Ioannis Papadimitriou: Sculptural Forms & Alchemy

From Thessaloniki to the Coeus Label: How Ioannis Papadimitriou bridges historical textiles with modern silhouettes.

Balance, transformation, and the echoes of history lie at the heart of Ioannis Papadimitriou’s design universe. Based in Thessaloniki, the emerging creative behind Coeus Label approaches fashion differently. He sees it not merely as a finished product, but as an ongoing process of alchemy and discovery. Merging sharp, contemporary silhouettes with vintage textiles and historical craftsmanship, his debut Bachelor of Arts collection, OMNIA, explores the tension between softness and structure. In this interview, Papadimitriou discusses his unique approach to construction and the philosophy of deconstruction. He also explains how he translates the layered architecture of his hometown into a deeply personal design language.

IRK: Could you briefly introduce yourself? What would you like people to know about you?

Ioannis Papadimitriou: I am Ioannis Papadimitriou a fashion designer based in Thessaloniki, Greece. My work is mainly driven by experimentation with silhouette, construction and materials. I’m interested in creating pieces that feel sculptural while remaining connected to the body. I often combine contrasting elements, such as softness and structure, old and new, or historical references with a contemporary approach.

What I would like people to know about me is that I’m very process-driven. I don’t usually begin with a fixed idea of what a garment has to become. I prefer to experiment with materials and construction and let the piece develop through the process.

For me, fashion is as much about transformation and discovery as it is about
the final image.

IRK: You’re from Thessaloniki. Does Greece show up in your work, even in a way that’s not obvious at first glance?

Ioannis Papadimitriou: I think Greece appears in my work in a more indirect way. I’m not necessarily
interested in representing Greece literally or using obvious Greek references. Growing up in Thessaloniki, I’ve always been surrounded by different layers of history, architecture and culture existing alongside contemporary life. That contrast has definitely influenced the way I look at design.

I’m particularly drawn to things that carry a sense of history or have already lived another life. That’s something you can see in my use of vintage textiles, embroidery and reused materials, but also in the way I approach historical references. I like taking something familiar from the past and placing it in a completely different context.

So, for me, Greece appears more through this relationship with history, material and transformation than through a direct visual reference.

IRK: Was there a moment when construction and tailoring clicked for you, or did it come gradually?

Ioannis Papadimitriou: It came gradually. I don’t think there was one specific moment when construction suddenly clicked for me. It developed through experimentation, especially when I started understanding how much a garment can change through its construction rather than just through its surface.

During my studies, I became increasingly interested in volume, proportion and the relationship between the garment and the body. I enjoy working directly with the material, draping, cutting and reconstructing until I find a shape that feels right.

For me, tailoring is not only about achieving a perfect finish. It’s a way of thinking through the garment.

Decoding Craft: Ioannis Papadimitriou on Alchemy and Material

IRK: Alchemy has become a recurring reference in fashion right now, which makes it a hard theme to make feel your own. What drew you to it specifically, and how did you make sure it stayed personal rather than decorative?

Ioannis Papadimitriou: What attracted me to alchemy was not really its visual language, but its idea of transformation. I was interested in the belief that matter is not fixed, but can be broken down, altered and transformed into something more refined. That idea felt very close to the way I wanted to approach fashion. It became personal through the materials and the process behind the collection.

I worked with deadstock fabrics, existing garments and vintage embroideries and textiles that already carried a history. Instead of treating them as finished objects, I deconstructed and reworked them into something new. In that sense, the idea of transmutation became something I was actually doing rather than simply representing. So I didn’t want the alchemy to appear through obvious symbols or decorative references.

I wanted it to exist in the transformation of the materials, the construction of the garments, and the way silhouettes evolve throughout the collection. For me, that is what made the concept feel connected to my own practice.

IRK: What made you want to put something like vintage embroidery next to such a sharp, modern silhouette in the first place?

Ioannis Papadimitriou: I was interested in the tension between the two. The vintage embroideries and textiles already carry a sense of history, delicacy and craftsmanship, while the silhouettes I created are much sharper, more structured and contemporary. I wanted neither side to overpower the other.

By placing them together, the historical elements become something new. An
embroidery that might traditionally be associated with a more delicate or decorative garment can take on a completely different character when placed on a strong, sculptural silhouette.

That contrast is important to my work. I like when something feels familiar at first, but then becomes unexpected when you look at it more closely.

IRK: How does one of these pieces actually come together, from the first idea to the finished garment?

Ioannis Papadimitriou: Usually, the process begins with an image, a material, or a particular shape. I want to explore these rather than starting with a completely finished idea. I start by experimenting with the material through draping, folding, cutting, and reconstructing it, while thinking about how it can interact with the body.

Once I find a shape that feels interesting, I develop it through pattern cutting and construction. I work through several versions, adjusting the proportions, volume and balance until the silhouette feels right.

With this collection, I also had to consider the history of the materials themselves. I thought about how I could preserve something of their original character while giving them a new function.

IRK: Could you walk us through the meticulous process of transforming a tapestry panel into a wearable sleeve?

Ioannis Papadimitriou: It starts with understanding the piece of textile in front of me. Understanding the piece of textile in front of me is where it starts.

Careful analysis follows, focusing on size, weight, structure, and details worth preserving. Immediate cutting is avoided because existing embroidery or woven patterns frequently dictate the direction of the garment.

Once I find the right position, I work out the pattern around the existing piece, rather than forcing the textile into a predetermined shape. I then reinforce it where necessary and combine it with other fabrics. This allows it to function as a sleeve while maintaining its original character.

IRK: Who is the ideal muse for this collection? If you picture someone wearing these pieces, whose artistic presence or energy comes to mind across any creative realm?

Ioannis Papadimitriou: I imagine someone with a strong sense of individuality, someone who is not afraid of clothes that have a presence. They would be curious about history and culture, but would never feel the need to follow them literally.

I see the collection on someone who treats clothing as a form of self-expression rather than simply something to wear.

If I had to associate that energy with someone, I would say Tilda Swinton comes to mind. I like the way she can move between something very minimal and something highly sculptural or unconventional without ever losing her own identity.

Ioannis Papadimitriou on Vision and the Future

IRK: When creativity stalls, what sparks Ioannis Papadimitriou’s imagination? Whether it’s a film, a melody, or a shade, and what lies ahead for your journey?

Ioannis Papadimitriou: When I feel creatively stuck, I usually step away from fashion for a while. I look at paintings, architecture, music or even just things I come across in everyday life. I find that inspiration often comes when I stop actively searching for it.

I’m particularly drawn to strong visual atmospheres, historical references and anything that creates a contrast between something familiar and something unexpected.

I also think that experimentation is important when you have a creative block. Sometimes going back to the material, draping something without a specific goal or simply making something with my hands can help me find a new direction.

As for what’s next, I want to continue developing Coeus Label and build a stronger personal design language. I am interested in exploring how my approach to construction, sculptural silhouettes, and materials can evolve beyond the BA collection. I see OMNIA as a beginning rather than an ending. I’m excited to see where that process takes me next.

Credits:

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Designer: Ioannis Papadimitriou
Models: Chris Athemis, Georgia Michelle Hester, Athina Paschalidou
Photo Artist: Eliza Poultidou 
Hair Artist: Nikitas Hair Artistry 
Make-Up Artists: Danae Bn, Olga Kousidou