Costume is where my interest in bodies, materials, image and live performance comes together.

I first entered the stage through scenography in Bulgaria, and later moved towards costume in Antwerp. What kept pulling me closer was not clothing as an isolated object, but what happens when it is worn: how a silhouette changes a presence, how fabric responds to movement, and how a garment can support a story before a word is spoken.

Studies and practice in garment construction, costume history, graphic design and image-making gave that instinct more structure and precision. They shaped the way I look at proportion, material, colour and the relationship between the body and the image an audience receives.

In theatre, clothing can carry dramaturgical meaning. In music, dance or performance, it may need to support rhythm, identity, transformation or simply presence. I am interested in those differences, and in the small decisions that make something feel right for the body, the story and the moment.

My work also stays close to everyday clothing: garments we keep, repair, outgrow, return to, or stop seeing clearly. Through NИold, that becomes a textile practice around material, memory, care and the possibility of giving what already exists another direction.

Movement is part of the way I understand clothing too. As a dancer, I know the difference between imagining how a garment will move and actually inhabiting it. I pay attention to where fabric follows, where it resists, what it reveals, what it restricts and what it allows the body to become.

Across these different forms of work, I keep returning to the same question:

What can a garment carry, and what can it help us become?

For stage, theatre and performance work, explore my costume projects.

For garments, looks or ideas that need a clearer direction before they become something else, start with Design Guidance.