Bye Bye Baby

It’s about a suit, about London, about pretence, about relationships, about masochism, about truth, about juxtapositions.
It’s a signature collection.
It’s a study of a form.

It’s an expression.

It’s art.

It’s a love story, a flashback, a reminiscence of the past 11 years of Kubisz’s life in London. Chronicle written in the stitches.

It’s a collage that merges Kubisz’s signature suits with a selection of knitted seasonal garments.
Simple cut tops and a dress with organic, asymmetric slits that compliment and offset the elaborateness of the suits.

At the beginning there was the initial, soft excitement of getting to know the city. Subtle grey decadence of London’s sky, the faceless, marching suits, which evolved into the signature forms of pinstripe embroideries in “Sara’s Suit” and “Drowned Phonecian Sailor”. Suits got faces and things got messier until they climaxed in “When on Cheapside”.


The sky fell lower and darker, pressing onto the shoulders. The decadence deepened. Walls started crumbling, the relationships started falling apart, the suits decayed.

With the last collapsed strip of fabric in “Tearing Wall Street” and “Doubting Thomas” the markets returned to normal, hearts were crushed harder, and Kubisz dreamed up new ways of slashing the tailored perfection. From pirate-y “King William’s Way” to flamboyant “Andrew’s Legacy”.

Raw cuts symbolise the fragility of all forms, human as well as material, and suggest the inevitability of constant change.
Textile exploration and application adds delicate tactility.

With the last couple of outfits we take a step away from the busy streets into a shadowy backspassage. We wave a farewell to “Crying Stetson” in an oversized minimal knitted suit and take off with “Elusive Chase”, in a long black knitted double breasted coat.

Black asymmetrical suit Avantgarde
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