How our clothes are born

We are constantly working on the design and testing of new models. I am often asked:

how do I create clothes? Mostly I cannot explain it. Sometimes I try, then I get even more confused.


In order to somehow explain it to myself as well, I sat down to analyze and recall how I had worked on some of my favorite models. I went through the archive, went through the memories. I made conclusions.


The conclusion will be at the beginning of this article, and the analysis is below.


All the most interesting elements and models were created experimentally and with a hint of fear, which sounded like this: how will others perceive it? Can I allow myself to interpret my vision exactly as I feel?


After all, ethnic has a great history and power. It is much easier to create and sell something that has already been created or sold. And new is always a risk. And now, when inventing new forms, this risk seems to pierce through me and scares me a little. But I really like it. Based on these feelings, I create new models of clothes. In fact, it is the work of the whole organism. Because when you put one fabric to another, sensations appear in the body: pleasant or not. And if I change something, how is it now? At the same time you also need to understand how everything should be technically: during sewing, wearing, care, etc.


Sometimes it may seem: what is difficult here?! Yeah 🙂


That is the way it happens.

Sarafan with a print, collection “Flower Pixel”, 2022


I copied this Bukovyna carpet from a book. When I had covid, I bought a course in 3D and a computer with a video card, because my gadget must be powerful, must withstand the workload 🙂


I was learning how to place images on a fabric in virtual space. After several months of trying I thought:
1. An image is very important.
2. I need to start with something simpler.


That is how shawls came to exist – something simpler than clothes. The product is simple in form, on which it was easier to predict the final result. We have had them on sale for a year and a half, since October 2021.


I had been puzzling out the image for a long time before I started drawing myself. I did not know what it should look like, I did not like anything. I took different images, made collages from them, took ready-made collages, drew ornaments myself, until I tried this carpet. But I did not have an image of it in good resolution, so I started looking for other carpets and a photographer who could provide an image for me. I went to the markets of Yaremche and Kosiv, asked sellers, friends, acquaintances. I spent the summer of 2021 on this.


At the end of the summer I dared to copy the carpet. But it is not easy either! I looked for ways, tried various graphic programs. I settled on the non-professional one for other tasks, but with functional features that allowed this.


It was the finish straight, but since that moment I had tried and remade it 10 more times. Every time I finished I understood that it was not good. I wanted to reproduce the print so that it looked like that ancient carpet when being printed. That is: the interweaving of threads should be visible. This process lasted forever, until I dared to send the first cloth to print. This is currently one of my favorite techniques that I plan to develop in the brand.

Coat made of striped wool, collection of 2019



This pattern was drawn for me by artist Olesia Vakulenko. We met in Nur-Sultan (Astana) at the exhibition of our dresses. She drew all the patterns for me so that they could be used in a rapport order, which is a bit difficult. I had interesting wool – striped. This is a solid piece of cloth of two green colors. And I spent two hours proving to my cutter that 2 coats should come out of this length, and how to combine the stripes. When the cut was assembled for the fitting and I explained to the girls how to embroider it, my embroiderers asked: “How? It is like a road roller drove over your back? Moreover, in red?”


I myself was a little scared, because an expensive fabric + a large volume of the pattern = a high cost. My mother, who worked as an accountant for us at the time, created names for each model so that it would be easier to distinguish items without codes. She called this coat “a small watermelon”. The original watermelon has a brother watermelon, but the rest of the coat and kersetka (waistcoat) models from this collection remained in one copy.

Blouse with roses and woven poncho, 2017, collection “Ya. Bachu.”



We first tried the crochet technique in 2014. But this time I wanted to make a crochet of a large size. Therefore, I decided to buy an embroidery machine with a larger size of hoops, that at that time cost 9 thousand EUR, industrial equipment. I bought it remotely when I lived in Kyiv, and the production was in my native Ivano-Frankivsk. And along with the purchase I ordered the design of the scheme of roses on the sleeves.

So, at first
– one girl drew roses for me in a graphic program with dots, taking into account the sizes and colors.
– the other one developed from this pattern an algorithm program for the movement of the needle of the embroidery machine.


At that time the supplier company brought this high-speed embroidery unit to my workshop. And since then we had not been able to embroider those sleeves for 2 months:
– those who made the scheme said that the problem was with the machine
– those who sold the machine said that it was incorrectly installed
– those who installed the machine said that the scheme was incorrect.


Later it turned out that there were some nuances in each of these aspects, which generally gave such a result. We did embroider the sleeves. Guess how long it takes to embroider 2 sleeves? – 2 days. Then, however, we replaced the scheme with a simplified and slightly thinner one.


And we made a poncho on a 1 meter wide loom from two identical pieces of cloth. But the pattern on it is not the same in length, it stretches in colors, from dark to lighter. Accordingly, this rapport order had to be repeated exactly, which is not easy.


The poncho is lined with velvet, and the belt for it is also made by hand on the loom, but with a slightly different technique – the carpet technique “in the eyelet”.

Coat with a gathering and an ornament of a lizhnyk (a thick woolen mostly patterned-woven plaid rug), 2015



The “gathering” technique was most often used on the cuffs of embroidered shirts of Eastern Podillia. This technique was used to narrow the volume of a garment element. And it also had a “knitted effect”. I thought it would be interesting to make a “gathering” on a coat. In woolen fabric the “gathering” technique gives a large terrain and a massive assembly. This particular coat was painted with a broad stroke, sparing no effort, threads and cloth. I love such a format of creativity.

Woolen waistcoat, 2016, collection “Bo.Liubov”



The fabric from which the waistcoat is sewn is very dense ancient fulled wool. To be honest, I cannot remember where from it appeared at our production site. Most likely, it was brought to us by the lady, who supplied us with various interesting ancient shawls and drawn thread works. A customer bought this waistcoat right after the presentation of the collection in Lviv. By the way, later we became relatives with this customer. Because I bought my Sphynx cat Cosmos from her, that is a relative of her cat Marvel 🙂


The cloth is rough, it was difficult and slow to embroider it, but I wanted to create something a little unconventional.

Handmade jacket and dress, 2015, collection “Vira” 



In 2013 I went abroad for the first time to Chicago for my personal exhibition. In between the exhibition affairs I managed to visit the local market of materials for light industry. It was a real paradise of threads, fabrics and tools.


There I bought several skeins of melange cotton threads, which at that time I did not come across in Ukrainian stores. From these threads the design of the series “Vira” began, which had lasted for a year and a half. Because all items were made by hand.


The dresses were embroidered using the technique of hardanger embroidery. Each one is sewn from fabrics of two colors and embroidered with two different types of threads – plain and melange. The jackets are based on continuous hand-woven cloth, the colors are stretched from one to the other. For the inside details we used velvet of a contrasting color on a natural basis and woolen lace.

Coat made of overcoat cloth with knitted sleeves, 2010



At that time I really liked using thick overcoat cloth for items. We just received the first roll of black overcoat cloth and a piece of the brown one. 1 meter, it was not enough for a sleeve, that dictated the solution to use hand knitting.


I remember that I had seen this coat before we started sewing it. As if the idea was born in the head, and then it turned out to become exactly as imagined. We chose the colors of the threads from the first time, as well as the pattern. I kept it for myself, because at the time it seemed too strange to be sold. While sewing, I made the coat coldproof, and I was not cold in it in the harshest winters. The sleeves were knitted with knitting needles of size 16, that is, with a diameter of 20 mm, with 8 threads, from Carpathian wool – like the socks elderly ladies sell in Kosiv. The buttons imitate the cross section of a tree.

Coat from the first collection with a woolen necklace and fur patches, 2009



I came up with the idea of this coat when I was making my first collection. I sewed it almost all by myself at home. But close to the date of the exhibition I realized that in addition to sewing items, there was also the organizational work, and that I did not have enough time.


I had to hire a tailor, I drew her a schematic sketch with a pencil in a notebook. I remember the moment: I was printing posters, when the tailor Liuba called me and said: “I tailored it, come. It is so beautiful-beautiful, Ukrainian-Ukrainian.”


I bought a woolen fabric for it from the “Cheksil” factory in Chernihiv. According to my plan, the coat was to be sewn around like a Hutsul sardak (a kind of shoulder clothes with sleeves), and a massive woolen necklace was to be worn over it. After the exhibition I published a photo of it on social networks, and my friend Zoriana immediately bought it from me. I sold the coat for the cost of materials and labor, and I was very happy. For ethical reasons we currently do not use natural fur.