My graduate collection is rooted in the quiet world of papercraft I used to lose myself in as a child. Inspired by old origami manuals and pop-up books from my mother’s library, I’ve returned to that place—both literal and emotional—to tell the story of my inner nature. I often hear that clothing is armour. For me, it’s the opposite. When I wear what I’ve made, I feel exposed. This collection explores inner nature in two ways: the physical landscapes I’ve discovered since moving to Luxembourg, and the emotional terrain I’ve built through years of change. Travelling within myself is both terrible and attractive. My choices are rooted in fear, yet they invite admiration—because vulnerability is the most beautiful thing you can do. This is expressed through transparency, skin-tight silhouettes, and textures that echo the feeling of paper. My upbringing taught me to balance structure and imagination—between my engineer father and graphic designer mother, I was raised where logic meets creativity. I drew from Midi Pile by Rebecca Dautremer—its laser-cut pages inspired how I layered textiles, adding depth and motion. David A. Carter’s Le Point Rouge influenced the collection’s paperlike palette and sculptural forms. I use mostly off-whites, with small bursts of colour or black to draw attention to delicate or intimate moments. Paper holds memory. It protects. To preserve my emotional landscape, I worked with the idea of an herbarium—flattened fragments of nature caught between two pages. This lives in dried flower motifs and laser-cut swan wings, fossilised into fabric. More than anything, this collection is intuitive. It’s not premeditated—it flows. I let sketches come naturally, raw, emotional. The results often reveal something to me before I understand it myself.