The Kit


Oslo; Norway




The Kit for personal space’ is devoted to the interaction of personal spaces within a public space.

Awareness and articulation of the features of modern reality creates a need for tools to help more clearly identify yourself with others and organize the principles of relationships with them.
The costume has always been a way of interacting with the environment, however, these methods were determined primarily by the visual component. The tool - costume, The kit - personal space, is not a full-fledged garment, but seamless structure that would be capable to fold into a minimal flat form you could carry everywhere. Organizing it in different ways a person can clearly construct their personal space within public spaces. The kit allows in one way or another to regulate the physical degree of its owner's isolation and the degree of openness for interaction, and leaves the opportunity for combining personal spaces into a single whole.









Creation of a single form in which I tried to escape from the 'traditional' tailoring. I wanted to create a seamless structure that would be capable to fold into a minimal flat form you could carry everywhere.


In the original context of the perception of a costume as a product of a person’s interaction with the environment, the problem of finding a pure costume inevitably comes down to the problem of finding a pure space, the subject’s interaction with which will no longer be a forced race for survival; thus, the search for pure interaction requires placing the subject in an environment that will not be created for manipulating him/her: an environment that is self-sufficient; an environment that can exist by itself; an environment that can let a person inside it and give him/ her the opportunity to interact with himself/ herself; an environment, where a person can act both as a simple observer and as an interlocutor - the decision remains with the subject and it is important that he/she does not lose such an opportunity and realizes it; but, at the same time, an environment, which will continue to exist harmoniously without the subject at all; in the context of such a space, the subject’s reflection will be freed from a multitude of unnecessary factors exerting pressure from outside; perhaps, there is no absolutely pure space; more precisely, apparently, there is no absolutely pure interaction, because the subject in any case bears the burden of everyday perception, constantly accumulating from birth; but there is no reason not to seek at least a reflection/a distant resemblance to such an interaction; to explore how a person will interact with a similar environment, what his conversation will look like, how he/she will build his/her communication and in what form and how this communication will be realized in a costume; at that moment, in its turn, the concept of pure costume is born: the costume as a way of interaction of the liberated subject with a pure space; finally, to clean the costume from the subject too; initially the product of interaction can become a self-sufficient element of space, in turn - a new pure space - non - place. Similar to non-spaces that separate the subject's everyday spaces from each other and thus harmonize the process of relocation between them, the costume serves as a local space that separates the subject from the surrounding reality congested with information flows and manipulative impulses. Thus, the costume becomes not just a set of sartorial and decorative elements, but a form of interrelation between the body and the surrounding space. At the same time, the mundaneness of its existence, along with its harmonizing role, makes it possible to view the costume as a kind of local “non-space” meaningfully created, but at the same time not fully cogitated because of continual interaction.