Fashion has long been a canvas for self-expression, but for a new generation, it’s a powerful tool for reconnecting with their roots. In the fourth and final installment of our “Cultural Threads” series, which has explored how fashion is reweaving cultural memory from China and South Asia to the fusion of Japanese and Scandinavian styles, we now turn our focus to Eastern Europe. We explore how young consumers in Slavic countries, with focus on Poland and Ukraine, are looking to their heritage to inspire their style, reclaiming their identity and reshaping the global fashion landscape.
A Return to Roots: Reclaiming a Slavic Identity
This movement is more than aesthetics. It’s a reclamation of identity after decades when much of Slavic cultural expression was muted or redirected under outside influence. It is not merely about nostalgia; it’s a confident statement of cultural pride and a desire to connect with a history that is distinctly their own.
By embracing heritage craftsmanship, young creatives are transforming the techniques, motifs, and stories of their grandmothers into globally relevant fashion. For many, external recognition of Eastern European design has provided a new sense of pride, replacing outdated narratives of provincialism with a renewed confidence in cultural authenticity.
Lace collars, crochet jumpers, and embroidered shirts were once tied almost exclusively to rural dress and ceremonial occasions. Today, these very elements appear on the streets of Warsaw, Kyiv, Paris, and New York, transformed into modern statements of style.
Once reserved for rural dress and ceremonies, lace collars, crochet jumpers, and embroidered shirts now appear on the streets of Warsaw, Kyiv, Paris, and New York—recast as contemporary style statements.
Craftsmanship at the Core
At the heart of this movement is a deep appreciation for craftsmanship and artisanal production. Designers are turning to age-old techniques like intricate embroidery (haft in Poland, vyshyvanka in Ukraine), crochet, and lacework, not just as decorative elements but as the very foundation of their collections.
For Polish designer Magda Butrym, artisanal excellence is central to her brand’s DNA. She collaborates with independent artisans from various regions across Poland—including Podhale, Silesia, Nowy Targ, and Warsaw—to hand-knit, plait leather, and embroider her pieces. As she shared, “The truly Polish component that I have incorporated was the traditional Polish craftsmanship. I was always very interested in it and when I started the brand, I really wanted to include this in its DNA.”
Beyond these well-known techniques, designers are also reintroducing other traditional methods. Hand-woven fabrics, often made from linen and wool, are being used to create pieces with an authentic, rustic texture. The art of leatherwork, particularly in the form of plaiting and intricate cuts, is another nod to historical craft. Some designers are even experimenting with appliqué and patchwork, a style used in many folk costumes to create bold, colorful patterns. This embrace of diverse materials and techniques reinforces the commitment to slow, mindful production.
Butrym’s use of handmade techniques also reflects a deeper cultural sentiment. She notes that during the communist era in the 1960s, a scarcity of goods pushed women to create their own beautiful clothes at home, making skills like crochet a common practice among Polish grandmothers. Today, this tradition is not just preserved but celebrated, with Butrym and others using it to create a “Slavic Chic” that feels both romantic and relevant.
Similarly, fellow Polish designer Zofia Chylak, founder of her namesake handbag brand, features traditional embroidery and weaving techniques, and like Butrym, she employs local female artisans. She highlights the importance of a story behind a purchase, stating, “I feel we need a story when we buy something now, to know where it comes from, who made it. With crochet, lace and embroidery there is so much to say.”
Polish designers: Magda Butrym, Chylak; Polish embroidery motifs; Ukrainian shoe brand ‘Hvoya’
The New “Slavic Chic” Aesthetic
The revival of heritage has given rise to a new Slavic aesthetic — what Butrym herself calls Slavic Chic. Roses and bold blossoms appear as recurring motifs, white and red dominate palettes with cultural resonance, while lace and crochet add romance and texture to sleek silhouettes. Her recent global collaboration with H&M proves just how widely this heritage-driven aesthetic resonates.
Embroidery once reserved for folk blouses now enhances minimalist dresses by Bevza and Litkovska, while accessories like Ruslan Baginskiy’s hats reinterpret craft traditions for a global stage and crochet shoes from Hvoya turn rural handiwork into city-ready footwear.
On international runways, designer Peter Mulier drew inspiration from the pleats of traditional Polish folk costumes for his Alaïa Fall 2025 collection, translating heritage folds into modern, sculptural silhouettes.
This visual language is not only resonating creatively but also commercially. According to Heuritech’s 12-month forecast, lace is set to grow by +7%, English embroidery by +5%, and crochet knits by +1%. Even color trends reinforce this revival: carmine red, long embedded in Slavic folklore, is projected to rise by +2%. Designers show that heritage’s future lies in reinterpreting textures, details, and craft traditions, rather than simply reproducing old motifs.
Designers such as Butrym and Svitlana Bevza epitomize this balance of modernity and tradition. Both have built globally recognized brands rooted in craftsmanship, showing that tradition can be a catalyst for innovation.
Ukrainian designers: Ruslan Baginskiy, Gunia Project, Frolov, Acidsiiia, Litkovska, Bevza, Vita Kin
From Folk Art to High Fashion
What was once dismissed as provincial is now positioned as luxury. Brands like Litkovska, Frolov, Acidsiiia and Bobkova reinterpret Slavic craft through avant-garde silhouettes, gender-fluid tailoring, and conceptual collections. Meanwhile, Gunia Project transforms artisanal accessories and ceramics into contemporary lifestyle objects.
Global recognition for Slavic labels has given young people in Eastern Europe something previous generations often lacked: external validation for their cultural identity. The narrative has shifted from backwardness to excellence, from handmade out of necessity to handmade by choice.
In an era of fast production, this revival also naturally aligns with the values of slow fashion. Many of these pieces are produced in small workshops or even individual homes, using natural fibers and low-waste techniques. Consumers respond not only to how these garments look but also to how they feel — both physically and emotionally — when they wear something made with care and pride.
By looking to their heritage, young consumers and designers in Eastern Europe are not just creating beautiful clothes; they are writing a new chapter in cultural history. What was once muted is now celebrated. What was once local is now global. Eastern Europe is weaving its way into fashion’s future.
Rooted in artisanal tradition yet forward-looking in spirit, Acidsiiia subtly incorporates elements of Ukrainian heritage—motifs, fabrics, and techniques—infused with a distinctly modern sensibility.
If you missed our previous Cultural Threads features, explore how Japandi fashion style, South Asian craftsmanship and China’s fashion movements are reshaping global style.
Resources
- How Svitlana Bevza Turned Her Brand Into a (Very Chic) Symbol of Ukrainian Resilience
- Svitlana Bevza: “Within a week, my life has totally changed”
- #TheBrand | Magda Butrym The Polish designer with a refreshing approach to dressing up
- Fearlessly Feminine: Designer Magda Butrym on scaling from the ground up
- Why Lace and Crochet Are Everywhere Right Now
