Khatz Daniel is a Russian-born clothes maker working in London. He works to measure, for one body at a time, in a practice that binds fine tailoring to deconstruction — the discipline of the first giving the second something worth breaking.

Emigration is both the subject and the method. He left Russia at nineteen for political reasons. The condition of being sent away is not a theme he researches from the outside.

Recent work turns to post-imperial Russia of the 1920s and the first wave of emigration that moved alongside the Revolution — not as historical costume, but as a case study in how power reorganises what people are permitted to look like, and what they take with them when they go.

Since 2022 the practice has followed intuitive process. The garment arrives through cutting and handling rather than through drawing; what was intended and what actually occurs are allowed to collapse into one another. Lived experience is not applied to the work afterwards as meaning. It is present in the cloth from the beginning.

Materials are chosen for what they have already survived. Upcycled fabric carries its own record — wear, repair, the shape of a previous body — and the tailoring is not used to hide it. A seam is opened as readily as it is closed.

Where classical tailoring proposes an ideal body and corrects toward it, these garments accept the body that exists and register what has happened to it.

The result is not comfort and not provocation. It is a garment that holds its own history in view, made for someone willing to carry that in public.