Deformed in concrete

Look 1 consists of a blazer and trousers, with the repeated sleeve motif serving as its main structural element. The triple-sleeve construction creates a rounded shoulder shape while emphasizing the waist through the fitted center of the blazer and the deliberate distortion of proportions around the shoulders. This treatment gives the silhouette a sculptural, architectural character. The rounded sleeve cap also references the characteristic arches found in Soviet modernist architecture.

The silhouette was created through a process of deconstruction based on deforming and reconnecting elements of a classic suit. One of the striped sleeves refers to Soviet architecture, symbolizing repetitive apartment blocks that differ only in color. It becomes a metaphor for the illusion of diversity within a uniform and repetitive structure.

Look 2 is based on simple geometric shapes that give the silhouette a distinctly structural character. Leaving the sides of the blazer open and unstitched causes both the garment and the silhouette to lose their traditional, closed form, becoming more geometric and spatial. The overlapping layers and elements reference Brutalist architecture, where volumes intersect to create complex, multi-level compositions. This approach relates to the architecture present in the environment of the designer’s upbringing, perceived as a system of raw, repetitive structures shaping the surrounding space.

Look 3 references the greyness and rawness of concrete, serving as a direct reflection of Brutalist architecture. As in the previous silhouettes, the concept of repetition appears through the multiplication of elements such as trousers and collars, as well as through layered constructions and overlapping forms. These overlapping elements create a sense of weight and structure, evoking associations with monumental concrete architectural volumes.

In line with the concept of the collection, this silhouette acts as a contrast to the second look. Instead of sharp geometric lines, more rounded shapes emerge, softening the overall form while maintaining the layered construction and architectural character that define the collection.

Look 4 marks a turning point in the collection, introducing sharper and more geometric forms. The construction of the blazer creates a sense of volume and weight, referencing the monumentality of Brutalist architecture.

The sleeves were inspired by the shape of Soviet concrete fences. The use of shirt elements as sleeves further emphasizes the sharpness of the form, while collars placed at the ends of the sleeves create distinct geometric finishes. Their inversion symbolizes a desire for change and a search for diversity within Soviet modernist architecture.

The blazer pockets, relocated onto the trousers, reference the forms of staircases found in residential apartment blocks. Combined with inserted fabric panels that open up the silhouette, they evoke the arched architectural solutions characteristic of both Brutalism and Soviet modernism. The colour palette is inspired by the brown tones of Soviet housing blocks, reinforcing the raw and architectural character of the look.

Look 5 draws inspiration from a fusion of sharp, geometric forms characteristic of Brutalist and Soviet architecture. The juxtaposition of these two aesthetics becomes both a comparison and a contrast, revealing the tension between similar formal qualities and differing cultural contexts.

The triangular-shaped trousers disrupt the traditional perception of silhouette through the deconstruction of a classic cut. The construction has been reinforced with metal wire, which allows it to maintain its geometric form and gives the design a sculptural, architectural character. This intervention emphasizes a departure from the natural line of the body in favor of a deliberately constructed, structural silhouette.

Look 6, through its asymmetry, forms a clear opposition to all previous designs, directly referencing the core principles of the collection, which are based on the tension between repetition and difference. The departure from a symmetrical construction disrupts the established compositional order, introducing dynamism and ambiguity of form.

The curved, sharp-edged shapes at the ends intensify the expressive character of the silhouette, while the tension within the fabric creates the impression of movement suspended in space, giving the design a sculptural quality. Asymmetry also becomes a tool for exploring new garment forms and functions through the deconstruction of classic wardrobe elements.

The blazer has been transformed into an asymmetrical top, as has the shirt, which has taken on a corset-like structure, redefining the original purpose of the garment. From the trousers, a skirt has been created, in which the crotch elements have been stitched together in a way that exposes the construction and reconfigures the inserted fabric segments into stripe-like forms.

This approach reveals the process of transformation and preserves visible traces of the original structure, establishing a dialogue between the garment’s former function and its new, reconfigured identity.