整體看下來，Maartje Dijkstra對科技有股莫名狂熱，不過設計師本人卻宣稱她雖愛科技，但她一點也不是科技人，只是認為技術科學策略可以讓許多不可能的事變可能，對時裝而言，更是不可或缺的利器，啟發她源源不絕的靈感。她緊接著解釋時裝是時尚與人對等溝通的管道，科技有如媒介，讓她將各種嘗試性素材轉化成衣著元素，加以時裝強調的手做感，絕對讓服裝有截然不同的表現。另外，不像其他設計師常鑽研過往，考究經典來創造新物，Maartje Dijkstra喜歡向前看，朝未來前進，也因此系列時裝多以未來主義取勝，再加上科技輔助，誕生如Intimacy等充滿異誕科幻的前衛時裝。
Maartje Dijkstra拿手強項還不只有科技時裝，設計師個人亦對刺青有所鑽研，設計多款刺青圖騰，同樣帶點科幻色彩，卻又同時瀰漫有機線條，乍看之下，很有日本動漫機器人色彩。這些瑰麗未來感濃厚的圖騰，移植到系列配件時裝，形成另一魔幻氛圍。曾有人問及設計師，像她的作品應該很受名人青睞，當作舞台宣傳服，肯定大受歡迎，Maartje Dijkstra卻回應地很巧妙，如果像Denzipfaden的針織裝給名人穿才能證明自己是設計師，顯然有些可悲，倒希望懂時尚的一般大眾穿它上街，Maartje Dijkstra會覺得更快樂。2007年創立品牌至今，相信Maartje Dijkstra的科技時尚知音會愈來愈多。««
»»Holland designers seemed to share a common character: sculpture orientation and experimental spirit. The designer, Maartje Dijkstra, evoke introduced today was definitely one of them. Instead of a womenwear designer, we preferred to define the designer as the installation artist performing via clothing. The artwork “Obstruction” she collaborated with Taiwanese artist in V2_Institute for the Unstable Media was well-explained the idea.
Actually since Maartje Dijkstra started designing, she had tried many skills to combine technology and fashion design. The “Intimacy” dress made of digital thin slice that would become transparent and the “Denzipfaden” collection that could control the sound track by zippers were all the creations from her.
Although she heavily used technology material in her design, she claimed that she didn’t belong to the technic world. Technology was one of the important elements in her work after all. In addition, she preferred to discover new thing in future rather than reinterpreting classic design.
Besides technology, she was also interested in tattoo that became the beautiful pattern in her garment collection. Unlike the other designers who love to dress up celebrities with their designs, average people were the target customer for Maartje Dijkstra. Seeing people wearing her design walking on the street would be the happiest thing she looked forward.««