The garment began with the study of waves as structures rather than images. The design process focused on their rhythm, repetition, accumulation, changing contours and the tension between a form that appears momentarily defined and one that is continuously transforming.

Initial research developed through photographs of waves, drawing and painting studies, and experiments in translating their contours into three-dimensional forms. References to Pierre Cardin’s sculptural approach to silhouette also informed the exploration of how exaggerated volume could move away from the natural outline of the body.

Different fabrics were tested according to their weight, flexibility, movement and ability to retain form, as the garment required two apparently contradictory qualities: enough structure to create controlled sculptural volumes and enough fluidity to respond visibly to the movement of the wearer.

The final design is built around this opposition.

A relatively fitted central silhouette anchors the garment to the body, while asymmetric sculptural shoulder structures expand outward from it. Their folded and projected volumes reinterpret the rising and breaking forms of waves without reproducing them literally.

From this controlled upper structure, the garment progressively releases into movement through layered and extended fabric panels, an irregular asymmetric hem and long trailing forms. These elements do not move simultaneously with the body; they drag, lift, fold and follow it with a slight delay, allowing the silhouette to change continuously while the wearer walks.

A front slit interrupts the density of the black mass and introduces the moving leg into the composition, while the open back creates a second form through negative space. The exposed body therefore becomes part of the design rather than simply remaining underneath the garment.

The use of black further removes the design from a literal representation of water. Instead of relying on blue or aquatic imagery, the wave is communicated through silhouette, rhythm, volume and movement.

The finished garment exists between structure and fluidity: part sculpture, part moving surface. Its form is never completely fixed, becoming fully visible only through its interaction with the body and motion.