Fully fashioned coat, 2016
Industrially knitted, hand dyed and felted fabric with multiple structures
Wool, polyamid, conductive thread
Fully fashioned coat, 2016
Industrially knitted, hand dyed and felted fabric with multiple structures
Wool, polyamid, conductive thread
Industrially knitted, hand dyed and felted fabric with multiple structures
Wool, polyamid, conductive thread
Fully fashioned coat, 2016
Industrially knitted, hand dyed and felted fabric
Nylon, conductive thread
Industrially knitted, hand dyed and felted fabric
Nylon, conductive thread
Fully fashioned coat, 2016
Industrially knitted, hand dyed and felted fabric
Nylon, conductive thread
Industrially knitted, hand dyed and felted fabric
Nylon, conductive thread
Fully fashioned tunique with an upside down turtle neck and two sleeves on the right side, 2015
The inspiration for this tunique came from the traditional Native American textiles. Their common belief was that by leaving all parts of the animal skin intact on the wearer of the garment, the human retains the full power of the animal that helps him to navigate through the world's osterities. In simpler words, they used to leave necks and legs parts of the hides, which my piece echoes with it's double turtle necks hanging down from the hemline. The distorted mind of a 21st century wearer is reflected in the distortion of the garment's pattern that has no sleeve on the left side and two sleeves on the right side.
Double-bed machine knitting with goring
Cashmere/silk, accent acrylic
Fully fashioned tunique with an upside down turtle neck and two sleeves on the right side, 2015
The inspiration for this tunique came from the traditional Native American textiles. Their common belief was that by leaving all parts of the animal skin intact on the wearer of the garment, the human retains the full power of the animal that helps him to navigate through the world's osterities. In simpler words, they used to leave necks and legs parts of the hides, which my piece echoes with it's double turtle necks hanging down from the hemline. The distorted mind of a 21st century wearer is reflected in the distortion of the garment's pattern that has no sleeve on the left side and two sleeves on the right side.
Double-bed machine knitting with goring
Cashmere/silk, accent acrylic
Cashmere/silk, accent acrylic
Fully fashioned tunique with an upside down turtle neck and two sleeves on the right side, 2015
The inspiration for this tunique came from the traditional Native American textiles. Their common belief was that by leaving all parts of the animal skin intact on the wearer of the garment, the human retains the full power of the animal that helps him to navigate through the world's osterities. In simpler words, they used to leave necks and legs parts of the hides, which my piece echoes with it's double turtle necks hanging down from the hemline. The distorted mind of a 21st century wearer is reflected in the distortion of the garment's pattern that has no sleeve on the left side and two sleeves on the right side.
The inspiration for this tunique came from the traditional Native American textiles. Their common belief was that by leaving all parts of the animal skin intact on the wearer of the garment, the human retains the full power of the animal that helps him to navigate through the world's osterities. In simpler words, they used to leave necks and legs parts of the hides, which my piece echoes with it's double turtle necks hanging down from the hemline. The distorted mind of a 21st century wearer is reflected in the distortion of the garment's pattern that has no sleeve on the left side and two sleeves on the right side.
Double-bed machine knitting with goring
Cashmere/silk, accent acrylic
Cashmere/silk, accent acrylic
Fully fashioned tunique with an upside down turtle neck and two sleeves on the right side, 2015
The inspiration for this tunique came from the traditional Native American textiles. Their common belief was that by leaving all parts of the animal skin intact on the wearer of the garment, the human retains the full power of the animal that helps him to navigate through the world's osterities. In simpler words, they used to leave necks and legs parts of the hides, which my piece echoes with it's double turtle necks hanging down from the hemline. The distorted mind of a 21st century wearer is reflected in the distortion of the garment's pattern that has no sleeve on the left side and two sleeves on the right side.
The inspiration for this tunique came from the traditional Native American textiles. Their common belief was that by leaving all parts of the animal skin intact on the wearer of the garment, the human retains the full power of the animal that helps him to navigate through the world's osterities. In simpler words, they used to leave necks and legs parts of the hides, which my piece echoes with it's double turtle necks hanging down from the hemline. The distorted mind of a 21st century wearer is reflected in the distortion of the garment's pattern that has no sleeve on the left side and two sleeves on the right side.
Double-bed machine knitting with goring
Cashmere/silk, accent acrylic
Cashmere/silk, accent acrylic
Fully fashioned dress, 2015
The piece was inspired by Salvador Dali and Odilon Redlon and their use of the morphing forms to create (or highlight?) anxiety.
Double-bed machine knitting with goring
Mohair and silk, embedded and sewn-on encased boning
Fully fashioned dress, 2015
Hat, 2015
The piece was inspired by Salvador Dali and Odilon Redlon and their use of the morphing forms to create (or highlight?) anxiety.
Double-bed machine knitting with goring
Dress: Mohair and silk, embedded and sewn-on encased boning
Hat: Cashmere and silk, embedded boning
Fully fashioned dress, 2015
Hat, 2015
The piece was inspired by Salvador Dali and Odilon Redlon and their use of the morphing forms to create (or highlight?) anxiety.
Double-bed machine knitting with goring
Hat, 2015
The piece was inspired by Salvador Dali and Odilon Redlon and their use of the morphing forms to create (or highlight?) anxiety.
Double-bed machine knitting with goring
Dress: Mohair and silk, embedded and sewn-on encased boning
Hat: Cashmere, mohair and silk, sewn-on boning
Hat: Cashmere, mohair and silk, sewn-on boning
Fully fashioned two-piece reversible garment, 2014
The piece was made shortly after a coast-to-coast U.S. trip that exposed me to the most airy landscapes in the country. The relaxed, free fit nearly suggests flying in space. Each of the two pieces of the garment is reversible and can be worn separately.
Single-bed machine knitting, punchcard
Cotton, acrylic
Fully fashioned sweater, 2014
The first piece in my "nautical" collection, this sweater takes both from the military and the ordinary. It has resemblance to the fisherman’s
net, or to the medieval chain mail. A small knitted-in belt and gathering at the sleeves help the garment to flatter the form, with the darkest stripes flowing up to the shoulders and forming distinct “epaulettes”.
Single-bed machine knitting
Cotton
Fully fashioned reversible dress, 2014
Single-bed machine knitting with plating
Cotton
Single-bed machine knitting with plating
Cotton
Cut & sew dress, 2015
Cotton/Polyester, cardboard tubes
Cut & sew dress, 2015
Cotton/Polyester, cardboard tubes
T-shirt, 2015
Cotton
T-shirt, 2015
Cotton
