The collection intertwines architecture, the body, emotion, and cultural heritage into a multilayered exploration of structure and identity formation. Across twelve looks, a visual field of tension unfolds, connecting external construction with internal states and developing a design language that understands fashion as both an architectural and psychological space.

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The starting point of the work is the architectural style of Brutalism. Its monolithic, functional construction characterized by raw concrete, clear geometry, and an honesty of materials serves as a formal reference. At the same time, the collection links this formal severity with a symbolic engagement with depression.

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The gradual transition from light grey to deep black visualizes an inner process, a sinking, a densifying, a turning inward. Lacing, wrapped elements, form fitting corsetry, and asymmetrical design translate feelings of constriction, imbalance, and spiraling thoughts into silhouette. Masks, headpieces, and facial jewelry address the concealment and protection of one’s identity from the outside world. Simultaneously, expansive shapes, wool fabrics, and knitwear create a protective shell. Strong shoulders and defined lines project outward strength, an armor and textile preventative measure shielding vulnerability from external influences.

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Structure becomes the central link between outer form and inner condition. Classic tailoring, suiting elements, and corsetry function as archetypal constructions demanding precision and closeness to the body. They appear deconstructed, recombined, or reduced to their essential planes. The question, “How much structure does a garment need to remain functional?” becomes one of the guiding design motifs. This search for the essential generates contrasts between complex constructions and radically simplified forms. The deliberate use of negative space, the quiet in between, shapes the overall impact. Emptiness becomes an active design element.

The choice of materials reinforces this approach. Classic fabrics such as wool, pinstripe, silk, linen, or knit meet raw textures and unfinished hems, embodying the honesty of materials. Some textiles remain nearly untouched, while others are deliberately manipulated to create rigidity and severity. The reduced color palette of grey and black directs attention to silhouette and line.

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Gender attributions are consciously dissolved. Conventionally feminine and masculine coded features such as a high waist, pronounced shoulders, suiting fabrics, or corsetry merge into hybrid forms. Adjustable fits and a neutral color palette enable diverse ways of wearing the pieces beyond fixed categorizations.

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The accessories further expand this network of references. Silver jewelry draws on anatomical structures such as the ribcage, veins, or eyes, translating them into forms inspired by Surrealism. Cultural influences from Balkan folklore traditions, particularly from the Serbian cultural sphere, are interwoven throughout. Coin jewelry as a symbol of protection, cultural heritage, and familial transmission connects personal history and spirituality with collective memory. Identity appears not as a rigid construct, but as a layering of historical, social, and emotional structures.

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In this way, “Aventurescence” evolves into a poetic investigation of what can shape identity. Structures drawn from architecture, emotion, culture, and the body merge into a symbiosis of design and meaning across twelve looks. The collection is named after an optical effect in gemstones in which particle inclusions and fissures create a metallic shimmer. The fractures within the material become a source of light.

Transferred to the collection, this suggests that inner conflicts and fragile states hold transformative power. Internal tensions and inevitable external influences do not destroy identity, rather they shape it. Construction and self conception are revealed as inseparably intertwined.