My name is Ilarion Szamarzewski. I am a professional fashion designer and an exhibition curator, who have recently obtained a diploma in translation and interpreting. In every project, I strive for visual expressiveness and a high standard of craftsmanship. The different strands of my work, spanning cultural events and fashion industry, allow me to take a comprehensive, holistic approach to my practice, while highlighting different aspects of it depending on the brief. For example, I have curated both exhibitions relating to the history of LGBTQ+ people in the Republic of Moldova and art exhibitions, and I have developed designs both individually for each client and for a brand whose values were minimalism and practicality.
Many thanks my teachers at college! When I was studying, we were taught both art history and design history — even in theoretical classes we used to make sketches in our notebooks. So today I still draw everything by hand, in the good old-school manner.
Sashiko kuguri-sashi is a technique of traditional Japanese embroidery. It said that there’s no special ritual or explicit sacred meaning attached to the method. However, historically traditional sashiko emerged as a way of reinforcing and repairing clothing out of necessity — so it lasted longer. Over time, the repetition and rhythm of stitching became a quiet expression of care, patience, and endurance in daily life. Some sashiko motifs themselves are believed to carry symbolic meanings — for example, geometric designs inspired by elements of nature that represent protection, strength, long life or good fortune. Beyond specific motifs, the practice embodies values such as mottainai — a Japanese cultural idea of not wasting anything and showing respect to materials by repairing rather than discarding them.
One most memorable recent experience has been working with actual theatrical costumes. They don’t need to be comfortable or practical, for their purpose is to create a specific look. At the same time, the seamsters ensure a perfect fit, merely like bespoke. However, the purely technical side of tailoring is less important, because even on a small stage the audience won’t see, for example, whether the edges have been finished with an overlock or bias binding, or how the zip has been sewn in, or how the volume has been created. This gave me confidence. For me, the overall look and the overall expressiveness of its components have always been more important. Now, when I sew, I recall the reverse of theatre costumes — commonly neat, and quite distinctive.
You know, don't you, that I have always cherished the childhood dream to become a fashion designer.
Loose-fitted red viscose shirt based on circular skirt; with yokes, bishop sleeves and asymmetrical cuffs. Blind button fastener.
Slim-fitted black and red chequered cotton jacket based on the 18th century women’s jacket.
Loose-fitted cotton shirt; red and white striped front & bishop sleeves with blue and white textile flower forms appliqué; patterned back in black, white and red with three knife pleats on each shoulder. Black yokes and double black collar.
You know, don't you, that I have always cherished the childhood dream to become a fashion designer.
Cotton shirt with cuffed bishop sleeves and a stand-up collar. The shirt is composed of two distinct sections: shorter upper part with a striped pattern and longer lower part with a chequered pattern. The upper part includes two black flaps with gold buttons. Blind button fastener.
Classic-based lined cotton tailcoat with custom stitching lines; stand-up collar, no lapels.
Total-look olive green linen costume with tight-fitted trousers and loose-fitted military-inspired shirt with flap closures, gold-toned buttons and 3/4 sleeves. Blind button fastener.