My recent work has been shaped by a recurring interest in moments of decision. Across three consecutive projects, I have investigated how garments can articulate different experiences of time, presence, and transformation. While each collection approaches these questions from a different perspective, they all emerge from the same underlying concern: what shapes a moment before it becomes an action?

In Önmagamra hajlok vissza (I Lean Back Into Myself), I examined cyclical transformation through the life cycle of garments. The project proposed a system in which clothing continuously changed through use, repair, and reconstruction, leaving visible traces of decision-making on the material itself. In Bújj-bújj zöldág (Hide and Seek, Green Branch), my focus shifted towards the intensity of presence within a singular moment. The collection explored situations of movement, uncertainty, and transition, where attention becomes concentrated on the immediate present.

Csenddé lett (Becoming Silence) continues this trajectory by investigating the conditions that precede decision-making itself. During the development of the collection, silence gradually shifted from being a subject of investigation to becoming a method of thinking. Rather than approaching silence as the absence of sound, I began to consider it as a condition that shapes perception, attention, and the relationship between body and environment.

The project approaches silence not as an abstract idea but as a material and spatial condition. I became interested in how silence might inhabit the space between the body and the garment, influencing volume, proportion, movement, and construction. Within this framework, clothing is understood not as an image but as a system through which relationships between body, space, and perception can be negotiated.

A central question throughout the research concerned the paradox of silence itself. Silence disappears the moment it is named, yet it remains present before and after every act of speech. Through this investigation, I arrived at the notion of absence not as loss, but as a productive condition. Distance became a space for reflection rather than separation. In this sense, silence is understood as a state in which meaning can emerge before it is articulated through language.

This understanding also informed the material development of the collection. Woven fabrics are cut into narrow strips, interrupting what initially appears to be a continuous surface. These fragmented elements are then reorganised through knots and structural interventions, creating new relationships and new systems. The resulting constructions investigate how interruption, continuity, and transformation may coexist within the same material structure. The knots function as moments of transition rather than rupture, revealing the presence of a larger system through acts of fragmentation and reconstruction.

The project is also informed by a tension between fashion and silence. Fashion operates through visibility, circulation, and attention, while silence often remains outside these systems. Rather than treating them as opposites, the collection explores how clothing can become a site where these conditions coexist. The garments do not attempt to represent silence symbolically; instead, silence is embedded within the logic of their construction and within the spatial relationship they establish around the body.

The collection incorporates ceramic objects created by Imre Bárczi of Meander Ceramic Manufacture. Drawing inspiration from the more than 7,000-year-old artefacts of the Vinča–Tordos culture, these pieces introduce an additional temporal dimension into the work. Existing simultaneously as adornment and autonomous sculptural forms, they establish a dialogue between contemporary dress and objects whose original meanings have remained silent across millennia.

Footwear was developed in collaboration with Loveszter (Eszter Zsuzsanna Nagy), while the soundtrack for the presentation was created by Natalie Szende and Beton.Hofi. These collaborations expanded the project beyond clothing, contributing to a broader exploration of silence as a sensory, emotional, and spatial experience.

Ultimately, Csenddé lett (Becoming Silence) is an investigation into the relationship between silence, absence, presence, and dress. Through clothing, I seek to explore how intangible conditions can be translated into material form, and how garments may function not only as objects of representation but also as spaces for perception, reflection, and embodied experience.