commit to building something around it, rather than treating it as just another creative project.
Looking back, it’s pretty crazy how much has happened in such a short amount of time, and I still feel like I’m only at the very beginning. But I think sometimes you don’t need to have everything figured out. You just have to recognise when something feels right and be willing to go all in.
WHAT HAVE YOUR EXPERIENCES WORKING WITH DIFFERENT ARTISTS TAUGHT YOU ABOUT COLLABORATION, CREATIVE FREEDOM AND STAYING TRUE TO YOURSELF?
That the best collaborations happen when there’s mutual trust. I love working with people who have a very strong vision of their own, because it challenges me to see things differently.
But I’ve also learned that collaboration shouldn’t mean simply executing someone else’s ideas. I think the most interesting results happen when both sides bring their own perspective and are willing to push each other a little further.
And sometimes staying true to yourself also means knowing when something isn’t the right fit. Not every opportunity needs to become a project.
IF YOU COULD GIVE EMERGING DESIGNERS THREE RULES FOR BUILDING A CAREER WITHOUT COMPROMISING THEIR CREATIVITY, WHAT WOULD THEY BE?
First, build a recognizable identity. I think every successful brand needs something that immediately makes people associate a certain aesthetic or design language with it. When you see three stripes, you think of adidas. I want people to have that same instant association when they see my stuff outside. It’s about creating something that’s so distinctly yours that people recognize it without even seeing the label.
Second, don’t let a lack of resources stop you from creating. I think limitations can actually push you to be more creative. I initially started experimenting with latex because when I moved to LA, I didn’t have a sewing machine, and latex is glued rather than sewn. What started as a practical solution ended up becoming my signature material and what I’m now known for. You don’t need a huge budget or the perfect circumstances to create something interesting. Sometimes limitations lead you to things you would have never discovered otherwise.
And third, learn the business side of what you’re doing. I think creative freedom also comes from financial independence and being able to make your own decisions. Don’t be afraid to know your worth and treat your creativity as something valuable.
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