What happens when a designer treats garments not as fabric to be sewn, but as structures to be sculpted? For fashion graduate Manasi Parmar, the answer lies in wood, a material rarely associated with the human body, let alone the fluidity of fashion. Her debut collection breaks away from textile traditions, proposing garments that sit somewhere between sculpture and clothing, utility and statement.
At the heart of the project is a provocative question: Can fashion be redefined through resistance rather than flexibility? Parmar responds with pieces that are unapologetically bold, sculptural, and tactile, garments that reshape not just silhouettes, but the wearer’s relationship to space. Crafted with wooden components, each look in the collection is a study in tension: between softness and rigidity, tradition and reinvention, wearability and presence.
The wooden elements are not mere accents or accessories, they are the structure, guiding the design and anchoring each form. Yet within this strength lies a certain delicacy. Parmar’s silhouettes never feel heavy or ornamental. Instead, they evoke a quiet power, allowing the body to animate the material rather than be consumed by it.
While the collection feels conceptually grounded in art and architecture, it also gestures toward a deeper commentary on the future of fashion. As the industry contends with questions around sustainability, materiality, and form, Parmar’s work offers a radical, thoughtful perspective: What if innovation comes not from softness, but from structural reimagination?
A recent graduate with a clear and confident design voice, Parmar is part of a new generation of designers who aren’t just imagining alternative aesthetics, they’re constructing them, literally. Her work invites editors, curators, and critics to look beyond trends and into the realm of fashion as spatial design, as object, as intervention.
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