NOBUT II.
Nobut II. represents my final Bachelor’s collection. The entire collection is crafted from high-quality garments and offcuts. The design concept revolves around the delicate core of human emotions and the protective shell that forms around it. It reflects how the complexities and pressures of modern life can lead to emotional overwhelm, prompting individuals to develop defence mechanisms - an emotional shell that not only safeguards their feelings but can also diminish their ability to experience emotions such as empathy.
Nobut II. represents my final Bachelor’s collection. The entire collection is crafted from high-quality garments and offcuts. The design concept revolves around the delicate core of human emotions and the protective shell that forms around it. It reflects how the complexities and pressures of modern life can lead to emotional overwhelm, prompting individuals to develop defence mechanisms - an emotional shell that not only safeguards their feelings but can also diminish their ability to experience emotions such as empathy.
Nobut II. represents my final Bachelor’s collection. The entire collection is crafted from high-quality garments and offcuts. The design concept revolves around the delicate core of human emotions and the protective shell that forms around it. It reflects how the complexities and pressures of modern life can lead to emotional overwhelm, prompting individuals to develop defence mechanisms - an emotional shell that not only safeguards their feelings but can also diminish their ability to experience emotions such as empathy.
The collection is developed using discarded garments and leather offcuts collected directly from a leather manufacturer—materials that would otherwise have gone to waste. In addition, I collaborated with a bridal atelier to source offcuts for the “core” designs of the collection, which required refined and delicate materials.
This project forms the foundation of my Master’s research. It was my first experience working with production offcuts, allowing me to explore both the opportunities and challenges they present. One of the biggest challenges, in particular, is the significant amount of time required to process offcuts efficiently while maintaining a strong aesthetic quality. Entering my Master’s studies, one of my key motivations was to develop upcycling strategies that are more accessible and appealing to high-quality fashion designers and companies.
The sensitive core is represented through delicate tops and dresses with simple silhouettes, where complexity emerges through the material rather than form. Silk and high-quality lace offcuts were chosen to gently cover the body while allowing the skin to subtly show through. Transparency, weight, and structure reflect the sensitivity and emotional complexity of the human core, while soft white and beige tones enhance this vulnerability and contrast with the darker protective layers of the collection.
Drawings of lace designs symbolizing the complexity of human emotions:
Depending on the size of the lace offcuts, the fabric was used for long or short designs. As the offcuts I was provided with were relatively large, I was often able to construct tops and dresses with minimal or no additional seams, preserving the delicacy of the material. However, the size and quantity of the available lace directly influenced each design decision, determining whether a piece featured long sleeves, short sleeves, or no sleeves at all, as well as shaping the garment’s length and neckline.
Oversized jackets symbolize the protective shell of the collection. Designed to conceal and obscure the human silhouette, the exaggerated cuts enhance a sense of distance and emotional protection. The jackets are constructed using heavy, thick materials in dark colour palettes. All pieces are inspired by classic bomber jacket patterns, forming a deliberate contrast to the light, delicate “core” designs.
The primary inspiration for the leather jackets came from the leather offcuts. Observing their diverse shapes and sizes sparked my creativity. My goal was not only to repurpose existing high-quality materials but also to elevate the aesthetic of the scraps. I experimented with different arrangements, making only minimal adjustments to their shape and size in order to create as little waste as possible. The leather pieces are partially woven together, symbolising how a protective shell evolves and grows in response to an individual’s experiences.
Alongside the leather jackets, the collection also includes outerwear pieces constructed entirely from discarded second-hand garments. This upcycling process differs significantly from working with offcuts, as it begins with analysing existing clothing and identifying which sections remain in the best condition. These areas, highlighted in red during my development process, became the foundation for new designs. Rather than completely reshaping the materials, I aimed to preserve much of their original form, repositioning garment components in unconventional ways. By combining different pieces into a single jacket, I created designs that closely resonate with the offcut-based leather jackets, while introducing a distinct material character through the use of pre-worn garments.
FINAL LINE UP
The collection is developed using discarded garments and leather offcuts collected directly from a leather manufacturer — materials that would otherwise have gone to waste. In addition, I collaborated with a bridal atelier to source offcuts for the “core” designs of the collection, which required refined and delicate materials.
This project forms the foundation of my Master’s research. It was my first experience working with production offcuts, allowing me to explore both the opportunities and challenges they present. One of the biggest challenges, in particular, is the significant amount of time required to process offcuts efficiently while maintaining a strong aesthetic quality. Entering my Master’s studies, one of my key motivations was to develop upcycling strategies that are more accessible and appealing to high-quality fashion designers and companies.
The sensitive core is expressed through delicate tops and dresses with simple silhouettes, where complexity comes from the material rather than the form. Silk and high-quality lace offcuts gently cover the body while allowing the skin to subtly show through. Transparency, weight, and structure reflect emotional vulnerability, enhanced by soft white and beige tones that contrast with the collection’s darker protective layers.
The sensitive core is expressed through delicate tops and dresses with simple silhouettes, where complexity comes from the material rather than the form. Silk and high-quality lace offcuts gently cover the body while allowing the skin to subtly show through. Transparency, weight, and structure reflect emotional vulnerability, enhanced by soft white and beige tones that contrast with the collection’s darker protective layers.
Drawings of lace designs symbolizing the complexity of human emotions:
Depending on the size of the lace offcuts, the fabric was used for long or short designs. As the offcuts I was provided with were relatively large, I was often able to construct tops and dresses with minimal or no additional seams, preserving the delicacy of the material. However, the size and quantity of the available lace directly influenced each design decision, determining whether a piece featured long sleeves, short sleeves, or no sleeves at all, as well as shaping the garment’s length and neckline.
Oversized jackets symbolize the protective shell of the collection. Designed to conceal and obscure the human silhouette, the exaggerated cuts enhance a sense of distance and emotional protection. The jackets are constructed using heavy, thick materials in dark colour palettes. All pieces are inspired by classic bomber jacket patterns, forming a deliberate contrast to the light, delicate “core” designs.
Drawings of lace designs symbolizing the complexity of human emotions:
Depending on the size of the lace offcuts, the fabric was used for long or short designs. As the offcuts I was provided with were relatively large, I was often able to construct tops and dresses with minimal or no additional seams, preserving the delicacy of the material. However, the size and quantity of the available lace directly influenced each design decision, determining whether a piece featured long sleeves, short sleeves, or no sleeves at all, as well as shaping the garment’s length and neckline.
Oversized jackets symbolize the protective shell of the collection. Designed to conceal and obscure the human silhouette, the exaggerated cuts enhance a sense of distance and emotional protection. The jackets are constructed using heavy, thick materials in dark colour palettes. All pieces are inspired by classic bomber jacket patterns, forming a deliberate contrast to the light, delicate “core” designs.
The leather jackets were inspired by the leather offcuts themselves. Their varied shapes and sizes sparked my creativity. My goal was not only to repurpose existing high-quality materials but also to elevate the aesthetic of the scraps.. I experimented with different arrangements, making minimal adjustments to reduce waste. The pieces are partially woven together, symbolising how a protective shell evolves through personal experience.
The leather jackets were inspired by the leather offcuts themselves. Their varied shapes and sizes sparked my creativity. My goal was not only to repurpose existing high-quality materials but also to elevate the aesthetic of the scraps.. I experimented with different arrangements, making minimal adjustments to reduce waste. The pieces are partially woven together, symbolising how a protective shell evolves through personal experience.
Alongside the leather jackets, the collection also includes outerwear pieces constructed entirely from discarded second-hand garments. This upcycling process differs significantly from working with offcuts, as it begins with analysing existing clothing and identifying which sections remain in the best condition. These areas, highlighted in red during my development process, became the foundation for new designs. Rather than completely reshaping the materials, I aimed to preserve much of their original form, repositioning garment components in unconventional ways. By combining different pieces into a single jacket, I created designs that closely resonate with the offcut-based leather jackets, while introducing a distinct material character through the use of pre-worn garments.
Alongside the leather jackets, the collection also includes outerwear pieces constructed entirely from discarded second-hand garments. This upcycling process differs significantly from working with offcuts, as it begins with analysing existing clothing and identifying which sections remain in the best condition. These areas, highlighted in red during my development process, became the foundation for new designs. Rather than completely reshaping the materials, I aimed to preserve much of their original form, repositioning garment components in unconventional ways. By combining different pieces into a single jacket, I created designs that closely resonate with the offcut-based leather jackets, while introducing a distinct material character through the use of pre-worn garments.
FINAL LINE UP
FINAL LINE UP