This is the previous assortment DZHUS released before the war. The exhibit at Ukrainian Fashion 7 days took spot a few months prior to Russia’s invasion, and alternatively of their traditional showroom in Paris, the DZHUS staff was by now hiding in a bomb shelter.
The “PSEUDO” notion refers to illusion as the essential notion of the metamodernism society. Duality and concealed senses are undividable from DZHUS structure by itself, supplying various metamorphoses of clothes and add-ons, and garments into equipment. The visible aesthetics of the seems to be is ironic and controversial in on their own, as a result, self-sufficient.
In the AW22 line of unified wardrobe objects, the designer’s fantasy went further more than functional ‘bonuses’: duplicity is materialised basically, and the excess content material is bodily unveiled, as the items are remodeled either when delaminated, or after their within is extracted. The silhouettes are exaggeratedly structured, and the models divide into two instructions: summary-escapist ‘cocoons’ vs . markedly typical parts, concealing a possible for radical reincarnations. The drop is generated making use of cruelty-totally free resources only, according to DZHUS’ values.
Hunting again, this selection grew to become rather of a prophecy, with its emphasis on dualism, sudden changes, and total reimagination of the ordinary.
Since designer Irina Dzhus fled from the war, DZHUS has been operated partly from Poland and partly from Ukraine. The model donates 30% of its gain to the Ukrainian military and animal rights organisations.
Picture: Alexey Ponomarev @pnmrvalexey
Movie: Svetlana Symakova @sansasay
Styling: Irina Dzhus / DZHUS Model Studio @irina.dzhus
Songs & seem design and style: EYIBRA @eyibra
Make-up & hair: Marina Reznick @reznick_m
Designs: Agripina @xpiizantema/ Firstline, Yulia Dzyhalenko @mangojuly
Styling assistants: Andrii Popov @popovandrii, Natalia Volkova @volkova__natasha_
Moral footwear: Property Martin @housemartin_footwear