Philosophy​

My design philosophy begins with the tension between structure and emotion. I work in the space where control softens, where precision trembles, and where garments behave like living architectures. Clothing, for me, is not a surface but a site of negotiation between the body and the material. I am interested in how garments can hold memory, vulnerability, and intimacy without relying on gender, sexuality, or traditional forms of exposure.

My practice asks how structure can feel, how softness can exert strength, and how a garment can exist as both protection and confession. I am drawn to silhouettes that reveal the traces of their own making, where visible construction becomes a language, and where restraint is not rigidity but an emotional state. I design to express what the body remembers, what it resists, and what it yields to over time.

Methodology

My methodology is grounded in iterative making — a cycle of constructing, undoing, and reconstructing. I treat pattern-making as a form of inquiry, using distortion, misalignment, and redirection to test how a garment can hold tension. Each piece begins with structure, but the work evolves through deliberate interruptions: seams shift, closures are exposed, edges unravel, and control gives way to intuition.

I work closely with the body, fitting and refitting, allowing fabric to respond rather than obey. Instead of forcing materials into perfection, I listen to what they resist. This resistance becomes instruction. The process becomes less about achieving polish and more about revealing the emotional landscape embedded within construction. My garments are shaped as much by what I remove as what I add — each alteration a record of negotiation.

Material Approach​

Material is the emotional core of my practice. I use textiles not as decoration but as behaviour — each one chosen for how it strains, collapses, or remembers touch. Wool coating offers weight and discipline, creating architectural silhouettes that hold tension. Silk suiting introduces fragility and breath, allowing garments to falter with intention. Lace becomes a form of organic intrusion, softening structure and suggesting quiet exposure.

Hardware — staples, pins, clasps — becomes punctuation. These elements mark stress points and repairs, revealing the garment’s internal story rather than concealing it. I am drawn to the honesty of visible construction; the seams, joins, and distortions are not errors but emotional disclosures. My material practice is built on the idea that softness and structure gain meaning only through their interaction.

Areas of Exploration​

My work continues to expand through questions rather than conclusions. I am exploring how garments can act as emotional architectures — structures capable of holding pressure, memory, and vulnerability. I’m interested in the threshold between sensuality and restraint, and how the body can be framed without being exposed.

Future directions include experimenting with modular construction, garments that shift between states of control and release, and developing silhouettes that respond dynamically to movement. I am also interested in expanding my research into the relationship between transparency and perception — how much can be revealed before exposure becomes sexualized, and where the line between intimacy and spectacle begins to blur.

Across all explorations, I remain committed to garments that feel alive: pieces that hold the imprint of process, respond to the body with sensitivity, and exist in the quiet space between structure and emotion.