If you don’t want to choose a tattoo, the best thing to do is put on a design by Anna Osmekhina’s label TTSWTRS. Her delicate garments with printed tattoo motifs leave little to the imagination and celebrate the body with all its supposed imperfections. The Ukrainian is just as open and vulnerable in the interview. She tells us how her creative process has changed as a result of the war in her home country, where she sees her label in ten years’ time and why creativity is more important than ever in times of crisis.
FACES: Do you remember the moment you decided to become a designer?
Anna Osmekhina: Originally, I never wanted to be a designer. I worked as a costume designer and stylist for a long time. I was constantly on the road, living out of a suitcase and had to constantly meet impossible deadlines and fulfill the high demands of directors and clients. So it wasn’t a single moment, but a gradual realization that led me to my own label. Fashion has always been a language for me. I just wanted to have something of my own without being responsible for pleasing everyone. And so TTSWTRS was born.
F: Do you often have to explain the name of your label?
AO: All the time. TTSWTRS stands for Tattoosweaters, which was also the name of our first capsule collection. It’s cryptic, but with intention behind it – like a code only for those who understand what it’s about.
F: Do you have tattoos yourself or do you just wear them on fabric?
AO: I have a little pink heart. It’s dedicated to my beloved grandma. I think people who tell their story with their body by getting a tattoo are brave. But since I’m quick to doubt everything, I couldn’t commit to tattoos. For me, working with tattoo illusion clothing was a way to explore the permanent without committing myself physically.
“Kiev is in our DNA.”
F: How did your career as a designer take off and what would you do differently now if you had to start all over again?
AO: I started without any formal fashion training, just with intuition, a vision and my experience as a stylist. We started with a small collection and managed to get into Colette, a famous concept store in Paris, right from the start. I wouldn’t change much – we learned something from every step.
F: In your very own words: What is TTSWTRS – fashion, art, both, or something else entirely?
AO: TTSWTRS is a conversation between fashion and the body, between identity and expression. It’s not just about clothes – what we make is wearable art that tells stories about presence, vulnerability and transformation.
F: Your designs are characterized by skin-tight silhouettes. How has this changed your relationship to the human body?
AO: Pieces that fit like a second skin make you think about every curve and line of the body. It deepened my sense of how fragile and strong the body is. Especially in today’s world, where the body is political, it becomes a powerful symbol. All our lives we try to accept who we really are. At the same time, we are constantly trying to improve something about ourselves. Our point of view is that the body is beautiful as it is and that it is our best friend throughout our lives. We want to give the body love and respect, which it definitely deserves, instead of constantly criticizing it. Marina Abramovic’s performances have greatly changed my perception of the human body.
F: Apart from the body as inspiration – where does your distinctive aesthetic come from?
AO: Of tattoos. Of art. Of artists. Of performances. Of cities. Of life. From the need to express something lasting in a fleeting world. And from my love and respect for the human body, for storytelling and from my background in visual styling.
F: How is a design actually created? In your head, on paper, in your dreams?
AO: Very often everything starts with a deadline. Sometimes with a feeling that is intangible – a visual fragment. Then it unfolds on paper, with research, sketches and fabric tests. Sometimes it starts with a dream. Sometimes I see something that is not quite clear, in a much more beautiful way than it is in reality. I have pretty bad eyesight, so maybe that helps. But the credit actually goes to my wonderful, beloved team. I really do work with the most talented people in the world.
F: Who or what inspires you the most when it comes to fashion?
AO: Martin Margiela and Jean Paul Gaultier have shaped my sense of form and concept. But I am also inspired by artists, dancers and the quiet self-confidence of people who are true to themselves. My team is also a great source of inspiration.
F: And what was the strangest source of inspiration you’ve ever used for a collection?
AO: Probably the idea of sweat crystallizing on the skin – we turned that into a rhinestone pattern for bodysuits and leggings. It’s about turning something raw into something poetic.
F: What do you do when the creativity doesn’t flow the way you’d like it to?
AO: I take a break. I watch dance performances, talk to people who have nothing to do with fashion or simply walk around the city. My body always takes me back to the right place.
“Resilience doesn’t always have to be loud or explosive.”
F: What does sustainability mean to you in the production of garments?
AO: First and foremost responsibility. We use eco-certified fabrics from Italy, Japan and Portugal. We also make use of innovative materials such as vegan leather from Leathertex, which is in line with our ethical approach. This material is not only eco-friendly but also incredibly practical – it can be machine washed and dry cleaned. For our new Case Jacket, we chose Leathertex to create a texture reminiscent of a musician’s well-worn instrument case, adding a personal, almost nostalgic touch. We also decided to invest in our own experimental production in Kiev to avoid waste. It’s about care, not just trends.
F: What’s your favorite fashion trend at the moment and which one don’t you like at all?
AO: I like the trend towards authenticity – clothes that reflect the inner person. My least favorite thing is anything that is loud, just to be loud.
F: How would you describe your own style? Is it the same as your designs for TTSWTRS or do you dress very differently in your private life?
AO: There are overlaps. I wear our pieces every day. They are made to be expressive and functional at the same time. But my personal style is also often simply practical because I am constantly on the move and live in different cities.
F: Who would you like to see in your pieces one day?
AO: Everyone who feels something when they put on a piece. Emotions are more important than status. I would also like Marina Abramovic to wear our designs. That would be a miracle for me. I would also like to be part of an art performance in an opera or theater one day.
F: In 2022, just as the attack on Ukraine began, you were stuck in Spain. How are you doing today – and where do you spend most of your time?
AO: I travel between the USA and Ukraine. Every two or three months I have to be with my team, my people in Kiev. Then it’s back to Florida. I’m fine now – I feel fragile, sometimes exhausted, but also full of determination. Being at home, even under these circumstances, gives me stability.
F: How did the war change your sense of identity – as a private person, but also as a designer?
AO: The war has deepened everything. I no longer wear my Ukrainian identity as a background detail, but as a foreground in my work. Every stitch feels more personal. It’s no longer about aesthetics, but about memory, meaning and resilience. We have finally started what we had been putting off for years: the opening of our flagship stores in Poland and Vienna, our first couture collection at NYFW. We are living in the moment, creating and producing our boldest ideas and striving to achieve the impossible. And we are simply grateful – for the present, for the possibilities and for the people around us.
F: How does your connection to Kiev influence your designs?
AO: Kiev is in our DNA. Our production, our people, our rhythm. I love our Kiev experimental workshop. It is my home. The textures of the city, its silence, its noise, its survival – all of this is interwoven in our work. There is nothing like my Kiev.
F: What textures, colors or materials have taken on a whole new emotional meaning because of the war?
AO: Concrete gray and sand tones remind me of ruins and bunkers. And red, which was once strong and bold, sometimes feels more like a wound. These feelings are constantly changing; and we process them with fabrics and prints.
F: Are there certain colors or materials that you no longer use?
AO: Olive green military shades. They carry too much heaviness. Sometimes we avoid them altogether, or we use them specifically in a certain context.
F: What does it mean to make art or fashion in a time of national trauma?
AO: It means taking responsibility. Creating beauty when everything feels broken is an act of protest. It’s a way of saying: we’re still here, we still have imagination, we still feel.
F: Has your relationship with your target audience – especially the Ukrainian one – changed in recent years?
AO: Yes, deeply. There is more trust, more vulnerability. A closer connection.
F: So many tragedies happen in the world at once that support sometimes seems superficial. As soon as the next tragedy happens, the previous one is forgotten. How would you like people to express their support for Ukraine?
AO: Through consistency, not forgetting and telling stories. And, of course, by supporting Ukrainian companies, artists and initiatives – not once, but again and again. Attention is a resource – use it wisely.
F: What creative outlet was the hardest to hold onto during the escape – and what, oddly enough, thrived?
AO: It was hard to maintain focus. But strangely enough, creativity thrived even in moments of chaos – it was a way to stay sane. The body became the canvas again. This idea intensified.
F: How can fashion be a support in times of tragedy and grief?
AO: By offering comfort, identity, protection and beauty. Beauty, art and fashion give the impression of being alive. Clothing can say what words cannot. It can be an armor, it can be a message, it can provide space for healing.
“My work is loud – so I don’t have to be.”
F: You often refer to the body as a canvas. How has this metaphor developed for you in times of war, when the body is politicized, repressed or even endangered?
AO: It’s no longer just a metaphor, it’s very real. The body holds trauma, but it also holds hope. Our pieces, especially the second-skin silhouettes, have taken on a new meaning – they are a form of reclamation.
F: What has the world not yet understood about Ukrainian resilience?
AO: That it is quiet. Resilience doesn’t always have to be loud or explosive. Sometimes it is simply being present every day, continuing to create and refusing to be erased.
F: Has the war redefined what home means to you emotionally and physically?
AO: Definitely. Home is no longer just a place – it’s the people, the language, the familiar smell of fabric in our Kiev studio. It is now also something internal, something that we carry with us wherever we go.
F: Many Ukrainian artists have had to switch between survival mode and creative mode. How does this switch work – or is it sometimes one and the same?
AO: That has become mixed. Creative work has become survival. That’s how we process, that’s how we stay connected, that’s how we breathe. You can no longer separate the two.
F: Is there a word in Ukrainian or Russian that describes your creative spirit better than another language could?
AO: The Ukrainian word “výtrymaty” – it means endurance, but also balance, equilibrium. That sums up a lot of what I strive for creatively.
F: What question do you wish people would ask more often – and how would you answer it?
AO: I wish people would ask more about how we build community through fashion. The answer: with care, authenticity and patience. We don’t just sell clothes – we create a shared emotional space. Or they would ask what our dream is: peace for all humanity. In our perfect world, this is possible.
F: Do new cities and temporary homes have an impact on your aesthetic?
AO: Yes. The street art in New York, the clear geometry, the new color palettes. The peaceful rhythm in Florida. Cities like Paris, Vienna, Zurich, Düsseldorf. Also airports and the energy of movement there. But my work always returns to Kiev. That is the starting point.
F: Where do you prefer to spend your time?
AO: In the studio with my team of artists. That’s where everything begins and ends. But I also like to be on the move – on trains, in airplanes, on transit. These borderline spaces drive me.
F: What did you want to be when you were a kid?
AO: Detective. I liked looking for clues, uncovering layers. It’s funny that design is actually quite similar.
F: What do you do when you’re not designing?
AO: I observe. I write. I look for connections between seemingly unrelated things. Creativity never stops – it just takes on a different form.
F: Tell us something surprising about yourself that people might not expect.
AO: I’m much more introverted than people think. I prefer the silence, the solitude. My work is loud – so I don’t have to be.
F: What have you always wanted to do with TTSWTRS but haven’t gotten around to it yet?
AO: I would like to create a physical space in Kiev: a complete ecosystem with a production lab, a café, maybe even a kindergarten. A kind of educational center and international art residency. A space where creativity and life merge.
F: Would you like to set up collaborations outside of fashion – for example in the fields of architecture, fragrances or music?
AO: Yes, definitely. That’s the next step. We are already thinking in terms of TTSWTRS being sensory and immersive. I would like to work with architects and perfumers, and we have already collaborated with a talented composer.
F: Where do you see TTSWTRS in the future – apart from your ecosystem mentioned earlier – and what milestones are you keen to achieve?
AO: In ten years, I see us with offline spaces all over the world, but still with Kiev at our core. I want us to build a sustainable, revolutionary, emotionally intelligent brand. One that constantly asks questions and awakens feelings. And my other biggest dream is to finally get zoos to close. Our children should not see the smartest creatures as prisoners for our pleasure.
ANNA OSMEKHINA, TTSVTRS
Skin-tight and wafer-thin: this is what characterizes most pieces from TTSWTRS. Artistic prints inspired by tattoos adorn the collections of the label founded by Anna Osmekhina in 2013. The Ukrainian found her way into the fashion industry as a costume designer and stylist. To this day, the brand stands not only for clothing, but also for art and self-expression. Despite the ongoing war, the heart of TTSWTRS lies in Kiev, where Anna regularly returns to work on innovative ideas.
Here you can store through the TTSWTRS range.
Want to find out more about designers? We also spoke to Magda Butrym.
Photos: Ksenia Kargina, Kate Kondratieva, Meryl Valerie
