In the quiet folds of fabric and shadow, silhouettes take shape—soft, structured, and aching with intent.

Drawn to the undone and the eternal, each garment becomes a study in tension: restraint and release, beauty and decay.

Trained in the language of construction but fluent in instinct, the work slips between disciplines—design, styling, visual narrative—held together by detail, obsession, and silence.

These are not just clothes.

They are relics of a feeling not yet named.

•               Industry and automation consume us—work must stay vital to survive. This idea, paraphrasing Swiss sculptor Jean Tinguely’s words, feels more relevant than ever in a world where profit suffocates creativity. We’ve lost sight of making art for discovery, not just what sells. With his kinetic sculpture Homage to New York, Tinguely embraced chaos. My thesis does the same—handcrafted, imperfect, alive. It rejects hollow trends and influencer clout. New York’s edge has dulled, but this is a rebellion—a love letter to the city’s grit, soul, and raw humanity.

With the launch of TEMILY in New York in collaboration with Moda Operandi, TEMILY later hosted a dinner in London—highlighting and showcasing work that speaks deeper than any sea.

Paula Varsalona, a wonderful professor and designer, commissioned me to create a painted illustration of one of her dresses for display at the entrance of her atelier—welcoming guests as they arrive for their fittings.