Mimesis ’25: Anna Kosidło’s Circus of Shadows and Dreams

In the world of emerging fashion, few designers manage to so seamlessly merge narrative, artistry, and emotion as Anna Kosidło. With a vision that transcends clothing, their work exists at the intersection of theatre, cinema, and dreams—where garments transform into characters and fashion becomes a storytelling device. Their graduation collection MIMESIS ’25, created in collaboration with film director Femke Hamelaar, immediately caught attention for its daring blend of German Expressionist influence, surreal archetypes, and poetic silhouettes. What sets Anna Kosidło apart is not just technical mastery, but an ability to channel vulnerability, imagination, and raw sensitivity into wearable art. Through their designs, fashion takes on the role of fable—revealing hidden emotions, sparking curiosity, and reminding us that beauty is most powerful when it aches just a little.

1. Tell us about your graduation collection. What inspired the concept behind it?

‘MIMESIS ’25’ is a fashion project created in collaboration with film director Femke Hamelaar, where costume became a storytelling device.
Set in a stylized circus world, the narrative follows Juliette, a 20-year-old acrobat unraveling under emotional pressure. Each character embodies an archetype—the dreamer, the distant father, the paralyzed mother—expressed through exaggerated silhouettes, stylized textures, and symbolic contrasts.
Influenced by German Expressionist cinema, the collection embraces theatrical distortion and shadowed emotion. The garments heighten the narrative through visual exaggeration—sharp tailoring, flowing fabrics, and sculptural forms reflect the characters’ internal states.
Floral prints derived from hand-drawn sketches offer a delicate contrast to the bold silhouettes—softness within intensity. These motifs, reinterpreted into editorial visuals, blur the line between fable and fashion, making the characters feel both timeless and surreal.
My designs are meant to build a heightened emotional reality—where clothing reveals what words cannot, and each figure becomes a living symbol within an exaggerated world.

2. How has your time at Willem de Kooning Academy shaped you as a fashion designer?

Now, when I can look at it as a whole, after having finished my 4 years of study, I am realizing that I have, in a way, made a full circle in my journey—refining what I started with.
I came to study fashion full of enthusiasm, but with a false sense, that I already had my vision all-figured-out and I just needed to learn some technical skills to execute it. Like a naive child I assumed everyone would immediately understand and fall in love with my world—oh boy, it was not an easy journey, but surely a fascinating one!
At some point I lost my spark a bit; I felt discouraged and started comparing myself to all other talented designers. I doubted whether my interests were valid, I was almost ashamed of them and tried to fit into so many boxes by sticking with visuals and styles that did not truly represent me.
But that made me realize how determined I was, to learn, to make mistakes and take lessons out of them. And despite hardships, I could not imagine my life without art and fashion, it became an integral part of me. I later realized I needed to stay true to myself and my work would only stand the test of time, if I followed my intuition.
So I do, I revisit my childhood dreams, my fantasies, fables and fairy tales, and I give them a new form, in which they can exist and communicate who I have become.

3. What emotions or messages do you hope people feel when they see your designs?

I want spectators to have an experience, which is hard to put into words. That feeling of inspiration, curiosity, other-worldliness, as if you had butterflies in your stomach and suddenly trespassed different dimensions. Charm and love; purification of the heart.
I want them to feel connected to their secret dreams and the tender parts of their soul. Whenever an art piece makes me feel like that, even for a split second, it is a bit life-changing. I hope I can awaken this in people. Sensitivity is not an easy emotion, which we express commonly, in daily situations. I do not think it is even possible to ever understand, so I want people to be able to contemplate it within their hearts when they see my creations.

4. Can you walk us through your design process—from the first idea to the finished piece?

It is truly like a mozaic of inspirations, ideas, experiments, rejections... My process is like a big collage itself—so, funnily, I often start with mood boards or collages, all done physically, with magazine and book cut-outs, inspired by a mirage of my interests—they could come from books, films, literature, people I met, travels. I often dig for references in my past memories too.
Since I was two years old, I have been ‘noting’ my ideas by sketching, so that is how I collect my material—through concept sketches. Then I usually dress the message I want to convey in characters, as it helps me put certain elements into a frame—this is kind of how I think in general; I have a catalogue of characters in my head, with names and backstories, and I use them as tools to process different emotions within me. And to show the universe those characters reside in, I then go onto textile samples, I make small-scale moulages, I edit pictures in Photoshop to find interesting shapes—I tend to manipulate proportions especially. And then, when it is all abstract and whimsical—I try to somehow make it work! I just immediately go into sewing, allowing a bunch of ‘happy accidents’, as if I were sculpting, till I am satisfied. Finally, I decorate to the brim, with focus on small details (that might be my favourite part!). And to broaden the vision I find photographers who can re-frame my ideas and breathe a new life into them.

5. What materials, textures, or techniques do you love working with the most, and why?

I am a big lover of see-throughness—I think it reflects my passion for showing glimpses of my inner world; how tangled and complex it can be, but without ever revealing the whole picture. Keeping a bit of mystery in there. That is why I often go for organza, as you can print images on it and layer them like collages—then you get fantastic colors, slightly muddy, almost rotten, which reminds me of flower petals, nature, waves of the sea, earthly wonders. On top of that I would add some tulle, especially black or white, and then lace with many different patterns, perhaps some yellowish shiny latex, feathers, loose thread. I have injured my fingers so many times while burning my textiles or sewing on sequins by hand!
I like surfaces that you can decode piece by piece, which change in the light, which you can get fascinated by. Blocks of color and smooth expensive textiles are not for me, as for now. I also love to incorporate elements of second-hand vintage garments in my designs—old buttons, ribbons or embellishments—it is like putting a mysterious spirit from the past into the piece.

6. This photoshoot brings your work to life—how did you collaborate with the photographer to express your vision?

I can imagine that my garments without the wonderful work of photographers are like thoughts that remain in one’s head, but never expressed in action, are unknown to the world and eventually die a quiet death in the fields of imagination.
I love photography, for it captures a certain scene; like a movie still, and encapsulates that atmosphere in a picture, which is a physical proof of that dream.
I think of myself as extremely lucky to have come across Fred Baggen, as he himself is surely more of an expert in the field of expressionist silent cinema than me, and he is always enthusiastic and full of his own ideas. Our ‘fable’ therefore came to life very quickly—it was as if we were reenacting a movie scene. We used a beamer to reflect images on the structure of the garments; played with various set ups and images. I felt truly immersed in the character of an expressive bewitched heroine, as Baggen did his magic and then surprised me with a variety of different variations—blurry and dreamy, sharp and unnerving; bright and vibrant or focused on contrast of black and white—polar opposites. A true maestro!

7. Who are some designers or artists (past or present) that inspire your creative world?

I could really write an endless list of my influences, as I consume a lot! But I remember one of my first great inspirations was a Polish assemblage artist, Władysław Hasior, whose work is full of folklorist themes, often rooted in Slavic mythology and local culture. They are a bit scary but they truly pierce your soul, especially placed in the ambience of his gallery, which is located in an old wooden cabin in the mountains.
As I mentioned, I am a lover of German Expressionist cinema, but also, more whimsical, Georges Méliès. Tim Walker’s photography, Elizaveta Porodina. I think poems like ‘Les Fleurs du Mal’ by Baudelaire, ‘Master and Margarita’ by Bulgakov, all Dostoevsky’s novels, Chopin’s music, biblical themes, art deco buildings... It all shapes my soul day by day.
But to narrow it down to fashion, I have always admired Alexander McQueen, John Galliano, Betsey Johnson, Thierry Mugler, Christian Lacroix, Anna Sui. I am also happy to see the rise of Dilara Findikoglu, as I remember just a few years ago she was a niche inspiration of mine and now she seems to be thriving!

8. What challenges have you faced as a young designer, and how have you overcome them?

It is surprisingly easy to be very harsh on yourself, where instead of reflecting critically on your work and drawing inspirations from others, for the benefit of your own progress, you compare yourself and lose your own creative vision. I am definitely guilty of that; of becoming intimidated by all of those very talented creators in the field. I often felt that I did not fit into any of their boxes—I was afraid I was in the wrong place. I tried to squeeze in, but instead I needed to make my own box, outside of their world.
It is a long process and I am still working on my approach, but one method I like to use—to trick myself—is to imagine the childhood or teen version of me—the one who would be so proud of what I have already accomplished and would, probably, idolize a figure like the person I have become—so I need to look through the eyes of a child—and see it as a way to fulfill my dream and inspire others to search for that for themselves, instead of a ‘duty’ to fill just any niche in the field of fashion.

9. What do you hope to explore next in your fashion journey—any upcoming projects or dream goals?

I do not yet have a single clear idea—but I am used to my process being this way—initially, it is millions of small scraps of ideas, try-outs, concept work, and then the puzzles fall into place and it all suddenly clicks.
Since I have been occupied working with florals and a lot of delicate colors and shapes for many months, I have suddenly felt myself being drawn to more contrasted, androgynous strong silhouettes, old-fashioned sci-fi, robots, the fantasy of futuristic technology, ‘metropolis’, and the poetic language of geometry. Who knows, maybe I will create a science-fiction-robotic-tale?—very likely, judging by the hours I spent playing Kraftwerk in the background, whenever I work!

10. What advice would you give to other fashion students or emerging designers just starting out?

There are plenty, but I think it all comes down to one thing: stay true to yourself.
Be critical but do not be ignorant of what your heart is drawn to. Listen to your intuition and try to always stay passionate about what you are making—then no hardships will ever stop you, because you will feel like you are fighting for this grand goal—for your dream, which makes life worth living after all. Do something that will make you wake up full of excitement in the morning and will put you to sleep dreaming and planning, and looking forward to the next step.
Art is a beautiful and powerful tool—a key to hearts that not everyone can hold. You do not owe practicality to the business. If you create straight from the heart, your art will reach those who need it and it will fill them with hope and inspiration. Do not lose your heart, you will need it in life!
And most importantly, do not be afraid of mistakes—they teach you the most and you will look back on them with fondness!

What shines through Anna Kosidło journey is not only the artistry of the collections, but the resilience and sincerity behind them. Their designs are not meant to simply be worn—they are meant to be felt, experienced, and remembered. By fusing the delicacy of dreams with the drama of cinema, they invite us into a world where fashion becomes a mirror of the soul. As they continue to evolve, one thing is certain: Anna Kosidło is a designer whose work will not only define the present moment, but also inspire the future of fashion with imagination, vulnerability, and daring beauty.

Wardrobe Stylist/Model/Fashion Designer/Makeup Artist/Hair Stylist: Anna Kosidło@the_anna_kosidlo

Creative Director/Photographer/Retoucher: FredBaggenPhotography

@ fredbaggenphotography

https://www.fredbaggenphotography.com

Georgia Chioni - SKiN iT Fashion

Georgia Chioni is not your average designer—she is a visionary force merging cinematic storytelling with bold, sensual fashion design. The mind behind SKiN iT Fashion, Georgia has made waves across international runways with her avant-garde approach, sustainable ethos, and fierce devotion to creating garments that feel like wearable art. With accolades from the International Design Awards and Athens Exclusive Designers Week, her journey is one of passion, persistence, and power. In this exclusive interview, Georgia opens up about her inspirations, creative process, and what it truly means to be a modern designer.

Can you tell us about your journey into fashion design? What sparked your interest in this field?
For me, fashion design is about finding your own identity. It’s a two-itinerary journey οf a learning process: studying and gaining knowledge as well as diving into one’s self. I started this journey with personal styling, as I wanted to enrich my knowledge with regards to costume design and styling in the movies we were making. Although my grandmother was a sewing lady and I was spending time with her playing with patterns and yarns, I did not remember a lot. I was very young, so I had to start fresh again. I continued studying and participating at competitions that brough awards and recognition at international level, such as f.e. the Best New Designer Award at Athens Exclusive Designers Week as well as Bronze Award – Best runway collection at the International Design awards in 2022. Our brand, SKiN iT has since its birth -that is three years now- continues presence at international fashion shows and fashion weeks (Serbia Fashion Week, Budapest Fashion Week, Feeric Fashion Week, Sicily Fashion Week etc)


How would you describe your design aesthetic, and what influences have shaped it over time?
Dynamic, sensual with a flare of sexiness and mystery. I would say that in my collections I integrate various elements, such as f.e., glam rock, punk rock, goth, retrofuturism, atompunk, neoromanism and fetish. Since my first fashion sketch, I knew what I wanted to work on and the elements that would shape my style. A contemporary femme fatale of a neo noir film.


What is your creative process like—from concept to final garment?
For me it’s about crafting dreams, exploring, creating and inspiring. It’s a process of vision unleashing. First, I have the inspiration. What will the thematic be about? I am always looking for a solid and well built thematic. Then I am thinking how I will bring this thematic to life in the best possible way. It has happened once that I started from the fabrics, they were so incredible that I wanted to make a collection using them. This, I think, for a designer that wants to be fully sustainable, is maybe a better way, however it is not always possible. So, once I have the sketches, I imagine how they will look on the catwalk show and try to choose the best fabrics. I do a lot of research, as I aim to find the best. I have some providers I work with and their fabrics have never disappointed me. I check the fabrics closely.Then we work on the patterns. After the patterns are ready, we make pre-samples and a first fitting to see how they look on the model’s body. After that we make the corrections on the garments, this could last up to three weeks maybe. Then, we make another fitting and if the garments require more work, we need and a third fitting. Of course, for the shows we make extra fittings with the styling in order to find out which is the best combination and how they all look like. A tiring, but wonderfully satisfying process. Our own tailored dreams, weaving ideas into reality.



Where do you draw inspiration from for your collections?
I consider myself a quite creative person, who believes that inspiration can be found in anything, one just needs to closely observe. Since I come from a cinematographic background, my first collections were inspired by screenplays that I had written and films we had shot, as I was trying to “bring to life” characters from my plays. My two last collections have been inspired by our mythology (Nine Muses) and history (Byzantium Era). I like to praise female personalities and demonstrate their dynamism, drawing inspiration for crafting timeless collections.


How do you balance creativity with the commercial aspects of the fashion industry?
The collections of SKiN iT are high end fashion garments, bespoke, with a very high artistic vision. We are not a brand aiming at mass production, rather a demi couture, new brand, with an artistic vision that wants to merge the boundaries of cinematic art and fashion design.


What materials or techniques do you enjoy working with the most, and why?
A variety of materials and techniques, trying to be as sustainable as possible: from leather – we try to use ecco leather- to sequins, satin, organic cotton etc. We have also made garments using cork and seashell fabric. In addition, we are huge supporters of zero waste pattern making. There have been difficult garments that we have created, with moulage and sculpting, either on the doll or on the body of the model.


How do you see your designs contributing to conversations around sustainability or social issues in fashion?
Since the first day of my studies, I have been a huge supporter of circular economy, sustainability and social issues related to fashion. It is clear that our planet is over abused and the linear model of consumption that dominates, cannot longer be supported. Although it is difficult for a new designer to enter the fashion business as a sustainable designer, I have tried to embrace it as a dogmatic principle or the brand. To this end, we try to use sustainable fabrics, work with zero waste pattern technics, reuse rest over fabrics, instead of throwing them and work a lot with upcycling. In addition, I cooperate with various institutions here in Greece and have seminars and lectures on sustainability in fashion and how each one of us can contribute to a more sustainable environment. Moreover, we try to educate women on having a more sustainable lifestyle.


What has been the most challenging piece you’ve created, and what did you learn from the experience?
Last year we presented in Serbia Fashion Week a new collection having as a thematic the Nine Muses from our mythology, brought in the modern world. Fabrics were not easy to deal with, garments were difficult to sew and the styling was a huge challenge. As a consequence, the dress that one of the muses was wearing had a very high degree of difficulty, as the belt-skirt consisted of a lot of layers of draped organza. I had estimated that I could need one and a half day for it, it took me almost four, as I had to sew and unsew, until I managed to have the result I wanted. It was a difficult bet. Things don’t always end up as planned, there always have to be a plan B, in case plan A goes wrong. And always be prepared!


Can you talk about a moment in your career that felt especially rewarding or transformative?
Awards and international recognition, as mentioned above, were especially rewarding. The fact that international audience saw a value in my collections gave me joy and satisfaction. At the same time, it gave me the push to get better and improve myself in all ways. A true, powerful motive! If I needed to pick one moment, this would be the award at the International Design Awards in 2022 for the best runway collection-handmade apparel. I also felt extremely happy when I got an invitation for Paris Fashion Week, Haute Couture, and this would be my next dream plan!


What advice would you give to emerging fashion designers trying to make their mark in today’s industry?
In not an easy industry to step in. One would need to have devotion, patience, vision and commitment. It’s a multifold process, as one would need to work on issues related to showing the work to a wide audience as well as becoming commercially viable. But the effort is worth it one hundred percent. So, my advice would be to have dreams, never give up and follow small, safe steps.

Georgia Chioni is redefining what it means to be a fashion designer in the 21st century—fearlessly artistic, fiercely dedicated, and uncompromising in her values. With SKiN iT Fashion, she’s creating more than garments; she’s crafting legacies. As she continues to elevate fashion into an expressive, sustainable art form, the world is watching—and we can’t wait to see where her journey leads next.

Photo Credits:

Fashion: @skin_it_fashion

Model: @sofia_danai_

Assistant: @irenesochou

Assistant: @klairi_geo

Photo: @georgia_chioni