PATH is not a singular route but an evolving creative language, shaped by material experimentation and conceptual inquiry. Originally founded as a menswear brand, it now extends into sculptural and tactile explorations, particularly through latex—a material Janine first encountered in an unexpected place: an exhibition by Swiss artist Heidi Bucher. From this initial fascination grew an obsession, leading her to develop handmade latex sheeting that mimics the organic aging of leather. Her work embodies an ongoing dialogue between body, process, and material, questioning the fluidity of disciplines and the impermanence of form.

Hello Janine, could you tell us something more about the name you choose for your project? “Path” is a word dense with symbolic meaning and open to many interpretations…

PATH began as a menswear brand. And while I’m still creating fashion, PATH now embodies much more than that—it represents my entire creative practice - a conceptual exploration and creative ecosystem between process, form, and matter, which has also changed and evolved over time.

My interests have shifted toward experimental processes, combining material research with fashion in a more artistic context. There was a period when I focused on working with wax to create sculptural objects, which, in turn, enriched my approach to fashion.

What I’m trying to express is that creativity is not a linear process; it’s circular, interconnected, and it’s okay to branch into other fields because you might discover something completely unexpected that leads to something else.

That is what PATH represents: not a single road, but infinite paths, possibilities, and lives we could lead. At the same time, PATH serves as a reminder to reflect on my direction, ensuring that my choices intuitively feel right.

How did you first become interested in latex? When did you introduce it in your artistic practice?

I went to see an exhibition in Beijing showcasing the work of Swiss artist Heidi Bucher, who created architectural imprints of entire rooms using latex, which are then displayed as installations. It was mesmerizing! I realized I was drawn to the unique visual qualities of latex—its translucence and fragility paired with durability. Inspired by the material, I began imagining new ways to use latex in a different context.

In October 2023, I started experimenting with natural liquid latex, teaching myself everything from scratch. I quickly became obsessed, experimenting in countless ways until I discovered a method that worked for me, allowing me to create textured, handmade latex sheeting.

This became the foundation for my current project, Skin Series. I see them as skin artefacts and ephemeral relics on the body.

You create your own latex fabric: is there any particular reason behind this choice?

I started out working with natural liquid latex from a more artistic perspective, I’ve used it to create textures, for example embedding hair as a form of preservation. I actually didn’t think of creating clothing out of latex until recently. But all the experimentation and sample processes have enabled me to develop a very different type of translucent latex sheeting that I personally haven’t seen before.

I have always been inspired by clear, translucent leather, and working with latex has equipped me to re-create that leather texture through the latex bio-hides - they become artefacts that age, darken, acquire impurities and imperfections, just like leather.

I also like the fact the liquid latex comes from the rubber tree and is a natural resource. And it’s just so important to emphasize on the urgency of exploring regenerative textures and reconnecting with natural systems. Even tough natural latex isn’t the perfect solution either, it may be important to test its limits within fashion.

What is your research and design process? Has it changed over time from working primarily with clothing design to your practice today?

I'm naturally quite obsessive when it comes to materials, techniques, texture, and form. My research process is primarily practice-based and very hands-on. Working with my hands and seeing a tactile result brings me real satisfaction, whether I'm working with latex, wax, hair, silicone, or fabric—it doesn’t matter.

The conceptual elements develop through the making process and often through accidental discoveries, as ideas become clearer during experimentation.

My visual aesthetic, however, remains relatively consistent; I’m still drawn to the same qualities I admired 15 years ago, and it’s fascinating to see myself returning to them over time. My visual aesthetics for PATH however stayed more or less the same, I’m still drawn to the same things that I liked 15 years, in fact it’s interesting seeing coming back to those again sometimes.

How do you envision your work evolving and is there any creative you are particularly interested in working with?

I have the feeling that I’m onto something exciting with the creation of the latex skins and would love to continue to explore it deeply in handmade, custom pieces. I can see myself collaborating with other material researches on the materiality of latex itself.

Creatively I envision to collaborate with other artist, especially with performance artists or contemporary dance or video performance that focus on the human body, transformation, touch, movement, ritual, etc. Creating a custom piece for FKA Twigs would be an incredible opportunity. Besides that, I am forever grateful to have been ongoingly collaborating with my husband Jeff Yiu on all my visuals with much more to come in the future.