Natasha Zinko opens plastic surgery clinic for SS25

Zinko, who in previous collections such as ‘THE CAMP’ and ‘SPACE RACE’ has invited us to reflect on human chaos in contexts of war, disaster and futuristic escapism, now looks inward, focusing on the modern obsession with self-alteration. The Ukrainian designer asks this season whether, in this age of secrecy, dysmorphic disorders and constant aesthetic modifications, a little authenticity – in the style of visible and exposed implants – is what we really need. Is it necessary to hide our modifications or should we proudly display them?

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This season, designer Natasha Zinko takes her usual satire of today’s society to an operating room. In The Plastic ClinicTM, the scalpel takes center stage and breast implants and BBLs (Brazilian Butt Lifts) reign as symbols of an era obsessed with body transformation. With its SS25 collection, Zinko explores the contemporary fascination with plastic surgery and beauty standards, bringing to the table the debate on the culture of aesthetic perfectionism.

The message is clear from the start: “Insert tits here,” “Who’s your surgeon?” reads on graphic T-shirts that mimic the dotted lines of a surgeon. Silicone molds are visibly inserted into half-cup tops, while on jeans and leather pants back pockets are replaced by simulations of post-BBL buttocks. This reimagining of the modified body becomes a statement that cosmetic procedures, far from being secret, have become a new form of pride..

Zinko appropriates this attitude and translates it into fashion: rigid mesh dresses with corseted panels and silicone-dipped cotton cargo pants, translucent enough to hint at the “inadequate.” These materials and shapes reinforce the idea that plastic surgery is no longer something to hide, but something to show, making aesthetic modifications the epicenter of contemporary style.

Natasha Zinko’s operating room sometimes resembles a medical asylum, where doctors appear in high-collared lab coats and open backs, while patients wear double-layered hoodies and sweatpants twisted at absurd angles, suggesting botched surgical procedures or bodies distorted by extreme manipulation.

The collection also makes use of two of the designer’s ongoing obsessions: denim and underwear. At their most abstract, men’s boxer briefs are transformed into handbags and detailed into dresses, while at times they are even used as makeshift facemasks. If Zinko’s intention was to critique these extreme vanities, she succeeded with a fashion show that combines sarcasm with a realistic portrayal of today’s obsession with aesthetic perfection.

She, who has looked into the past, into the future and into our contemporary environment, now looks inward at the human being, to suggest that, perhaps, we live in the greatest era of artificial bodies. At least so far.