Photography by Marian Enderlein.
Lou de Bètoly’s designs are the perfect blend of fragility and resilience. That is something you can see immediately when entering her studio in the heart of Neukölln. Here, the pieces from previous collections are placed on long racks against narrow walls. They glow in bright turquoise, and pastel pink. Glass beads reflect the sunlight coming through the window, while the depth of black fabrics brings a certain calmness into the creative surroundings. The textiles on these racks combine many different reused materials. Old silk is paired with lace while thin yarn is woven with thick wool and therefore creates a fluid yet strong, 3-dimensional surface. Glazed shelves display other pieces like upcycled shoes, charms, and jewelry. A big wooden loom greets the visitors right next to the entrance. Red threads are already clamped into the machine, awaiting the next creation.
When Lou opens the door for SLEEK, she’s friendly, and welcoming, with just a hint of nervousness. “Sorry for the mess!”, she says, tucking away scissors and bags filled with pearls. She wears her long hair open, comfortable sneakers, and a black pullover that is embroidered with flowers, skeletons, and animals. Although the French designer and mother works under the name Lou de Bètoly, it is only a pseudonym – an anagram of her birth name Odely Teboul, which is already familiar in Berlin’s fashion industry: With working experience as an assistant designer for Jean Paul Gaultier and co-leading the brand Augustin Teboul until it’s end in 2016, Odely had the chance to reinvent herself throughout her career over and over again. So, while Augustin Teboul’s designs used to be mainly in black, Lou de Bètoly explores a more romantic, surreal approach: With asymmetrical shapes and holes in places where there shouldn’t be holes. She likes chaos and loves the magic behind turning something old and trashy into something luxurious. Each piece is handmade, balancing ready-to-wear with couture.
While Odely – or Lou, as she prefers in the studio – shows SLEEK around and prepares some peppermint tea, she dives into a conversation about flea markets, fashion shows, and craftsmanship.
Photography by Marian Enderlein.
SLEEK: Hi Lou, thank you for the tea. I love your studio; it’s very cozy.
Lou de Bètoly: Thank you! It’s a bit messy right now, but I call it an organized mess.
S: How do you usually start your day here?
L: I usually start by checking my emails and drinking a coffee. Then I either tackle something really annoying to get it out of the way – or I put it off until I forget it was there at all.
S: That sounds very relatable. Do you have a favorite place in the studio where you like to sit and brainstorm?
L: I work everywhere – in every corner, on every mannequin. I multitask, which is probably the best thing about my work. But the main spot where I sit to think is the desk with my computer. It’s also where I handle the annoying stuff, like emails.
S: I noticed that you sign your emails with your pseudonym, Lou. Who is Lou to you?
L: Well, Lou is me. When I founded the brand, I decided to work with an anagram of my birth name – all the letters are just rearranged. By creating this fictional yet real character, I wanted to show what my brand is truly about: a surrealistic game without rules. The aristocratic “de” in Lou de Bètoly adds an ironic touch, suggesting that, as an artist, you can be whoever you want.
S: What are the differences between Lou and Odely?
L: They are blending. They only exist together.
Photography by Marian Enderlein.
S: I can see your surrealistic approach in how you combine materials as well – lace, threads, gemstones, or even discarded items like old glasses. Where do you find your materials?
L: Honestly, it’s getting harder in Berlin. When I first moved here, I lived on the same street as my studio, and there were leftovers and trödel (junk) everywhere, just scattered around. Now, I have to go to small stores or flea markets. It’s definitely less fluid.
S: Using found materials, even trash, reminds me of Marcel Duchamp’s concept in ‘La Fontaine’.
L: The idea that the value of an object is defined by the viewer, right?
S: Exactly! How do you define the value of the objects and materials you use?
L: I was really interested in the value of objects and the value of handcraft when I first started Lou de Bètoly. At flea markets, you can find old handmade items – often crafted by women, like tapestries or crocheted pieces. I love thinking about how long someone spent making them. Now, though, they’re completely devalued; no one appreciates them anymore. So, I collect these devalued materials – whether silk, cashmere, or literal trash – and reuse them to give them a new life and a nostalgic, fresh value. Everything has a history to me.
S: Do you have a favorite material?
L: I love lace, especially old lace. But my favorite is a blend of materials. If I had to describe the perfect blend it would contain yarn, lace, and a high-quality wool like mohair. And I’d probably add pearls, glass beads, and crystals in the end.
S: Besides flea markets, where do you go in Berlin for inspiration?
L: Right now, I feel a bit trapped between work and picking my kids up from daycare. But I feel like I collect impressions every day, like a sponge. Whatever strange or unexpected thing I see leaves an imprint and might reemerge later. Sometimes it takes years; sometimes just days.
Photography by Marian Enderlein.
S: You also do your PR and marketing in-house, right? How do you use social media to present your brand?
L: It’s a love-hate relationship. I come from an analog era, before the internet, when we used to print lookbooks. Today, we post on Instagram, and even buying behavior has changed – everything is online. It’s exciting to see how social media can make my work visible and connect it with people from all around the world, but there’s also a sense of nostalgia. I try to bring that feeling into my brand.
S: What’s your biggest concern with using social media?
L: Instagram is like a new portfolio – everyone can view your work with one click. But that can be tricky; something may look great in a photo but lack depth in real life. I’ve seen that happening with other designers, so we’ve started sharing more process images and close-ups online.
S: Fashion shows let people see clothes in real life. Are you planning a show next Fashion Week?
L: Yes, I am.
S: What’s the hardest part of preparing a fashion show?
L: I love fashion shows, but for me, it makes more sense to do one a year instead of two. I enjoy taking my time with each collection, focusing on craftsmanship and detail. I don’t want to rush production – I want to create something meaningful. There are enough clothes in the world.
S: You also collaborated with Bachner Vessels. How was it to explore interior design?
L: It was fantastic! Only doing one show a year lets me work on artistic collaborations. For that project, I created crocheted and knitted pieces, dipped them in liquid porcelain, and fired them. The fiber burned away, but the structure remained.
S: What’s been the highlight of your career so far?
L: This will sound cheesy, but I’d say my highlight is simply being able to do what I love every day for so long. I’m very grateful for that.