Birth of the New was developed as a series of algorithmically generated fashion accessories for the collection of fashion designer Olga Kucherenko, presented at Belarus Fashion Week.
The project explored the application of computational design and digital fabrication in fashion. Using Rhino and Grasshopper, custom algorithms were developed to generate structures directly from the geometry of the human head. To achieve the Required fields level of control and geometric variation, parts of the workflow were implemented through custom C# components.
The resulting accessories were produced using additive manufacturing and later finished for presentation on the runway. Rather than designing static ornaments, the project focused on generating adaptive structural systems capable of responding to geometry while maintaining a coherent visual language.
At the time, the use of computational design and 3D printing in fashion remained relatively uncommon. The project represented an early experiment in transferring parametric design methodologies from architecture into wearable objects and digitally fabricated fashion accessories.
Today, technologies that were considered experimental at the time have become increasingly common across multiple industries. 3D printing is now widely used in architecture for models, installations and even printed concrete buildings; in industrial design for vehicles, furniture and interior products; in engineering for prototypes and end-use components; and in fashion for accessories, footwear and garments.
Project Credits
Fashion Designer: Olga Kucherenko
Computational Design & Development: Dmitrij Kisselev
Computational Design: Sergey Pogorelov
Technology: Rhino, Grasshopper, Custom C# Components, 3D Printing
Presented at: Belarus Fashion Week
Producer & Stylist: Maria Pogorelova
Photography: KANAPLEV+LEYDIK
Retouching: Evgeniy Kanaplev, Andrey Mikhalenko
Makeup: Anzhelika Baklaga
Hair: Sergey Belyavskiy
Model: Sanya Matsuk
Year: 2012
Publication
The complete photo series was published in ESH Magazine No. 3 (47) and on the photographers’ website.
Editorial Note
This article was originally published in 2015 and revised in 2026 as part of the restoration of the archive.
