|Residence||Berlin, New York|
|Occupation||costume and fashion designer|
She “effectively bridges the art/fashion world divide without sacrificing wearability”, her own view of this being that she is “a fashion designer who finds fashion too commercial and an artist who finds art too intellectual”.
Her New York Fashion Week shows are deemed unconventional and take the form of performances or installations (e.g., instead of a Fall/Winter 2000 runway show, she screened a film in the Bryant Park tents that featured her new collection). She places a strong emphasis on the body's motion and prefers dancers over runway models for her shows.
The catalyst for Claudia Hill's move from costume to fashion design was Miguel Adrover, who would later receive the CFDA's Emerging Talent Award for Ready-to-wear, but in 1997 was running his small boutique Horn on 9th Street: “She used to live near Horn and closely knew the owners Miguel and Duglas, as well as Pierrot, who was a sales person there. When she was wearing a self-made dress, Miguel asked her if she could sell her garments at the shop. That’s how she started production.”
- 1998 to 2005: Claudia Hill (Ready-to-wear)
- 1998 to 2002: The Number After 10
- 2005 to present: Claudia Hill (Limited Editions)
Ready-to-wear pieces have sold at her own store, and in high-end boutiques, such as Barneys New York, Louis Boston, Fred Segal, Seven New York, Horn, Desperado and POV Beams.
Notable Costume Designs
- Assistant Costume Designer for the musical RENT (one of the costumes designed by Claudia Hill is in the permanent collection of the Smithsonian Institution).
- Costume Designer for William Forsythe's Decreation. The only other fashion designer that William Forsythe has worked with before is Issey Miyake.
- Costume Designer for The Wooster Group's production of Hamlet.
Claudia Hill has been a frequent collaborator with a diverse set of artists:
- Japanese Photographer Ariko
- Icelandic musician Skuli Sverrisson
- Music for her Spring/Summer 2000 show
- Music for her Spring/Summer 2001 show
- Music for the opening of her Berlin store in 2004
- Architects Hani Rashid, Lise Anne Couture and Ruth Berktold of Asymptote Architecture
- Israeli Artist Nelly Agassi
- Japanese Artist Daisuke Nakayama (official homepage in English)
- Quinn, Bradley (2009), Textile Designers at the Cutting Edge, London: Laurence King Publishing, pp. 68 to 73, ISBN 978-1-85669-581-7
- sal (November 2001), "Claudia Hill:Konzeptmode aus N.Y.", Bolero
- Wesley, Jay (2005), "High on the Hill", Zoo, no. 8
- Schipp, Anke (June 27, 2004), "Auf Tuchfühlung", Frankfurter Allgemeine Sonntagszeitung
- Jesella, Kara (April 2000), "Cut to the Chase", Nylon, pp. Page 52
- Feigelfeld, Paul (May 2003), "Hill Top für das pro-fashional Ballett", Style and the Family Tunes, pp. Page 36
- Giordano, Kevin (Fall 2000), "Collector Items", *Surface
- Composite, April 2000 Missing or empty
- Magel, Eva-Maria (April 26, 2003), "Kleidung, nicht Kostüm", Frankfurter Allgemeine Zeitung
- Sanada, Yoko (August 2001), "Claudia Hill", gli, pp. Pages 36 & 37
- "Glanzpunkte, Mixen Sie Perlen, Duft, & Haute Couture", Elle Decoration Germany, pp. Page 46, January–February 2005
- "Eiskalt für die Avantgarde", Deutsch, August 2004
- Storey, John (September 2004), Madame Figaro, Taiwan Missing or empty
- "Not All Black and White", Wallpaper, April 2001
- Associated Artists of The Forsythe Company, retrieved 2009-04-06
- Siegmund, Gerald (2004), William Forsythe: Denken in Bewegung, Berlin: Henschel Verlag, pp. 78, 114, ISBN 3-89487-472-4
- Brantley, Ben (November 1, 2007), "Looks it not like the King? Well, More Like Burton", The New York Times, pp. Pages E1 & E12
- Associated Artists of The Wooster Group, retrieved 2009-04-06
- Chen, Aric (Summer 2001), "Claudia Hill", Black Book
- Rashid, Hani; Couture, Lise Anne; Katsanos, NA; Karaiskakis, G (2002), "Flux", Journal of Chromatography A, London: Phaidon Press, 934 (1–2): 31–49, ISBN 0-7148-4172-2, PMID 11762762, doi:10.1016/S0021-9673(01)01277-8
- TimeOut Tel Aviv, pp. Pages 54–56, 2007 Missing or empty
- gap, pp. Page 167, Fall–Winter 2001 Missing or empty
- Yomiuri Shimbun, February 19, 2001 Missing or empty