oҕo [ogo] means “baby” in yakut.

oҕo is a story about past and future. The concept of the brand is a feeling of nostalgia about things that never happened. Inspired by yakutian heritage, silouettes and hand work of historic clothing, oҕo represents slow fashion.

Mixed with digital nomad culture, oҕo is a reflection of post-postmodern society. Traditional decorative and applied arts are reinterpreted and enriched by contemporary outlines, fabrics and aesthetics.

Ойуун [oyuun]- yakut. shaman.

Ogo brand presents a new collection entitled Oyuun. The collection is inspired by Yakut shamanism as it is reflected through the present. Using traditional elements, the designer infuses them with new world sensibilities. Sakha culture knows a division into three worlds, the lower, middle and upper. This cosmology is translated via color palette and textures: black for the lower world,
white for the upper, and the wearer in the middle. All these blend together, following the shaman travelling between them, whose embodiment the Oyuun collection envisions.

The collection is a capsule one and consists of six looks. In line with ogo’s trademark aesthetics, historical costumes like corset and midi skirt (enriched with a floral engraving), are referred to. A shamanic tree with ribbons tied invokes good luck. There are, like in an epic tale, a wanderer with a pouch, a knitted helmet, and pants with multiple camouflage ribbons. The silhouettes of this collection are simultaneously fragile, defenseless and militant. The transparent floor-length dress —modeled on the traditional Yakut dress—with knitted patterns, each seam being hand-stitched, can be worn both sides. Its modernity confuses being either naked or modest. The lace balaclava continues mask experimentation that the designer began with their first collection in 2016. A secretive, mute attention lure, the mask comes from forgetting of speech.

The series of photographs and a video is a collaborative visualization of the collection’s idea of space. The new collection’s fraught energy speaks to a capacity to be reborn wherever and whenever. Dark and disruptive, this fashion is crafted for the agents of hope in these uncertain times.

бөх [ böh ] - yakut. garbage, waste, antiquity.

In its late collection oҕo researches massive overproduction problem in fashion industry and shortening of fashion cycles through aesthetics of clothing as art. Contemporary art and 00s nostalgia is a new development in oҕo’s style.

böh collection is made out of excessively produced clothing of 00’s. All clothing used in the collection was brought from designer’s family shop in Yakutia and has nostalgic ambience. Some pieces were constructed in the zero waste concept. All decorative elements have practical purpose, for example rounded hem line is subject to sleeve design, that made as a puzzle, which is transferred from garment to garment. oҕo aims at utilizing 100% of resources while staying true to its aesthetics of mixing history and future.

bөh has minimalistic feminine silhouettes in monstrous textures, dirty complex shades and denim. It is a second oҕo collection implementing upcycling and the first oҕo zero waste collection.

In every collection oҕo applies principles of inclusivity and representation beyond appearance, nationality, gender and orientation. This is first oҕo runway cast, that represents queer people only.

саһарҕа [saharga] - yakut. a reflection of rising or falling sun.

In saharҕa collection oҕo researches influence of digital nomadism on loss of cultural roots and reminds about problem of pollution through aesthetics of north and retro futurism.

What is a digital nomadism? It’s higher mobility, assimilation and disconnection from the historical culture. A new terms «cultural assimilation» appears, where traditional culture is replaced by imposed one. This problem is visualised through making a parallel with digital and traditional nomadism.

The oҕo's idea is that cultural heritage is not a cultural ossification, but a possibility to be replenished and developed further. Traditional decorative and applied arts are reinterpreted and enriched by contemporary silhouettes and fabrics. The result is a direct reflection of post-postmodern society.

The garments of collection have elements of traditional yakut clothing, colour scheme is inspired by northern sunrises with lilac and blue sky, the glow of immense snowy horizon. Minimalist fair silhouettes are contrasting with chaotic styles stuffed with fabric scraps. There are used new fabrics, vintage drapes and carpets founded on flea markets, rests of previous collections - in order to show how much waste is produced even in small apparel business and how is it possible to redesign concept of fashion. It’s first upcycled collection by oҕo. That way the brand calls to rearrange the culture of consumerism to sustainable consumption.

дьарҕаа [jargaa] - yakut. an old disease

In jarҕaa collection oҕo researches a topic of overconsumption. It not only about ecology, but about
people’s mentality. The problem of information overload and infromation anxiety - is a new curse of
modernity. The designer draws attention to this topic mixing historic and contemporary techniques,
silhouettes, fabrics. Overload of details, broken lines wash out person’s attention. In such a way news
feeds and social media distract people’s attention from the very important - self-conciousness.

соҕотох [soҕotoh]- yakut. lonely, the only one.

oҕo visualises loneliness in permanent socialisation. oҕo dives into your soul. It is anxiety hidden
behind variety of colours and textures. Clothes serve as survival reflexes. Multitude of alter ego conceal
the true essence.
It is a story about past and future that coexist simultaneously. Parallel reality excludes present time.
Inspired by historicism and contemporary culture o5o represents slow fashion.

This collection displays social exclusion, people’s indifference to each other. Self suffering, distorted
perception of environment are projected on models of the collection and reveal their vulnerability to
the world.

Silhouettes, textures, colours are asexual, depersonalized, proportions are distorted. The collection is
inspired by XIX century’s circus and contemporary art, ailment and impersonalism.
Harmony of excessiveness and ascetism. Art of dissolution. Compulsive ideas. Aestheticism and
disgust. These feelings are represented by such details as ceramic human teeth, embroidered mouth
masks and shoe covers, motion limitations shown in corsets, collars and uroboros-sleeved blouse.

или [ili]- rus. or.

“ili” collection presents basic and conceptual clothing. Unusual forms distort human pro-
portions. It is a marriage of overdesign and minimalism.

A distinctive feature of ogo brand is a hand working. It appears in decorative elements
and in form making technique - moulage. For example - ceramic buttons that look like a chewing
gum. models of real teeth widen your idea of aesthetics.

Obscure colours of the collection harmonize with bright prints. Unique pictures are made in collaboration with Alexandra Kravchenko and Anna Rosliakova, illustrators. Ambivalent concept is also used in methods of printing: modern technology of digital print is completed by experimental linocut hand printing.