Jeremy Scott: From Fashion to the Grand Stage

For decades, Scott has been seen as fashion’s enfant terrible. His collections are not simply clothing but cultural commentary – loud, playful, and often satirical. Whether for his own label or as longtime creative director at Moschino, his signature is unmistakable. He has dressed pop icons like Katy Perry, Miley Cyrus and Cardi B, and his runway shows are spectacles that blur the lines between art, kitsch, and meaning. Now, he ventures into uncharted territory: a permanent production, a fixed ensemble, and a new way of telling stories.

“It wasn’t the first time the theatre approached me,” says Scott. Talks had happened years earlier, but “the scale of the project – over 500 costumes, months of development – just wasn’t feasible at the time.” Only a rare break in his schedule made it possible. The decisive push came from director Oliver Hoppmann, who travelled to Los Angeles to share his vision of Blinded by Delight. “He told me the show was written for me – with my aesthetic, my work, even parts of my biography in mind.”

This personal approach moved him deeply. “I couldn’t say no. I felt seen – not as a brand, but as a person.” His enthusiasm was immediate. Though he’s created stage looks for pop tours, a continuous theatre production is something different. “It’s about repetition, endurance, closeness to the audience. Every move, every light, every fabric has to work – not just for a first impression, but night after night.”

The creative process began with a deep reading of the script: characters, plotlines, emotional arcs. “I wanted to understand who these people on stage are, what drives them, what they feel – and how clothing can reflect that.” The resulting costume designs strike a balance between extravagant fantasy and practical function. “I wanted every outfit to tell a little story.”

“Fashion is escapism,” Scott says. “And theatre is no different. For two hours, people can immerse themselves in another world – full of music, dance, light and colour.” Especially in times of crisis, theatre becomes a source of comfort and hope. “If I can help people feel a moment of lightness through my work – then I’ve done my job.”

The Friedrichstadt-Palast, founded in 1919, has a complex history. Once a market hall, then the GDR’s legendary revue theatre, it has grown into one of the most spectacular venues in Europe. The current building, opened in 1984, features a 2,800-square-metre stage and seats for 1,800 guests – a landmark of late modernist architecture and a symbol of Berlin’s cultural evolution.

In recent years, the theatre has expanded its artistic scope. Productions like The One – Grand Show with Jean Paul Gaultier, VIVID, and ARISE combined lavish visuals with contemporary narratives. With Scott’s involvement, this development continues: fashion becomes more than costume – it becomes narrative.

“The bar is high,” Scott admits. Not just because of the venue, but also its history. Legends like Marlene Dietrich, Josephine Baker, and Louis Armstrong performed here. “Their aura is tangible. They inspire me and challenge me to give my very best.”

Berlin itself plays a key role in his creative process. “This city has an energy that’s hard to describe – especially in summer,” he says. The mix of subculture, history, avant-garde and freedom is unique. “There’s a community here that not only thinks openly but feels deeply. That openness shapes my work.” Once drawn to Berlin’s nightlife, he now finds inspiration in its parks, galleries, and conversations with emerging artists.

The thematic centre of Blinded by Delight is the idea of dreams – and their realisation. “I’m a dreamer,” Scott says. His whole career has been driven by the urge to make the fantastical tangible. Dreams as refuge, drive, and creative engine. “My style thrives on exaggeration, irony, emotion – and that’s exactly what the stage demands. Here, I can go even further than in fashion.”

The biggest challenge? Visibility. “A costume has to work from every angle, in every light, with every movement. It can’t just be beautiful – it has to be alive.” Costumes as living characters – not decoration, but integral to the story.

After a decade at Moschino, Scott doesn’t see himself as a finished artist but as a constant work in progress. “I’m like a self-driving car, constantly receiving signals – from nature, art, and everyday life.” His work is a dialogue, not a monologue. “I let myself be guided, but I shape things too.”

In the end, Scott says, his goal is simple: “Joy. If one of my designs brings a smile – in the theatre, online, or in someone’s memory – then I’ve achieved what matters to me. A smile is the greatest gift. If I can give that to someone, I’m happy.”