Let’s start with the influences behind your collection. Polish and Japanese cultures may seem worlds apart, yet both share deep traditions, rich symbolism, and a strong connection to craftsmanship. As a young Polish designer, what parallels or contrasts between these cultures intrigued you the most, and how did they shape the Forbidden Body?
At the very beginning, it’s essential to understand the context in which I started working on this collection. It was a time of massive women’s strikes across Poland, triggered by the tightening of abortion laws. Simultaneously, I was deeply fascinated by The Handmaid’s Tale. These influences led me to delve deeper into the situation of women, which eventually brought me to Japan – a place of striking contrasts. The duality of the geisha and the hostess, the tension between tradition and modernity, and, above all, the profound reverence for drama. And here it is: “Forbidden Body“.
Your work emphasises craftsmanship. What technical aspects were most important to you?
I have always been fascinated by craftsmanship, so when I began studying fashion design, I was naturally drawn to exploring techniques and technology. Right now, I’m delving into jewellery-making because, in the future, I want to have full creative freedom – the ability to merge leathercraft, tailoring, and goldsmithing into a single silhouette. For me, everything comes down to quality. After all, both a king and a wino can wear a suit, but it’s the quality that speaks volumes, subtly signaling who is who.
Costume and drama are crucial to your work. Do you see yourself more as a fashion designer or a storyteller?
In my opinion, in the 21st century, a designer must be a storyteller. However, for some collections, we don’t necessarily need to use such complex narratives. Sometimes, all we need is one sentence of the story, and sometimes, we could write a novel.
Your work is full of profound influences and stories. What is the key takeaway you hope to leave with your audience personally?
One of the most iconic looks from this collection was directly inspired by Japanese hostess bars. During my research, I came across a publication that referred to these women as “bar flowers” because they bloom in nightclubs. This idea shaped the design – a crisp white shirt adorned with flowers covering the mouth, paired with a provocative black bottom influenced by fetish aesthetics.
What fascinates me now is how the collection has evolved in its interpretation. It is often taken out of its original context, yet the women who wear it frequently tell me it feels like a manifesto: “I can look however I want!” Many describe these pieces as their personal power looks.
Interestingly, I remember consulting the collection with the brilliant designer Stevan Kartechev, who gave me a piece of advice that has stayed with me: “Carry a positive message, even when drawing from dramatic inspirations.“
The motif of the “bar flower” resonates with being “desirable but disposable.” Is your collection also a commentary on how society commodifies women?
Yes, it’s mostly about that. In Christianity, Eve is the one who is reprimanded for eating the apple. But did you know that Japan’s creation myth also includes a moment where a woman is punished simply for speaking first to her husband? The parallels run deep, revealing how deeply ingrained these narratives of female transgression and reprimand are across cultures. It’s fascinating to see how these myths shape perceptions of women’s roles even today.
