The project joins headwear, scarves and cultural memory. The diploma brief was a brand-media platform of scarves in the mid-segment: identity, market and audience analysis, product development, a communication strategy and a go-to-market plan.
Before designing anything, I studied the headwear market on three levels, global, national and local, to find a niche for a new brand and to understand how tradition can work in contemporary design.

The market is growing, yet it has no place for a brand like this. Globally, the headwear market has moved from function to self-expression: a hat or scarf is now part of an image, a way to say who you are. Social media, sportswear and a rising interest in handmade things drive this shift. But the biggest players, Nike, Adidas, Under Armour and New Era, win through capital and distribution, and none of them works with cultural code or hand techniques.In Russia people are returning to traditional forms, and the kokoshnik, the boyarka and the kubanka are back. Mass demand is served by Ekonika, without cultural depth. Local brands work with a generalised «Russian style». Nobody builds a system from the code of one specific region. And the Vologda scarf, which once told who you were, where you came from and whether you were married, has become a beautiful but foreign souvenir.

Market research, on three levels. Each figure below measures something different (market size, production growth, local growth), so the pattern matters more than a direct comparison.
In Moscow the local brands Blgvst, Paki Paki and From Saba work with lace, tradition and art prints, but each in its own generalised style. The kokoshnik became a mass trend and stayed a souvenir or a festive object.The conclusion of the research: the global market grows without brands that carry a culture, Russia grows faster because people return to traditional forms, and Moscow has the most capable audience. A region’s cultural code used as a system is a free niche.
Next came visual research around three themes: the bird and its reflections in different languages, headwear as a code, as it was worn and made across Russian regions, and how contemporary brands work with an archive and history.

«We wear not just fabric on our heads. We wear memory.»The manifesto sets the tone. The scarf comes back to life not as a reconstruction and not as a museum piece, but as something you want to put on today: for a wedding, for a walk, for a meeting with yourself. The brand works with lace, cotton and embroidery, and takes the bird, the official symbol of the Vologda region, into a contemporary visual language.

The product follows the idea. One scarf has many scenarios: on the head, neck or shoulders, everyday or ceremonial, and then passed on as a family value. The scarf is not only an accessory but an entry point into culture, a way to slow down and feel a link with a place, a family and yourself.

FORMA is a jewellery workshop where the customer takes part in making the piece. The brand has to explain the long journey behind each material.

How to make that journey visible, so that assembling a piece of jewellery feels like the last step of a story that began long before.

Natural stone is born from the depths of the earth and magma. A cultured pearl is born from water and a shell. A piece of jewellery is born from the history of its materials and from a person. What binds them is a thread of time and creation, onto which each material is patiently strung.

A visual system with clear rules. The human is always drawn in red, the colour of the magma that creates natural stone, as a person assembles their own piece. The patterns are textures of magma or water. The background is always black, for depth and space. The elements and the human become the «technologies» of making jewellery.