The new Anuttara collection is for the woman who wants it all and should never have to
choose. Between beauty and comfort, the elaborate and the everyday, the extraordinary
and the sustainable.
I design for women who are many things at once — because I am one of them. Who
wants to be beautiful every single day. These are not pieces you save for a special
occasion — though they are worthy of one too. Clothing that takes you from the gym,
dance practice to the night out, from the city street to the festival, from a slow morning
to a ceremony.
They blend into urban life as easily as they belong in Bali or Tulum. Somewhere in the
making of this collection it came to me — a priestess can wear Adidas. I think that says
it all.
I create from organic and natural textiles — bamboo, hemp, cotton — because what
touches your skin and how we live on this earth both matter.
But organic doesn't have to be plain, sustainable doesn't have to be boring. Comfortable
doesn't mean you won't look epic.
Anuttara has always been about bringing a touch of the mythical into everyday life. My
vision is to create garments that make us feel different — more in touch with something
extraordinary in us. This collection does it in a subtle way — feminine silhouettes,
gorgeous prints, fine details and of course ornaments.
Ornament — humanity's oldest shared language, woven across cultures and centuries.
Every print and embroidery design I create is drawn by hand — pencil on paper. No
digital shortcuts. It is my art. And it is my way of keeping old ways alive in every
garment I make.
This is clothing with a soul. And it was made for yours.
WHY ORNAMENTS:
There has never been a culture without ornament.
My love for ornaments came not only from their purely aesthetic appeal, but also from a
deep reverence for the cultural heritage humanity has built across time — and the
realization of the unique role ornament has always played within it.
No matter how limited the resources, people have always found a way to decorate their
clothing and environment. Ornament was never an unnecessary luxury or mere
decoration — it was humanity's oldest way of mirroring the patterns we see in the
universe, a shared language that still tells stories.
The ornaments I create draw their inspiration from a wide range of human artistic
traditions — anything from Art Deco to Egyptian motifs, from Viking to Florentine wall
paintings. I never just copy — I study their language, absorb it, and then find my own
voice within it.
Every embroidery and print design I create begins the same way — pencil on paper. No
digital tools. It is time consuming, yes. But there is something irreplaceable in that
process — this is my art, and my way of keeping old ways alive in every Anuttara
garment.
As soon as I started to work with ornaments, I began to notice that my state of
consciousness was shifting in various ways while I drew — each tradition carried its
own frequency and affected my mind. I had always believed that ornaments are codes
— but it was only through my own creative process that I began to experience this
viscerally.
My clothing has always been elaborate and rich with detail. Every time I try to simplify, I
find it genuinely harder than making something ornate. And sometimes I genuinely
wonder — maybe the inability to make something simple is itself a flaw.
And then I find myself back in an ethnographic museum, or lost in a period film, and I
remember — clothing was never simple.
Humanity drifted toward functionality and minimalism. As someone who studied
architecture, I watched the same shift happen there — from elaborate temple carvings
and Gothic cathedrals we arrived at clean white boxes. And I say this with respect —
some white boxes are absolute masterpieces, just as some simple garments are works
of art.
And yet. The things humans made before had a devotion to detail that I can't help but
deeply value. It speaks to something innate — a primal human desire to decorate, to
sacralise, to refuse to leave the world plain.