Projects

Brutalism

During my time at Central Saint Martins in London, I was presented with a compelling design challenge: to create a garment without using any traditional sewing methods. No needles, no thread—just innovation. This constraint became a catalyst for experimentation, pushing me to explore construction in its rawest, most architectural form.

From the beginning, I felt drawn to unconventional materials—metal, cement, and other elements that evoke strength and permanence. I wanted to create something that felt structural yet wearable, a piece that would blur the line between garment and sculpture. My chosen muse was Le Corbusier, the pioneering French architect whose modernist and brutalist philosophies reshaped how we interact with space and form. His emphasis on function, proportion, and materiality deeply resonated with me.

As I immersed myself in research, I explored post-war industrial advertisements, architectural blueprints, and cement façades punctuated with cold, gleaming metal. I studied the balance between heaviness and clarity, mass and negative space—how Le Corbusier carved beauty into raw functionality. These references informed every decision, from the silhouette of the garment to the textures embedded in its surfaces.

Rather than assembling fabric with thread, I experimented with modular connections by utilizing drawstring to connect the metal pieces together.This project became more than a technical exercise—it was a lesson in creative adaptability and conceptual thinking. It taught me how to construct meaning through material and how to draw connections between disciplines. In stepping outside the boundaries of fashion’s traditional tools, I discovered a new language for form, space, and the body.

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