Magnolia is a collective artistic dialogue in circular couture . . . a meditation on healing, transformation, and the future of luxury through material innovation, emotional design, and human collaboration.
Born from a shared exploration of folding, movement, sculptural form, and material transformation, the collection brings together contemporary couture, visual art, styling, and image-making through a deeply interdisciplinary process.
At the heart of the project is Diana Kamiński, founder of By Kamiński, whose practice explores craftsmanship, wellness-through-wear, and contemporary couture through handcrafted crochet techniques using recycled silk and organic bamboo cotton. Her work seeks to reconnect luxury with human touch, sustainability, and emotional wellbeing.
Alongside her is Darryl Bedford of Drawstring Origami, whose sculptural kirigami engineering introduces architectural tension, kinetic movement, and structural poetry throughout the collection. His intricate folded forms challenge the boundaries between fashion, sculpture, and wearable art.
The narrative of Magnolia was further shaped by stylist Carolina Marsoli, whose instinctive approach to storytelling helped define the atmosphere and emotional landscape of the presentation. Photographer Nicoló Urbani completed the dialogue, capturing the collection with intimacy, depth, and cinematic stillness.
Together, these creative voices have built more than a collection. They have created a reflection on identity itself.
The Story of Magnolia
No woman is defined by a single identity.
Within her coexist instinct and structure, sensuality and discipline, softness and rage. The masculine and the feminine. The part that longs to be chosen and the part that yearns to be free.
Magnolia was born from this contradiction.
The collection begins close to the earth. Raw crochet textures, sculptural origami forms, and silhouettes that feel instinctive and untamed emerge as if remembered rather than designed. There is something ancestral in their presence . . . a connection to the self that exists before expectation, before performance, before conformity.
As the story unfolds, a different woman begins to emerge.
Origami folds sharpen the silhouette. Architectural structures enter the body. Subtle Elizabethan references appear, introducing discipline, precision, and intention. These elements do not seek to erase softness, but rather to give it form and direction.
The sculptural horns and headpieces become symbols of the parts of ourselves we are often taught to suppress: instinct, sensuality, ambition, anger, power. They represent the selves that existed before the world told us who we should become.
Yet Magnolia is not a story about choosing one identity over another.
It is about integration.
True transformation occurs when we allow every version of ourselves to exist within the same body. When softness and strength cease to compete. When contradiction becomes harmony. When we stop editing ourselves to make others comfortable.
Magnolia tells the story of a woman flourishing into a version of herself that no longer seeks permission to exist fully.
A woman who understands that healing is not about becoming someone new, but about returning to everything she has always been.
And perhaps, as the collection unfolds, it asks something of each of us:
What are you still carrying that was never yours to begin with?
