CYBERANGEL

2025
Costume Design
Maxim Gorki Theater, Berlin

Winnie lives in her own universe on Tumblr under the nickname CYB3R_ANG3L_3. The endless data streams of cyberspace are the culture to which she connects her innermost being, her thoughts, feelings, and fears. After going through a painful experience, she spends her days between brain and bed rotting in her room. Cyberangel combines performance with multimedia installation and documents Winnie’s daily life in search of healing.

Direction, Text, Performance: Zelal Yeşilyurt
Costume, Stage Installation: Elin Laut
3D Animations: Lou Boettner, Berfîn Karakurt
Sounddesign: Fee Aviv Dubois
Light Design: Juri Rendler
Mixing & Mastering: Jonathan Hamann
Dramaturgy: Anton August Dudda, Simon Meienreis
Assistance: Julia Radewald, Paula Rave, Marco Michelle
Photos: Elin Laut, Ute Langkafel

I’m a girl you can hold IRL

2023
Costume Design
Maxim Gorki Theater, Berlin
Theater der Zeit “Maxim Gorki Theater: Pygmalion in Yeezys“

A play about love in the 21st century, loneliness, narcissism, the singularity and emancipation (fembots have feelings too). It tells the story of Pygmalion, who is a lovesick roboticist instead of a sculptor in this story. Called Galatea, his creation is a robot instead of a statue, and he based her on a girlfriend who just left him. After Galatea comes to life, Pygmalion stands face-to-face with his fantasy turned into flesh-and-blood.

Text + Direction: Zelal Yesilyurt
With: Sofia Iordanskaya, Tim Freudensprung
Stage Design: Hyun Vin Kaspers
Music: Fee Aviv Dubois
Video: Luna Zscharnt
3D Animations: Berfin Kârakurt
Makeup Concept: Leana Ardeleanu
Nail Art: Polly Warns
Light Design: Christian Gierden
Dramaturgy: Murat Dikenci
Photos: Elin Laut, Ute Langkafel

She Held Up A Mirror

2022
Costume Design

Vierte Welle Film Festival 2022
Freiburger Film Forum 2023
Berlin Art Week 2023

The short film explores society’s perception of women and their relationship with gender expectations and beauty standards. The film uses found footage, analog film, 3D animation, poetry and prosthetics to ask questions about gender performativity, monstrous women and the cult of youth.

Text: Sylvia Plath, Jemima Foxtrot
Direction, Concept : Jemima Foxtrot, Maja Zagórska
With: Madeline Shann
Soundtrack: Joe Ackroyd
Animation, Edit: Maja Zagórska
Prosthetics: Una Ryu
Camera: Charlotte Jacoby
1AD: Milena Bühring

ECTORIDERS

2022
Costume Design with Tin Wang

48h Neukölln 2023
B3 Festival of the Moving Image 2023

The experimental short film revolves around Mimi, Kay and Yv, who find themselves in a futuristic game show. The encounters they make in parallel universes of the show raise questions about feminist solidarity and parenthood in a heteronormative, patriarchal and competitive society.

By Milena Bühring, Klara Kirsch, Lisa Kaschubat
Set Design by Lucy / Louis-Caspar Schmitt
fff-filmproductions, Berlin

A RADICAL HEALING

2021
Costume Design
 Radial System, Berlin

Concept, Set Design: Alexander Klaubert
Performance: Juan Felipe Amaya Gonzalez, Sophia Seiss, Deva Schubert
Light & Sound Engineer: Maxim Schmidthals
Music: Alexander Klaubert
Support: Francis Kussatz, Jörg Deutschmann, Radial System Berlin

THE CUTEST CRITICISM

2021
Costume Design
Napoleon Komplex, Berlin


“We are queer because we refuse to take a fixed form.” (Antke Engel). The Cutest Criticism is a live ASMR performance on the inner critical voice and queer mental health. Hand-knitted pieces show how a person felt while knitting. In a relaxed state, the stitches are loose and soft. Being physically tense creates a tight, rigid pattern. When we are daydreaming, small bumps or holes show. A knitted piece thus works like a diary of mental health. Textile, body and installation merge into one sculpture.


Collaboration: Almitra Pyritidis, jpeg.love, Elin Laut

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CRUISING

2021
Costume Design w/ Jule Posadowsky, Louise-Fee Nitschke via critical.costume

Site-specific open-air performance
Schönholzer Heide, Berlin

Which relationship can a garment and a body enter into? Today's everyday clothing often functions like an elastic tube to which the body gives a specific shape. The garment adapts to the shape of the body. In our imagined utopia, queer bodies and garments should instead stand independently for themselves, coexist equally, and at points enter into a relationship of tension. Not allowing a clear allocation of gender or time, the costumes oscillate between sculpture and clothing, between futurism and historical references. In active contact with the body, reinforcing the wearer’s gestures.This overall ambiguity positions itself outside the binary system: The costumes create a space in which a queer utopia can be imagined without culturally defined boundaries of gender and sexuality.

Concept, Direction: Josefina Valdovinos, Elias Dehnen
With: Elliot Douglas, Lucas Ngo, Josefina Valdovinos, Luca Zimmer, Alexandros Popis, Anna Krieger, Nadja Moulin
Photos: Elin Laut, Poster: Muriel Weinmann 



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Glacial Flow

2021
Costume Design
BAT studiotheater, Berlin

Choreography: Saida Makhmudzade
With: Clara Conza, Manon Greiner, Eddy Levin, Sabina Moe
Dramaturgy: Johann-Heinrich Rabe
Sound: Abel Kroon
Stage: Malte Knipping



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playing paradise

2019
Costume Design concept
For the play “Paradies Spielen” by Thomas Köck

In Paradise Game, the characters represent a group of people who suffer the same fate, who are trapped in the same system. The costume surrounds the body like a shell, and the identity of the performer is blurred; Binary categorizations become irrelevant. 

Betterøv
2019
Costume Design
Singer/songwriter Betterov

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