Your design takes many of the principles of femininity and transforms them into new figurative forms. What does the female body mean to you nowadays? From your perspective, what are the challenges for the female body?
The female body, for me, is not a fixed entity but a constantly evolving form—fluid, adaptable, and powerful. My work seeks to move beyond conventional ideas of femininity and to explore the body as a site of transformation. Historically, fashion has often imposed rigid ideals on the female body, dictating how it should be shaped, displayed or concealed. Today, I see a shift toward reclaiming bodily autonomy, but challenges remain: societal pressures, gender norms, and the commercialisation of the body continue to create limitations. Through my designs, I want to celebrate all morphologies and identities, offering garments that don’t confine but rather empower the wearer, and in these pieces, they can be active all day and feel comfortable.
How does your work reflect these challenges?
My collection, “Réenchantement”, reimagines femininity through a more inclusive and fluid lens. Instead of reinforcing traditional silhouettes, I work with garments that adapt to different bodies, using draping, bias cuts, and fabric manipulation to create movement and transformation. Many of my designs evoke the idea of shedding old skin—like moulting—allowing for rebirth and self-reinvention. I also draw from mythological and sacred references, integrating elements like veils, wings, and protective layers, which symbolise both vulnerability and strength. This balance of softness and resilience is central to my vision of the body today.
Inspiration from natural morphogenesis is a big part of your work. How deeply do these discoveries influence your thinking about society?
Morphogenesis, the way nature continuously reshapes itself, is a powerful metaphor for identity and transformation. In my work, I see the body not as something fixed but as something fluid, evolving, and capable of constant reinvention. This resonates deeply with the conversations we are having today about gender and identity. Just like nature refuses to conform to rigid structures, I believe human beings should have the freedom to shape themselves authentically, beyond binary norms or societal expectations.
Fashion has historically been used to categorise and define people, often imposing limitations rather than offering possibilities. I want to reverse that dynamic. My collection embraces fluidity, offering garments that don’t dictate who you should be but instead adapt to whoever you are and who you are becoming. Through techniques like layering, smocking, and pleating, I explore the idea of shedding old skins and embracing new forms—mirroring the deeply personal journey of self-discovery and transition, whether it be in gender, identity or personal growth.
For me, celebrating diversity in bodies and identities isn’t just a conceptual stance; it’s a necessity. Fashion should be a space of empowerment where everyone can find garments that reflect their truth. My goal is to create a world where clothing serves as a tool for self-expression, not limitation—a world where transformation is not only accepted but celebrated.
You also experiment with textures, modifying the fabrics and materials you use in your work. How important is this kind of material exploration?
Material exploration is at the heart of my creative process. Fabrics are not just passive surfaces; they carry stories, histories, and emotions. By distressing, smocking, pleating or layering textiles, I create depth and meaning within each piece. For example, in my collection, some garments resemble “new skins” formed through intricate fabric manipulations, referencing transformation and protection. Working with dead-stock fabrics also pushes me to be innovative—each fabric comes with its own constraints, which I embrace as part of the creative journey.
This freedom to experiment is what allows me to create pieces that feel alive and carry a sense of transformation within them. Just like identity, fabric is not fixed—it evolves, it adapts, and it holds endless potential for reinvention.
Can the material also be something that guides you during the design process?
Absolutely. Fabric is never just a passive medium; it has its own life, its own properties, and it constantly interacts with the design process.
When I work with dead-stock textiles, I let their weight, drape, and texture sometimes guide me. For example, the way silk cuts on the bias naturally follows the body’s curves, creating sensuality without restriction, while structured denim allows me to sculpt more rigid, protective forms.
This dialogue between fabric and form is central to my work. It’s about embracing the unexpected, letting the textile guide the decisions, and allowing it to influence the final silhouette. In this way, fabric is not just a tool but an active participant in the creative process.
