This collection explores the discipline of craft and its use in creating and redefining space. Inspired by Soetsu Yanagi’s “The Beauty of Everyday Things,” I aim to express the beauty in materiality and functionality, highlighting how principles of function and form organically stem from nature. Studying craft's significance led me to question whether our perception of value has been distorted by moving away from traditional craft principles—has the connection between the craftsperson and the consumer become too distant? I often draw parallels between fashion and architecture, both arising from the need for protection and inhabitation. Sculpture, like fashion, has the power to divide and shape our environment, with light and shadow activating an undomesticated landscape. As sculpture ornaments its environment, fashion decorates the body, communicating status, approachability, and desirability, building interconnections between our subjective and collective existence. Dress reveals a person's internal experience just as sculpture leaves an impression on its environment, both fusing human experience with the landscape. Most sculptors' work is deeply rooted in the body and its relation to surroundings. I wanted to apply these disciplines to the human form, creating performative sculptures that explore how structure and light cast shadows, adding dimension to the body and its environment. Inspired by Leonardi Cesare’s ‘Solids,’ I used experimental subtraction pattern cutting techniques to shape silhouettes, removing geometric shapes from fabric and manipulating them through folding, pleating, and twisting to form sculptural shapes. Combining these techniques with macrame, ceramics, and metalwork, I used the structural integrity of organic and raw materials to manipulate the body beneath. Constructed from layers of natural fibres and sculpted textures, with windows hinting at the female form, my collection balances a brutalist approach with biomorphism.