BODY IN BETWEEN

The Body as a Structural Element.

The project is rooted in an investigation of the relationship between the human body and clothing—clothing that simultaneously constrains it while allowing it to transcend established boundaries.

Inspired by the DNA of Jean Paul Gaultier, I decided to reinterpret the traditional skirt silhouette, disrupting the integrity of its surface.

A contoured cutout reveals parts of the body, and the lacing system visually connects the garment’s divided elements.

The lacing becomes a symbol of control: it holds the structure together while simultaneously highlighting its instability.

This generates a tension between the body, which strives for freedom, and the clothing, which attempts to maintain a defined form.

Project Formula: BODY + CONSTRAINT + EXPOSURE = BODY IN BETWEEN

At the core of the project are three signature principles of Jean Paul Gaultier’s work with the body and clothing.01 / BODY EXPOSUREOpen areas of the body become integrated parts of the garment’s construction. In the skirt, this principle is expressed through a deep cut-out.02 / CORSETTINGLacing, traditionally used to regulate and secure shape, is transferred to the skirt, becoming its primary visual element.03 / DECONSTRUCTIONThe continuous surface of the skirt is visually divided into separate elements, connected by an open lacing system.

While developing the skirt, I experimented with the placement of the cutouts, the proportions of the exposed areas, and the lacing system. The main goal was to create a construction where the body becomes an integral part of the design, and the lacing simultaneously connects the pieces while emphasizing their separation. In the final design, I settled on an asymmetrical composition: black fabric forms the primary silhouette, the shaped cutout reveals the front portion of the garment, and the contrasting print enhances the visual dynamism. Key elements: asymmetry / body exposure / lacing / contrast of textures.

The foundation of the garment is a fitted midi-length skirt, the construction of which has been modified through asymmetrical paneling.

The key feature is the shaped cutout on the front of the skirt. Metal grommets are placed along its edges, through which cross-lacing passes.

Black panels form the primary silhouette, while a contrasting printed insert creates a visual disruption of proportions.

The lacing serves not only a decorative function but also binds the separate sections of the construction.

For the skirt, I chose a combination of a black fabric and a contrasting printed material.The black fabric forms the primary silhouette of the garment, while the printed details emphasize the asymmetrical structure of the design.Metal eyelets and a black cord create a system of crisscross lacing. The contrast in materials helps to highlight the boundary between covered and exposed areas of the body.

Skirt construction begins by cutting the asymmetrical pieces according to the prepared patterns. After joining the main parts of the garment, the edges of the curved cut-out and the areas for installing metal hardware are finished. Grommets are placed along the cut-out, forming the basis for lacing. In the final stage, a thin black cord is threaded through them, and then the garment’s fit and the lacing tension are checked. Main stages: cutting → joining pieces → edging → installing grommets → lacing → fitting.

Through the exploration of Jean Paul Gaultier’s DNA, a skirt was created where the open construction becomes the central artistic device. A deep sweetheart neckline and crisscross lacing visually divide the garment, generating tension between the body and the clothing. The black biflex forms a figure-hugging silhouette, while the contrasting print emphasizes the asymmetry of the design. Result: the skirt as an investigation into the boundary between restriction and bodily freedom.