Garments in subtle and simultaneously irreverent chromatic tones dazzle the gaze while their patterns blossom endlessly around the wearers. Bodies are embraced and gently re-sculpted by fluid networks reminiscent of traditional sartorial techniques. Outfits enhance the physical shapes by decorating them with ephemeral yet enduring filaments. Embossed tattooing lands on the skin, and the conjunction that takes place indulges the movement of the limbs underneath. Kasia Kucharska's creations pose an aesthetically captivating angle, generating refreshing tactile sensations.

The clothes foster a synesthetic effect, evoking the perception of the material together with its smell and consistency. Playful designs that appear drenched in the corporeal warmth of the model, dripping flows, slimy and shiny adornments. Details reside in the asymmetry. Streams of silicone and latex scratch the body, perhaps as if to interpret and express the alien entity that resides within each of us.

Behind a sensitivity to the present time and its values when it comes to manufacturing products, the brand pours homage into past crafting tools. Lace and its fractal motifs acquire new life, turning into liquid pieces of clothing exuding a futuristic flair.

In your Instagram bio, you state: ”FUTURE CRAFT”. Would you like to expand on this concept as you introduce yourself and give a vision of the brand?

I like to take old manufacturing techniques and traditional crafts as a starting point to translate them into the here and now. We are driven by introducing more innovation to garment making in general.

For this, we are working with materials and techniques that are not necessarily fashion-related in the first place to see how we can implement new ways of making clothes. In this area, we want to improve standardised manufacturing in apparel and beyond, rethinking old crafting techniques to reintegrate them using modern means of creation.

The term “FUTURE CRAFT” originated after my master collection two years ago when I was researching traditional lace making.

Lace has such a beautiful long history. The manufacturing techniques to produce lace were one of the most crucial textile innovations of our modern age - I wanted to track this evolution and find new ways of creating lace in a modern way.

Where did the initiative to adopt silicone and latex originate, and what is your attitude towards materials?

In my master collection, I tried to find new ways of creating lace and to integrate it back into the modern feminine wardrobe. In this particular case, I was curious how one would translate lace with the tools, materials and processes we use today.

I found silicone as a material already used in underwear garments as a hidden functional helper—for example, as a sticky inlay to hold stockings in place. I wanted to take that functional characteristic, make it visible on the surface of my clothes and work with it as ornamentation instead of hiding it.

Meanwhile, we switched to latex because of its most fitting characteristics: it’s natural but also more durable and super flexible. It allows lots of experimentation.

I read that your inspiration stems from the tradition of lacework and merges fashion with architecture. Would you like to reveal more about how these interrelations and influences shape your creations?

I studied interior architecture before studying fashion design. So my first encounter with design was through an architectural perspective, and that’s when I started to shape and form my vision of creating objects and, ultimately, products. That’s when I learned the most about crafting techniques like joinery or carpentry.

I was somehow always driven by the haptics and properties of textiles and soft materials. I started to translate the knowledge I gained within the architecture field into garments’ creation from the beginning.

What are the future and forthcoming projects, and in which direction is the creative process behind the label branching out?

Through our work, we want to introduce latex as a material to a broader audience and show the opportunities it holds for fashion in a new context. Also, technologically this manufacturing technique can simplify complicated processes that we aim to show through collaborative projects.

We don’t want to reveal them yet, but we are just beginning to develop this technique, and there’s still so much to explore.

What are the core values and moods that you would like to pursue as the very essence of Kasia Kucharska as a designer?

For us, fashion is first and foremost something that gives us pleasure. We are very passionate about what we do, it’s exciting and fun. The clothes reflect us and our emotions. Right now, coming out of multiple lockdowns and continuous restrictions, we want to be careless and frivolous, and that’s what we want to convey through our garments. They are utopian and a bit out of this world.

We want to celebrate life and all the beautiful things about our existence.

We value time and a conscious way of working and creating. We consider time our most precious resource and work along our own timeline, not participating in the fast-paced fashion calendar.

We are slow but conscious of every step we take, and we enjoy every aspect of this journey. That’s also why we’re only releasing products that we feel are ready and add value to one’s wardrobe.

What do you think are still unexplored paths in the fashion universe, and how do you feel the brand can shed light on a new approach to wearables?

We desire to explore new ways of making garments. We want to show that there are many other undiscovered methods of creating garments than sewing.

By re-evaluating crafts, we are also re-evaluating the classification, meaning and application of garments in general: what’s a bra? Why was it created?

In general, we want to see us evolve towards a forward-thinking crafting lab rather than being viewed as a traditional fashion brand per definition.