Credits for all photos: Vojislav Vujanić / Naša mreža

In a fashion landscape increasingly defined by speed, trends, and digital aesthetics, Kezvez stands out as a practice that embraces the slow, tactile precision of embroidery while fearlessly questioning the language of contemporary streetwear. What began as a playful intervention – stitching imagination directly onto everyday garments – has grown into a distinctive visual universe where threads become gestures, characters, and sometimes quiet acts of rebellion.

At a moment when handmade craft is re-emerging as a counterpoint to mass production, Kezvez offers a fresh perspective. They approach embroidery not as nostalgia, but as a tool for storytelling, identity, and cultural commentary. Their work resonates with a new generation that values individuality, creativity, and the imperfections that make things human.

In this interview, we explore the origins of Kezvez with Katarina, founder of Kezvez, their creative process, the philosophy behind “hacking streetwear,” and the ways in which craft can reshape how we relate to what we wear.

Check out more about Kezvez at: https://www.instagram.com/kezvez/

How did Kezvez begin? Was there a specific moment or experience that sparked the idea of doing embroidery and merging embroidery with streetwear?

It started spontaneously as a form of stress relief. After my regular job, I began embroidering at home, and one simple idea, a phrase on a T-shirt  naturally evolved into a project created for others as well

Your work often feels both playful and rebellious. Were there any personal influences that shaped the visual language of Kezvez?

There isn’t a single influence behind my work. I’m inspired by both personal and collective themes, from inner fears and everyday struggles to global issues like climate change and the fight for clean water. I like to address serious topics through a playful, ironic lens, allowing space for reflection but also lightness. That balance between expression and optimism defines the visual language of Kezvez.

Kezvez is known for sort of “hacking the streetwear” philosophy through embroidery. How do you define this concept within your practice?

My style is mostly streetwear, so it felt natural for the pieces I wear to also become the products I create.

Hand embroidery is my way of expressing my inner world, making the combination of the two feel entirely intuitive. The emphasis remains on natural materials and slow fashion.

Traditional embroidery is slow, intimate, and precise—streetwear is fast, urban, and expressive. How do you navigate the meeting point between these two worlds?

For me, balance is key. Living in the city, I think it’s important to have something that slows us down, something that contrasts with the fast pace of everyday life. I love streetwear and dress that way myself, so it felt natural to work in that context. At the same time, I wanted to bring in its opposite: traditional embroidery, which requires patience and slows things down. I’ve found my place where urban energy meets careful, traditional craft.

Your pieces often feature bold, quirky motifs that feel like small visual stories. What inspires your imagery and symbolism?

All the stories I create are deeply personal. Sometimes I’m aware of it as I work on them, and other times I only realize it once the piece is finished, or even after some time has passed. The essence of KEZ (as the name suggests), KEZ means ‘smile’ in Serbian –  is about finding the positive in everything. Even when I explore difficult themes, it’s my way of confronting global or personal challenges while infusing them with a positive spirit. Ultimately, my goal is to bring a KEZ, not just to myself, but to everyone who experiences/sees the embroidery.

Can you give us a short walk through your creative process—from the first sketch or idea to the final embroidered piece?

My creative process usually starts with a spark, an idea, a feeling, or something I notice around me. I sketch it roughly and let it evolve naturally. Once the concept feels right, I choose natural materials and begin hand embroidery. Each stitch slows the process down, allowing me to connect deeply with the piece. The final work combines the spontaneity of the initial idea with the care of traditional craft, creating a small visual story.

Do you experiment with different embroidery techniques or materials to “hack” traditional methods?

Absolutely. I love experimenting with the many stitches in hand embroidery, often combining them. One of my proudest moments was embroidering on a piece of hemp fabric that my great-grandmother made. I often like to mix these old materials with my own approach, which makes the process really enjoyable for me.

What technical challenges do you face when working with streetwear garments, and how do you overcome them?

The biggest challenge for me is that I can’t always use hand embroidery on every fabric I love. I’m often drawn to natural or unique materials, but they can be quite thick or stiff, which makes the work much more difficult. That’s why I usually choose fabrics with a softer texture or looser weave, so the needle can pass through more easily. Especially since I often work for several hours at a time. Working on softer, lighter materials makes long embroidery sessions much more manageable, even though I sometimes wish I could use the stiffer fabrics I’m really drawn to.

Are there any tools or methods you’ve developed yourself as part of your unique approach?

I don’t limit myself to just one needle or one embroidery hoop. I usually work with multiple needles and hoops, depending on what I’m embroidering and the type of surface. One of my special methods is drawing directly onto the fabric without any prior tracing. But I think I’m most recognized for my style, my drawings and how I combine them on textiles, as well as my use of cheerful colors and their combinations.

Kezvez resonates strongly with youth culture and DIY aesthetics. How would you describe the community around your brand?

I feel that the community around my brand is made up of thoughtful, self-aware people who often have a critical perspective on the world around them. They think for themselves and generally have a positive outlook. Even if they sometimes feel a bit down, they crave that spark to ignite their imagination, creativity, and positivity. These are people who value authenticity and contribute to the community in their own unique and positive way.

Streetwear often reflects social commentary. Does your work carry narratives or messages you want the audience to read into?

Streetwear is a symbol of street fashion, and symbolically, you could say that we are increasingly becoming “children of the streets.” My work often touches on critical topics. For example, one issue that has deeply affected me is the construction of small hydroelectric plants, putting rivers into pipes, building artificial dams, and not exploring alternative ways to use these resources. I also address pollution, air quality, and how individuals deal with these challenges, as well as our everyday reflections, deconstructions, and reconstructions. I’m a great lover of nature, which is a major inspiration and a central figure in my work. So, you could say that my work generally revolves around nature and society.

Are collaborations a part of your strategy? If so, what kind of partners align best with Kezvez?

I really enjoy collaborations and love working with other artists, individuals, and organizations that share the same values as I do. I’ve collaborated with other brands, creatives, and artists on various projects, as well as with enthusiastic groups of people who create meaningful initiatives in their communities. Together, we’ve organized embroidery workshops which has been an incredibly rewarding experience.

Embroidery inherently adds value and prolongs garment life. How does Kezvez view sustainability within your creative practice?

It’s very important to me that the materials I use are natural. I collaborate with women from the community who are absolute masters of their craft. We created shirts and jackets under the name DžekiDžep. When these garments were cut, leftover pieces from the pockets were reused. These pockets could be swapped, added, or removed from the shirts or jackets. The smaller fabric scraps were used for embroidery, from which I made badges and taliswomen, charms for necklaces. Even the tiniest pieces were incorporated into embroidered items, like dolls or ornaments, so almost nothing went to waste.

Do you work with upcycled garments or aim to shift perceptions of how long clothes should be worn?

Yes, I often work with vintage garments, pieces that I truly love and value. One of my notable collections features bright blue work jackets, on which I added embroidery as an homage to the working class.

Kezvez has a distinctive Instagram aesthetic. How important is visual storytelling in your brand’s digital identity?

At first, I tried to follow how big brands present themselves online, thinking I needed a professional studio, photographer, and models. But I realized that wasn’t true to me. Kezvez is spontaneous – a small brand that doesn’t pretend to be big. Often, I am both the model and the photographer, and I focus on the product, the quality, the hand embroidery, and the message it carries. The visual content on social media comes naturally, and if it resonates with the viewer, that’s a success.

What role does social media play in connecting with customers and shaping the brand narrative?

Instagram was actually a key reason I started this work. It’s where I found support and where people first recognized my work. From the beginning to the growth of my brand, social media has played an important role. It allows me to communicate directly with followers and clients, so I can see their reactions to my products firsthand, without any intermediaries.

How do you see Kezvez evolving in the next few years? Are there new techniques, products, or concepts you want to explore?

I’m currently working with another brand on a new product, something we haven’t offered before, and I’m really excited about it. It’s a very unusual product, so we’re being extremely detailed and moving slowly in its development. I don’t want to share specifics just yet, but it will be revealed in time. As for the future development of Kezvez, we’ve already worked on children’s collections, and I have some ideas to maybe focus a bit more on that target group. Additionally, I’m currently preparing for my fourth solo exhibition, which I hope will take place in a few months. These are some of the current plans I’m working on.

If you could dream up your ideal collaboration—fashion, art, music—who would it be and why?

Lately, I’ve been focusing more on art – painting and sculpture, rather than fashion. I’m very inspired by various art brut and naive artists, and I think we have some amazing naive artists here in Serbia. In the future, I would love to collaborate with people and institutions that support this kind of art, both in our country and internationally.

What do you hope people feel or understand when they wear a Kezvez piece?

I don’t need people to understand exactly what I wanted to say with my work, I just want them to feel it. I would like them to feel what they need to. A sense of positive radiation. I would like the work to affect them positively, but also to make them reflect a little.

Finally, what advice would you give to emerging creatives who want to merge craft with contemporary fashion?

I don’t think I’m in a position yet to give advice to the people starting in crafts. Maybe it’s better for them to observe and draw their own conclusions. If that counts as advice, then it can be seen that way. 🙂