Object design portfolio

My name is Chelbaeva Ekaterina. I graduated from the HSE School of Design in  July 2025 under the <nbsp; management of <laqua; Design of Clothing». For  studied design, material science, work with textile, basic jewelry and  subject design. This wide range of disciplines has allowed me to truly sink into the  different design aspects of — from  conceptual thinking to  technical implementation. In  the study frame I  created more than 12 mini collections, each of which addressed unique challenges — from  work with  color, form to  creation of images on  basic DNA of the brand or the principles of the apsaikling. Through these projects, I was more interested in functionality, sustainability, and  applied design potential. It is in the  the process of these studies that I  realized that I want to move in the  side of the more substantive, tangible design — where the shape meets the function, and the function, and the esthetics — with  real life. By chance, I was on a second course in the course in the course in the second course in the second year; optional course in the last year in the year in which I worked as an assistant to the head of the lab. Many of my subsequent projects were born on the base of the lab. I’ve been working with the laser sharp, CPU-star, plastic processing, and scissor casting, and  also doing research on the  developing bioskins from the  medicosomics. The experience at the  laboratory was a turning point for me: it allowed me to combine my interest in  science and  technology with  designer thinking formed in  fashionable environment. I’ve learned that the intersection of science and  the design of — that’s exactly what the space is in  which I’m interested in developing. And  in  in this sense, subject design became a natural extension for me, and  not  a laughing direction.

Despite to  that my past projects were connected to the  first line with the model, I’m increasingly focusing on the application value of products. I’m interested in designing things that aren’t  just create images, but  and  become part of the day-to-day routine of — be  it’s shoes, glasses, bags, or other functional objects on  fashion binding and  industrial design. I’m gonna take the admission to the  the master’s program as the next logical step. I’m close to the HSE educational environment, which I’ve already developed as a designer: cross-disciplinaryity, experiments, and  critical thinking are encouraged. I’m  confident that I can combine experience in  clothing design with new knowledge and  substantive design tools — to create unique, functional and  sustainable solutions. In  the farthest I have wanted to create my own design laboratory — space on  fashion, science, and  technologies. I am familiar with the idea of working with other designers, engineers, and researchers to develop products, and  future products — both aesthetically expressive, and  practical.

The project turns to  the idea of life as a continuous process — without beginning and  the end where destruction becomes a form of birth. Death in  that context ceases to be the final point, turning into `nbsp; transition — into  part of the general cycle that binds all living things. Based on  research in  bio-art areas, the project revises the boundaries between man, nature and  technology. The collection rejects the anthropocentric view, in  which man is an autonomous and  dominant figure. Instead, a different perspective is offered: man — one of the  components of a common system where organic, synthetic and  digital exists in  interconnects.

Research activities covering biomaterials, saens-arta, and  also the practical process of growing bioskins on  the basic medusomics (combuchi) have become an important component of the diploma collection. This phase of work has provided valuable experience in interacting with  unique, non-standard material requiring a case-by-case approach. In  the process has been performed on numerous experiments, including aeration, color change, stamina, and  also the search for effective and esthetic ways of connecting material fragments.

Laser cutting has become an equally important part of the work. The process included graphic search, experiments on drawing different materials, and work with shapes. It is important to note that laser cutting fundamentally changed the properties of the tissue and its behaviour, which in turn affected the shape formation of the object.

The collection shows how modern clothing can exist as an independent object for  the use of innovative materials and  production methods. Biocosage, laser cutting and  prints on  technical tissues not  only expands the shape and  product invoice, but  and  create a new visual language that goes beyond  definitions of the traditional function of clothing, proposing the interpretation of the object as an art object.

curator: Maria Klavevsky

The project is based on  rethinking the scientific theory of quantum complexity — a phenomenon in which two particles remain connected regardless of their distance. This idea came up in  the foundation of artistic research, in  which the language of physics becomes a metaphor for talking about  human relationships, memory, and  invisible threads linking us to each other. Working on the project has become a way for me to combine the scientific perception of the world with the personal reflections of the world’s proximity, separation and unity. It reflects my interest in  the inter-disciplinary approach — at  the intersection of art, philosophy and  science, — a  also the desire to create objects that do not  only perform an aesthetic function, but  and  transmit meaning, trigger a response, tell a story.

curator: Slava Fomin

The project draws attention to nbsp'; the feeling of insecurity and nbsp; the unsatisfaction that goes through as a lockdown or sanctuation. The process is becoming a metaphor for transformation: from  soft, variable and  living — to  hard but  fragile. The central place is the body, which often becomes a source of uncertainty for women. This is related to the pressure of social standards of beauty imposed by culture, media, and  public opinion. Under these conditions, the body is perceived not as living and as unique experience, but as an object that must meet external expectations.

curator: Anton Artemchuk