The unique element of this project is the space, the fact that the forest is not just a setting, but an active and unpredictable collaborator. We built togetherness since the first time we met and walked together to our space. We approached it as a living environment of movement, rhythm, sound, and silence. Τhe performers became mediators between the human and non-human world, whispering, singing, and moving in dialogue with the surroundings.

From the first moments in the forest, I felt more present than ever. I began noticing the shapes of the leaves, the small blueberries growing every day, the shifts in light, the colors and the textures, the smaller-scale world, the sounds of the forest and the city. As I spent more time in the space, my eyes started noticing even more. I took notes, wrote texts, and captured photos of plants, creatures, and forms. This process of observing became the foundation for the costume concept. 

The costume design was intended to become the vehicle of transformation, a nonverbal form of communication between the body and its environment. Each costume emerged from this process, from both elements of the place and the performer’s persona.

The approach of costume but not costume, led to working on realistic clothing items as the base, and using closeness and distance to shape how details are revealed to the audience. I transferred the memory of the forest to the costume through texture and color. I experimented with eco-printing and as well as stitches. Through this process, the leaves, the flowers, and other natural items I found on the site left their traces on the textiles.