The story of Lennart Radtke does not begin at the tailor’s dummy in the studio, but rather on stage, having danced ballet professionally for almost two decades.
Lennart Radtke spent 17 years dancing for renowned companies such as the Hamburg Ballet under John Neumeier and Les Ballets de Monte-Carlo, presided over by and founded at the behest of HSH Princess Caroline of Hanover. In other words, where movement, body and costume combine to form an aesthetic unity. Both companies are an integral part of the international cultural scene and anyone who has ever seen Lennart dance will not forget him in a hurry.
He went from being an active ballerino on stage to a tailor’s studio on the Riviera: today, Lennart runs his own label ‘Lennart Radtke Custom Bridal Couture’ in Nice. Nice is a place where Mediterranean lightness meets the classic discipline of international couture. From here, he looks after brides all over the world – from France and Germany to the UK and the USA.
In an interview with RIVIERA BUZZ, he explains how much his past as a dancer still influences him today and why bridal fashion is always a form of staging for him.
Congratulations on the great success at the Hamburg State Opera with Romantic Evolution/s (premiere was on 7 December). In the second part of the performance, the play ‘Ether’ by Aleix Martínez, you made your debut as a costume designer. With an impressive response. How did you experience the evening at the Hamburg State Opera?
The evening was very emotional for me – it felt like coming home, but in a completely new way. I was in the ensemble of the Hamburg Ballet for eight years, so it was particularly moving to be there again, but this time as a costume designer.
Do you miss the stage? How does your experience as a dancer influence your design philosophy today?
So far, I don’t miss the stage – perhaps because I’m still so close to it in this new role. I have learnt a lot about how a new work is created, how many people work behind the scenes to ensure that everything works perfectly for the dancers.
As a former dancer, I understand exactly how a costume has to feel and move. The balance between form and function is crucial: it should blend harmoniously with the movement, be durable and carry the story. Especially in ballet, where the story is told exclusively through the body, a costume must immediately make it clear who the character is and what world they are moving in.
What made the transition from dance to fashion so natural for you?
I always knew that I wanted to do something with fashion or costume after my dance career. I was always creative, I drew and painted a lot as a child and loved dressing up. Theatre, ballet, musicals – all that fascinated me.
As a dancer’s career is relatively short, I deliberately dedicated myself to dance first and learnt to sew and design on the side. At some point, I realised that I had reached my plateau in dancing, while I wanted to keep growing in creating clothes. I had danced everything I wanted to dance and felt that it was the right moment to take a new path – while I was still at my peak. And it felt right: every year more brides joined and the transition happened naturally.
The roots of ballet history are characterised by multi-talented people like you. In fashion, we find similar all-rounders – think of Karl Lagerfeld: travelling between Hamburg, Paris and Monte Carlo, his talent extended far beyond fabric and cut and made him a true icon. Without any classical tailoring training. What about you? Did you learn the trade traditionally?
No, I taught myself almost everything. I learnt a lot from YouTube and books, and when I made my first wedding dress, I received valuable support from Jean-Michel Lainé, the head of the costume department at Les Ballets de Monte-Carlo. He taught me an incredible amount – from draping to finishing. Since then, I’ve learnt something new with every new dress, because no two are the same.
What drives you personally to create this moment of joy and self-realisation for brides?
My first four brides were all fellow dancers. They wanted to finally feel comfortable in their bodies on their wedding day – not look like a sylph, a wili or a swan, but simply be themselves.
They wanted something that really showed off their personality and body, regardless of the aesthetic expectations of a ballet director. Every bride wants to be unique and feel completely comfortable in her own skin.
It gives me immense pleasure to make this wish come true. It’s the best feeling when the bride sees the full vision of her dress during the fitting and tears start to flow. I admit that I may be a ‘people pleaser’ – but that’s exactly what I love about my work: translating the emotions and ideas of my brides into something tangible, into fabric and form.
A custom couture wedding gown is so much more than a dress – it is a work of art – created to reflect a brides unique essence. Every wedding dress I create is a journey. Each bride embarks on a singular adventure and her story, dreams, and vision set the course”.
– Lennart Radtke
Thank you very much, dear Lennart, for the inspiring insights. We really enjoyed our time with you and look forward to everything that is yet to come.
Lennart’s designs combine the sculptural precision of a costume designer with the sensitivity of a craftsman and the narrative depth of an artist who understands how emotions take shape.
He works exclusively with high-quality natural materials, preferably silk, embellished with delicate embroidery, draping and handcrafted details. Many fabrics come from Europe or from carefully curated deadstock collections, a conscious decision in favour of sustainability and resource awareness.
Lennart Radtke designs for the moment a woman steps into her own spotlight, capturing fleeting dreams in silk and thread. In his creations, each bride becomes the star of her own unfolding story.
CONTACT DETAILS
Lennart Radtke Custom Bridal Couture
(By Appointment Only)
37, rue Lamartine
06000 Nice
Web: https://www.lennartradtke.com/
Email: l.radtke.design@gmail.com
PHOTO CREDITS
- All photos courtesy and used with the express permission of Lennart Radtke
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