THE ‘UN’ COLLECTION
The work of Evelina Kryvopust
August 22 2026 | Words by Kate Jacobs

In her final year at Polimoda university, Florence-based designer Evelina Kryvopust moulded a shoe last off of her own anatomy, sewed in stockings, and sealed it under python leather. The result sits somewhere between footwear, hosiery, or something closer to a second skin.

Her two reference points, by her own account, are Haneke's The Piano Teacher and the self-portraits of Surrealist photographer Pierre Molinier. Neither is a casual citation. Haneke's film tells the story of a repressed piano teacher who harbours a hunger for desire and is relentlessly pursued by an unaware pupil. The film is of a woman who had run out of ways to want something except by disciplining her own body into submission, control standing in as the last available form of desire. Evelina names it a "disturbing tension between attraction and discomfort." It is the same dichotomy that runs through her practice. She dresses it in sheer.




Where Haneke gives her the tension, Molinier gives her the dysmorphia. A French Surrealist photographer, he didn't photograph fetish so much as manufacture bodies, cutting his own image apart and reassembling the pieces into something he believed more ideal than anatomy allows. Evelina's shoe, cast from her own body and then clothed rather than simply shaped, sits in exactly that lineage: not an accessory to the body, but an attempt to remake it.

Constructed entirely from scratch, the collection is an extension of the human body, pulling at skin and shape, endorsing a fashion in which the body itself becomes the thing to see. Evelina's work plays on pillars of feminine seduction and attraction: skin, lace, heels and the stockings that cling. Look too long and it begins to disturb. The near normality of the pieces, the subtle surrealist bodily amplification. The line between garment and body, so carefully preserved by fashion, is blurred. And discomfort, worn well enough, becomes what also seduces.





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