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