THE DESIGNER
A graduate of the Fashion Design Studio at the Academy of Arts, Architecture and Design in Prague, I work under the name Lenie Hanz. I perceive fashion not merely as an aesthetic element, but as a complex visual and spatial phenomenon that surrounds us. I draw inspiration from my surroundings – objects, photography, the movement of the human body, and sound – and translate these influences into the shape and form of garments.
The garment thus becomes an object reflecting its environment, bridging the interdisciplinary sphere of corporeality, space, and movement, often existing at the boundary between clothing, object, and jewelry. In my work, I collaborate with photographers and performers to create a cohesive whole that communicates not only through the garment itself, but also with space and the viewer.
THE BRAND
Lenie Hanz is a brand that explores the interdisciplinary connection between fashion, the human body, performativity, object, and space. Captured forms of various bodies are translated into garment construction, creating wearable objects that exist on the boundary between clothing, jewelry, and sculpture. These objects, when removed, function independently in space as free-standing forms.
The brand pushes the boundaries between clothing and object, investigating how shape and proportion can communicate new ways of perceiving the body in space. Garments thus become a dialogue between the wearer, their movement, and the world that shapes them.
THE COLLECTION
Is it the human body that shapes the form of a garment - or can a garment exist without it?
Falling Clothes 2.0 explores the threshold at which a garment loses its wearer and is released from its connection to the human body. The collection examines what happens to clothing when it is taken o , discarded, or left behind in a random space, where it begins to form its own temporary sculpture. By observing the forms of fallen garments in accidental situations and diverse environments, the pro ject reveals shapes created through undressing, throwing, or the garment’s unintended fall. These spontaneous forms - often resembling sculptural objects - become the starting point for the crea tion of new garment forms within the collection.
The collection operates at the interdisciplinary intersection of photography, movement, and cor poreality. The garment ceases to function solely as an object worn on the body and becomes an arti fact - a record of absence, a form shaped by the memory of the body rather than the body itself. Individual photographs are translated into garment and jewelry patterns, creating clothing that exists at the threshold between object and wearability.