BRUTALIST

BRUTALIST began with the idea of translating architectural thinking directly onto the human body. I was interested in the raw physicality of Brutalist architecture — its weight, repetition, uncompromising geometry and unapologetic material presence — and in asking how those qualities might become wearable.

Rather than treating fashion as surface styling, I approached the series as a form of spatial construction. The garments and body extensions were developed as if they were fragments of buildings: modular, tectonic, stacked, protruding, protective. The body became both structure and carrier, a place where architecture, sculpture and fashion intersect.

My professional background in hairstyling strongly informs the way I think about silhouette, contour and proportion. Even when hair is not the central visible element, the underlying approach remains the same: form is never simply decorative, it shapes identity and perception. In that sense, BRUTALIST continues my broader interest in the body as a site of constructed presence.

The series evolved through an extended process of testing how far reduction and severity could be pushed without losing elegance. I worked toward a monochrome visual language that would emphasise mass, surface and light, while avoiding unnecessary distraction. One of the key challenges was achieving images that feel both monumental and wearable — not costume, not pure sculpture, but something convincingly in between.

The result is a series of fictional fashion portraits in which clothing behaves like architecture and architecture behaves like a second skin. BRUTALIST is less about illustrating a style than about proposing a condition: the body inhabiting form, and form inhabiting the body.