The layers of the Earth, built up over the millennia, conceal within them remnants of the birth and formation of our own and past realities. The Earth’s layers contain cosmic particles, part of the voluminous clouds after the Big Bang. Air currents help disperse the shiny reddish particles.

The designs contain visual and conceptual inspirations from the universe, the Earth's bowels, mining clothing and accessories, and the idea of ​​development and movement. The volume in the garments represents the mixture of cosmic particles and terrestrial air currents, enveloping the body and creating the basic feeling of the silhouette. The layers in the suit, some of the shapes, and the reinforcing seams represent the mines and the oval, graded paths to the bowels of the Earth.

One of the major influences is the accessories and clothing of miners working underground. The combination of ostensible invisibility, their gadget-cluttered clothing, and the idea of ​​reaching something hidden and valuable makes their image multi-layered and rich. This image is the basis for the busy and detailed silhouette in the conceptual garments, а counterpoint to general shapes and volumes.

The space between the universe and the Earth’s bowels contains many structures and materials. These are represented by the variety of textiles from which both models are made.
All these elements give a complex feeling of a modern silhouette with references from past decades, a significant part of fashion history.

A silhouette pouring out around the body, frozen in its motion. Nothing is static, yet sometimes it seems that everything is. Movement, change, and creation are everywhere, and that’s why sometimes they seem to be nowhere. When the dynamics is at its peak, isn’t this the moment we feel the most frozen?

Twisting around the silhouette, the copper creates a visible field around the body. The base is a frozen core recreated by a bodysuit made from a custom fabric with incorporated sand grains. A variety of textures, materials, and volumes interlace. It seems as if one could grab the garment-object and reshape it again and again, as it’s made from clay. Transitory, belonging to the realm of the forces of nature.

Small particles flying across the Universe. Ephemeral, but impetuous in their movement. Ephemeral, but still here.

Like copper, like man.

More women than men worked in Russian mines during World War II and in the period afterwards. Through this project the designer creates a romantic idealized image of the female miner in the dusty and harsh reality of the mine. He shows her as tender, fragile, and emotional, but at the same time strong, resilient, and working on an equal footing with men.

Women miners are rarely found today, much like copper in its pure form. It more often appears as a constituent with various minerals, and only in rare cases as native copper. Pure copper is polycrystalline and has a reddish-orange color in its unoxidized state. It is a soft and malleable metal, with extremely good thermal and electrical conductivity. These characteristics largely determine the shapes of the silhouettes in this project. They are soft, but they shape the body sculpturally or create three-dimensionality. The chosen materials offer different textures and densities, emphasizing the variety of minerals that contain copper compounds. Like a sheet of tin, the open-back dress consists of 29 pleats, in homage to the atomic number of copper in the Mendeleev table. Deconstructed, delicate, ethereal, the clothes are enriched with details characteristic of miners’ clothing — large pockets, metal carabiners and rings, accessorized with safety gloves, a mining helmet, and a backpack.

The soft feminine image of a solid element.

Copper is a chemical element with atomic number 29 and the symbol Cu. It is a soft and malleable metal with extremely good thermal and electrical conductivity

The function and purpose of the fashion objects/experimental clothes developed is to be a shell for the human figure. Of all the metals, the color of copper is the closest to that of the skin of the human body: it has a complex hue that brings together warm colors, and lights and shadows are reflected in its shine. The notes of the cold range overflow when the metal oxidizes, and then the metal itself becomes a rich palette of the color spectrum

Through the expressive means of this exciting color, the connection is traced between copper and the modern source of energy – electricity. The power supply and electricity production, on the other hand, are directly related to the natural elements that serve and are directly connected with man.

In a process of transition, transformation, and creation, the metal channels the connection between energy and man. Through science, a symbiosis is achieved that provokes art.

The first conceptual model recreates the transition of water into electricity. Hydroelectric power plants are a starting point for interpretation, through copper wire coils that pass through transparent pipes and create an association with water and its aggregate state. The velocity of the water element is the main tool for the production of electrical energy, something like divers who reach the depths in their special suits and can swim great distances. It is translated into a dress with the elements and an interpretation of diving neoprene.

The second model interprets the creation of electricity from wind. The starting point here is wind power generators and flying as an extreme experience. The speed of flight can be controlled by means of the wings. The construction of the wings is of openwork material, and the static base is translated into a corset, evoking the hardness of the metal copper. In the lower part, it is as if the materials are in a whirlwind that is peeling off the upper layer – a play of structures and the illusion of an airy feeling.

Copper–electricity, electricity–nature, nature–man.

A cold and hard metal that can turn into something warm, flowing, organic. If it could melt itself and transform into a garment-sculpture, what shape would copper form in the process of its transformation from one aggregate state to another? It would probably look like an insect from a sci-fi movie – a digitally-generated creature, but made by hand in a process of complex craft techniques, modeling, sculpting. Or it might resemble a knight’s suit of armor that has undergone the metamorphoses of time and arrived from a reality in the past into a digitized and unreal present, forming a jacket with an amorphous silhouette and a seemingly “forged” structure.

The crude origin of the copper – the solid copper ore and the residual product after its processing, fayalite, reminiscent of iron sand – inspires the creation of an elongated silhouette of a skirt, containing in itself both cut folded forms and an indeterminate organic mass.

The short dress, a hybrid between amorphous and geometric, merges two aggregate states of soft and hard into one, and the dark graphite and light copper colors form textures in jacquard, used as the positive and negative.

Thus created, the hybrid creature of real past and digitalized present “lands” in a futuristic architectural monument of the past – his abandoned castle or mobile flying home.

Back to the Future …

Space has always been an immense part of science, filled with mysticism, awe, and reverence before its limitlessness. We carry “our cosmos” within us, with the millions of layers that each of us possesses, rediscovers, transforms and brings to light at a certain stage of our lives. We own both the “black holes” within us and our brightest stars, each emitting a characteristic vibration.

A personification of the cosmos is one of its constituent chemical elements – copper. Having the ability to change and transform from one aggregate state to another, it is extremely reminiscent of that characteristic of human beings: to transform themselves at every stage of their lives.

The colors that make up the conceptual model are bronze and the so-called “green gold” which are associated with copper. The basis is a material whose extraordinary essence becomes visible after a certain physical treatment. The relief structure it forms suggests a psychotropic, depriving us of reality. The shapes formed after the manipulation resemble convex structures, like those of the billions of constituent elements of the cosmos. A kind of hypnosis born from the idea of ​​discovering new layers of ourselves by exploring the unknown.

The most prominent relief parts of the material are covered with patina, the appearance that copper acquires after oxidation. Thus, it is associated with the characteristic of the “living” – to change, to melt from one state to another, to reincarnate. Transferring from one dimension to another is something we experience, albeit unconsciously, at every moment of our lives. A hypnotic dance of symbiosis between colors, structure, and hue. A dialogue between transitive and intransitive.

What is cosmic and mystical about the structure of copper is its ability to transform itself into something “living,” touching on the properties of the human.

The challenge in this conceptual fashion project is the creation of face and head accessories inspired by the properties of the material copper. These are not your typical everyday ornaments, but extravagant accessories with large volumes and three-dimensional shapes, greatly exceeding the proportions of the body. A complex combination in which sculpture, the human face, and jewelry intertwine. Made of wire and thin copper sheets, they resemble sculptural objects when placed in an interior space. Placed on a model’s body, they immediately take on new life.

One source of inspiration is nature and the human being as a part of it. Modern jewelry is a way of expressing individual thoughts and feelings, the perception of the world around us.

The wonderful creations of nature have inspired artists since time immemorial. In this chaotic world built by technology and constant movement, we notice the little things less and less. We lose sensitivity to the truly beautiful. Therefore, metamorphosis, with its wondrous transformations, is the theme of this series of fashion accessories. An amazing physiological process of a profound change in the structure of the organism over the course of its development. Transformations from one form to another. The designer's interpretation represents the stage of the pupa bursting open and hints at the emergence of the new creature.

A combination of wire and thin copper plates with textures inspired by insect wings was used. Copper reflects red and orange light and absorbs other frequencies in the visible spectrum. This metal is malleable and ductile. It is both a beautiful and a versatile material for jewelry making. It is relatively soft and suitable for hammering and forging, easy to texture and shape. Copper is a dense and heavy metal, so the accessories are made of wire and very thin plates. This allows the forms to be both voluminous and relatively light to wear.

Jewelry-sculptures for the body that provoke with their size and shape.