In 2025, the fashion industry seems to be tougher -and more competitive- than ever. Hundreds of students graduate from famous fashion schools yearly, hoping to get a job that will truly fulfill them creatively. We hear countless stories of unpaid internships -which sometimes go on for years- until hopeful young names finally get employed. And with the ongoing game of musical chairs defining fashion right now, it seems more and more difficult to maintain one’s position as a Creative Director.
But there are also stories that are cheerful and encouraging, guaranteed to bring reassurance to anyone wanting to make it in fashion. For Lili Schreiber, the talented Brussels-born designer who has worked for Lemaire since 2022, finding her place within the industry was anything but painful. Although she graduated from La Cambre Mode[s] during the pandemic, Schreiber moved to Paris and managed to settle there, finding a position within Lemaire she seeems genuinely excited by.
In this candid interview, Schreiber talks about how what she learned as a student helped her prepare for the future, understanding Lemaire’s core values, and why she feels so at ease within what she describes as a warm and respectful environment.
When did you graduate from La Cambre Mode[s]?
That was 4 years ago. I did an internship at Kenzo after graduation, which only lasted for a few months. Then I went to Lemaire and was hired there. It was a beautiful surprise actually, even though I didn’t know how I felt about the brand at the time. Let’s say that things went quite smoothly and without any bumps at all.
Did you do an interview with Christophe and Sarah-Linh Tran?
No, I did it with Valentin Parnetzki, who is the Head of Womenswear. Very quickly, we worked as a duo and I focus on what is referred to as ‘flou’ garments.
What was it like for you to study at La Cambre Mode[s]?
I had a great experience there, and the school made me grow a lot. I was 18 when I started and wasn’t that educated creatively. Within La Cambre Mode[s], you are taught to make things in order to serve your creativity, which means you have to be technically accomplished and know clothes fully to offer something that is distinctive and new. It’s not just about designing, but an in-depth process that involves pattern-making.
Lemaire decided to show men and women together, in January and June. Does this make your work less stressful or is it the same as any other house?
For me, it clearly makes a difference. As a process, it feels more human to only design two collections a year and is also much more in tune with my values and the world we live in.
You were evoking the values of Lemaire earlier on. Can you tell us more specifically how they relate to you as an individual and designer?
One thing I was sure of when finishing school was that I did not want to launch my own brand. I wanted to work for a brand that had meaning for me, even though I wasn’t sure which one. I also wanted to evolve within a context that would be human-sized, where empathy and creativity were key values. Within Lemaire, I found a house that has its own universe, while being open to creative proposals coming from the outside. You can easily discuss things here and come up with suggestions.
When you look at Lemaire, the clothes have a certain aura and character of their own. As a designer contributing to that creative vision, what does it feel like to enter someone’s world and get to interpret it?
We work hand in hand with Christophe and Sarah-Linh, knowing their references very well and understanding precisely what they wish to have, or not. After a while, being able to serve their creative vision comes to you instinctively as a designer, even though there’s obviously a lot of myself in the things that I propose.