The myth of a multi-faceness connected, apparently, with any mythical reflection about clothing, as confirmed by many fairy tales and proverbs, extremely tenacious in a literature of Fashion; personalities multiplication in one person is always considered as a sign of power; a strong one - it's you, a soft - is also you, and thanks to the masters of fashion you will find that you can be both the one and the other, lead a double life: an ancient motif of a change and disguise, the main attribute of gods, Police and bandits.Roland Barthes Instead of a portrait of a man, it is time to write a portrait of a wardrobe.Anastasia Georgievskaya

Once appeared in submission of fashion corporations, advertising and glossy magazines, clothing became a kind of an identification code that is rapidly ingrained in society. It is talking about us before we have time to say "Hi!".

Clothing shows our imaginary being, our understanding of ourselves. Although clothes are neutral, getting into a particular person's wardrobe they become individualized transmitters of a personal and social attitudes of their owner. Thus, daily pulling on ourselves a kind of a social skin, we enter into a symbiosis with the thing. But what happens when a humanized clothing remains on a shelf? Has an inanimate thing the right to personal existence? For example, if the clothing is our social entity, it may be the subject of portraiture. Series "Portrait of a wardrobe" can be called a symbolic portrait of a modern man, because clothes are always bear a stamp of the time in which he or she exists.

Simplifying the form of garments to a cleaned and devoid of details and color sign, Anastasia allows the viewer to not only relate to the image and try to his or her life the garment seen, but also she sets a certain social models such as "Single", "Summer wardrobe. In anticipation", "All-terrain", "Everyday", "Spruce", etc. reflecting all the major trends of life in the megalopolis.A choice of technique and manner of painting refers the viewer to a culture of the mid-twentieth century, the time of formation of today's fashionable image perception and attitudes towards appearance change as a game which is no longer a privilege of the elite and firmly settled in the mass consciousness as an opportunity to become a part of community."In our days to be free means having an ability to produce anything, to have anything, to consume anything and transform into anything." (Jean Baudrillard. "Passwords. From fragment to fragment")