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"What raises Siegfrieds Lust above a fashion show and makes it an art show is the caricature of males through their clothes." (Süddeutsche Zeitung, Munich, on "Siegfrieds Lust - Tarnung und Täuschung")
"Lisa D. ... works with the tension between the feminine and maskuline principle ... the amazone, as an indefinite creature, both monstrously violent and sensitively seductive - someone who loves, yet cannot help but kill." (Zitty, Berlin, on "Ein Mantel führt eine Dame spazieren")
"Fashion? Not really. Rather theater. A play on subject matter, materials, colors." (Zeitmagazin, Hamburg, on "Ein Mantel führt eine Dame spazieren)
"... suggestive images ... attractive allusions ... absurd impertinences ..." (Salzburger Nachrichten, on Ein Mantel führt eine Dame spazieren)
"extravagant caprioles of intellectual sensuality of one piece" (NZ, Graz, on "Ein Mantel führt eine Dame spazieren")
"A strong finale for this years' musikprotokoll was secured by Lisa D.'s defilé "Grönland eins" on an catwalk made of ice..." (Kleine Zeitung, Graz, on "Grönland 1")
"... the festival's most unusual event. This presentation was not only madly de-ranged by the catwalk's slippery ice-surface, but also by the fashion music ("Modemusik 1") of Tyrolian keyboarder Wolfgang Mitterer." (FAZ, Frankfurt, on "Grönland 1")
"... most agonizing nightmare of all Claudia Schiffers ... extremely funny oscillation between self-confident staging and staged self-confidence ..." (Der Tagesspiegel, Berlin, on "Grönland Zwei oder Wer sind wir heute?")
"...for one evening, the different life-styles crashed into each other, the 'advanced social relations' accompanying them popped up automatically in the packed crowd. A fashion event which demonstrated that it is possible to organize an original party without enourmous expenses." (taz, Berlin, on "Knautschzone")
"Then, at night, the fashion show. The climax of a twelve-hour 'Journey through Jelinek's Mind' ... a sweeping horror show of 'prêt-a-porter' ... the models did their job horribly well ... their effect was devastating. The catwalking mortal frames, the roaring molds of human self-staging, and the mocking commentaries on designer's fads caused a totally unironic sensation ..." (Theater heute, on "Ladies only, Moderevue auf ein Stück von einem Stück von Elfriede Jelinek")
"The sweeping power of the lucidly staged images is enourmous, gets hammered in even deeper by Klaus Wagner's score, which makes the Orpheum shake ... Over most imaginatively draped quivering breasts, fragments of Jelinek's texts pound themselves into one's ears." (NZ, Graz, on "Ladies only, Moderevue auf ein Stück von einem Stück von Elfriede Jelinek")
"Those who know Lisa D, the Berlin dress inventor and fashion philosopher, know that they are not in for boring catwalk defilés. Two scaffolds, four storeys high and lined with transparent gaze, are raised on one side of the Marstall, between them, shaped ike half a half-pipe, the runway falls down ... And while you are still wondering, what kind of vitual creatures could possibly master this parcours, the show has already begun with a truly spectacular appearance or, rather, descendance: Accompanied by Wolfgang Mitterer's deafening and yet delicate roar, the dancer-models are gliding down the wall in slow motion, as if they were floating in from some other dimension. ... Beautiful New World of Bees! (Süddeutsche Zeitung, Munich, on "Bienen")
"Lisa D. has succeeded in making a wonderful parody on the raver and military look or the H&M chique of the new economy branch." (Zitty, Berlin, on "Bienen")
"Lisa D. ... has preserved her radicalism even in the upper ranks of fashions's heaven. The models are wearing their harnesses on bare skin. For this very reason all of their fashionable outfits for professional people are without any fabric at their bottoms. This is the only way to fasten them to their spring hooks. Bye-bye, freedom.
But all of this - most disappointingly - does not in the least hamper aesthetics. Despite the videos by film maker An Muller, which do not deny the social realities of our metropoles, and despite Wolfgang Mitterer's apocalytpic electro-sound, it is the ease and elegance with which the models walk down the runway that triumphs. 'Hey, did she make all these outfits to wear without bottoms?" one visitor exclaimed, "Why, these outfits are really fresh!" Loveparade and Fuckparade are saluting here." (FAZ-online, on the Berlin performance of "Bienen")
" 'Bienen' ... is a bastard, a bit of fashion, but not all of it, music, but not primarily; something else, then, a sensual, easily digested adventure, perhaps philosophy, if one keeps thinking about it." (FF, Bolzano, on "Bienen")