SSTKMS:
The Subtle Art of Co-Creation
April 19th, 2023
As creatives and best friends, Kotryna Lipkevičiūtė and Urtė Vosyliūtė work in synergistic harmony, a contrasting yet complimentary manner that has manifested itself into their unique collaborative creation - SSTKMS. SSTKMS exemplifies innovation in the form of clothing and is influenced by the depth of lived experience and daily interactions. Through clever wordplay in their mother tongue, SSTKMS - the brand’s name and essence - has been effortlessly crafted to embody the ‘susitikimas’ [meeting] and the ‘susitaikymas’ [reconciliation] of any co-creating process. With the identical abbreviation of the two Lithuanian words, SSTKMS unites the meeting of ideas and the reconciliation that conversation can bring, and almost unintentionally, it moves beyond a mere representation of the garments they’ve created and incorporates the significance of Kotryna and Urtė’s dynamic relationship. Where one lacks, the other steps in - their co-creation is built upon a deep trust in each other’s varying styles and perspectives. A duo in constant conversation without limitations.
The harmony between Kotryna and Urtė’s liberated styles has given birth to the fluidity and freedom SSTKMS embodies, such as their choice to take a discrete approach toward self-promotion, branding, and labelling. For them, there is no need to overshare the whos, whys, whats, and hows of SSTKMS - the sustainability, gender neutrality, and unrestrained self-expression that the garments speak to come as a given.
Without the need to define the essence of their creative process and innovative results, Kortyna and Urtė make space for influences from every realm and speak on their work as much or as little as they see fit.
The first thing I’m curious about is the general lack of information in writing revolving around the essence of your brand! It’s so interesting to me. I tried to learn a little more about SSTKMS through your website and social media, but I didn’t find much. What I did find was quite abstract, and I feel it’s impossible to describe what SSTKMS is in one sentence since it isn’t inherently connected to one value or idea. But people seem to be crazy about it nonetheless!Did you find it hard to develop a brand not necessarily connected to any central theme or idea? Specifically, what comes to mind is how to navigate the creation process and not get lost in it.
KL: For me personally, it would be weird to attach yourself to some specific idea from the get-go. For example, I don’t really relate to brands that are entirely focused on teaching sustainability or trying to change consumer buying habits.
UV: And in those cases, it functions differently - there is a clear problem that they seek to solve with their garments.
Our brand was born from the friendship we developed while studying at the academy of arts and the ideas we shared there. We never felt like we needed to define our concept so specifically. It was never ‘okay, we will be creating for a woman that leads a busy life in a big city’ or that we will only focus on recycling used fabrics. Our first collection was the result of or a representation of, our friendship and experiences together, so naturally, it became more about our shared visions as a duo, and a lot of that revolves around a fluidity and openness to what we co-create, rather than any strict rules we have to follow and communicate to our audience.
KL: For example, if you take sustainability, it’s deeply rooted in our brand, but we don’t put it at the forefront of everything. It's more natural than that - it’s embedded in our production process, but we are not trying to educate our consumers. Instead of solving a problem, our brand is more of an artistic expression. During the creative process, you find some ideas and thoughts from which a product is born.
The little description I found about SSTKMS says the brand is formed upon contrasting ideas... It reminded me of my sister and I - the polarity of it. Could this be said about your friendship and your dynamics when working together?
KL: I can definitely see mine and Urte's relationship as some kind of a sisterly bond. We are super close outside of our work; we’ve been there for each other through many difficult moments, and we have massive respect for one another, both as friends and as designers.
So many things in our dynamic have been similar from the start - our tastes, work ethic, and points of view, for example. Even before the first collection release, we collaborated involuntarily while sitting next to each other during class, discussing our projects and co-creating. Since both of us had strengths in different fields, we could give each other suggestions while working side by side.
UV: I think what helps us work well is that we have similar values and approaches to work and its quality, and at the same time, we are super close in our personal lives. We often have similar goals in our creative processes, both thematically and stylistically, and our differences are usually just how we come to these ideas.
What works is that we understand these differences very well and try to give each other freedom through communication and mutual respect. We divide work according to what our strong sides are. SSTKMS is teamwork and this shows in the designs, silhouettes, and materials.
KL: I’d say this has been one of the most rewarding parts. We try to give each other space to explore and develop our own personal ideas to keep these contrasting perspectives visible in the collections, so it’s not only showcasing the point of view of us as a duo but also from us as separate designers. We are two people who are bonded by many things but also have many differences, and I think this helps us have a fresh approach to our creative work because we both have to agree on the finished product and overall look.
So, going back to the lack of information you give to the public about the defining features of the brand - this isn’t intentional, but rather a way to avoid limiting yourselves?
UV: I feel brands must often be built as a storefront. For example, social media sites always ask you for a description - what is your brand about? We are not really creating a secret by limiting our communication; it’s just that we don’t want to force ourselves to define in great detail explicitly. Neither of us is the type of person who uses our socials to showcase what kind of coffee we drink in the morning or what we are currently up to.
KL: And when we were creating our website, all the brand descriptions we looked at for inspiration seemed to note the basics of their inspiration: we work in this or that city, here is the school we finished, and this is what we produce. All that information is available: we are creating in Vilnius and producing in small quantities.
UV: The descriptions are also usually defining obvious things. “Our style is this and that” - well, it’s obvious what style the brand has when you look at their clothes. “We work with these materials,” but you can find this information next to the product. The consumer isn’t oblivious. So, we are not intentionally creating mystery, but we just don’t want to write something we wouldn’t read ourselves.
KL: It’s the same with defining if we create clothes for men or women. We mostly have female clothes, but we photograph them with guys as well because a lot of guys buy and wear them. It’s less limiting.
Do you identify as a Lithuanian brand or choose not to put that label on SSTKMS? And do your clients primarily come from Lithuania, or do you have a wider audience?
UV: Our clients actually come from all over the world.
KL: I find it so cool that East Europe is producing so many young designers who are succeeding in producing innovative work. We don’t want people to think that all the young, cool brands come from London, Paris, and New York. So we aren’t running away from this label - our garments say they’re made in Vilnius, Lithuania, and it's part of the inspiration for the brand as a whole.
So, what inspires you? I noticed specific 1970s and Soviet Era motifs in your designs.
Are they there intentionally?
UV: What you’ve described was definitely strongest in our first collection, but it wasn’t totally intentional. When we realised it, we thought, 'Okay, maybe we should move away from it slightly - from this soviet aesthetic’.
Because it’s a common inspiration in East Europe?
UV: Yeah, at first glance, you could assume that it’s more of a trend seen in post-soviet countries, but since we released our second collection, it became obvious to us that even subconsciously, there are still some elements being incorporated into our work.
I mean, we grew up with it. And not the political part of the Soviet occupation of Lithuania. Instead, the aesthetics remind us of our childhood, which had no ideological associations - the basis of our inspiration is purely visual. I wonder, maybe, with time, if we’ll stop using these themes in our creations completely.
KL: In our first collection, there were some deliberate elements you could relate back to this realm - those soviet details - and we didn’t shy away from using them. It was an expression of very specific inspirations.
If you have any nostalgic pieces in your collection, it automatically comes from your childhood. When we were preparing our collection in university, I read the descriptions of other students’ collections, and almost all of them included something about their home countries and memories.
I feel especially when you are coming from a country that doesn’t dominate the fashion scene; it’s an element that allows you to differentiate yourself - you can introduce certain visual narratives from your world to the world at large. For some, our brand is very relatable and hits close to home, and for others, it’s something they have never seen before, and it's interesting.
UV: I remember my mom and the professors would see what I was creating and say things like, 'Why are you using these dirty colours - why don’t you do something more modern?'.
They relate it to a horrible historical past, but for me because I haven’t had that same lived experience, I see it from other visual inspirations. It reminds me of my grandparents' house, where there are plenty of chocolates and warm food, and everything is so cozy and wonderful. So, we don’t relate it to politics or history in the same way; I feel our generation starts to look at it from a visual perspective with new associations added from our own lifetime.
'We grew up with it. And not the political part of the Soviet occupation of Lithuania. Instead, the aesthetics remind us of our childhood, which had no ideological associations - the basis of our inspiration is purely visual...'
Was there a change in your inspirations between your first and the second collection? I felt the second one has more of a 90s aesthetic incorporated into it.
Did this change come naturally, or did you consciously decide which direction you wanted to go with it?
UV: Our first collection was purely a creative expression that we wanted to make together and see what happens. We really didn’t think we would be selling it or anything. And with the second one, we thought about the pieces as ones we would wear ourselves.
So, it’s built on our own aesthetic understanding, which, in turn, is influenced by the stuff we see around us. I used to interpret the ‘inspirations’ very literally so my audience would understand the creation better. But with time, I realised that people aren’t dumb - they get it. For example, in this collection, we have a skirt with suspenders that hang to each side. It instantly reminds you of a school uniform. Worn together with a skirt over pants or tights, this is what we wore in our childhood.
KL: It’s the same with colours and materials. Certain inspirations require specific fabrics. For example, in our latest collection, we worked with a lot of denim. But it was almost unavoidable when thinking about nostalgic memories from childhood and using that within our designs.
I noticed SSTKMS has certain pieces that are upcycled.
How did you decide to incorporate this technique into the process?
KL: We never specifically thought we wanted to work with upcycling per se. But the vests you’re referring to came naturally.
UV: From the same aesthetic.
KL: When we first started creating for SSTKMS, we still held a lot of inspiration from our studies, where projects were filled with personal details. We had one project that worked with creating out of blankets you’d find at home. The vests are made out of those Soviet-era blankets.
UV: And with our approach to sustainability, it’s not that simple - being sustainable or unsustainable isn’t so straightforward. For example, we did some work at our school that was meant to be created solely from cotton, and that’s why it was supposed to be sustainable. But the idea contradicts itself; cotton doesn’t make it sustainable, and the whole process of growing it is very straining on the planet. Just stating that you are a sustainable brand without thinking about every detail is misleading. For me, taking care of the environment goes without saying; every person should think about it.
‘For me, taking care of the environment goes without saying; every person should think about it.’
It comes naturally; you cannot ignore it anymore.
UV: Sure, and it’s the same with gender. Writing something like ‘both men and women can wear it'. Well, no shit, they can - it’s 2023. We also talked about seasons and how many collections you should launch to be a legitimate brand. And, in my opinion - which is only my opinion, I think having these requirements are bullshit. It’s a made-up cycle that we are supposed to keep up, signalling that we are serious about our work and showing we have the means to keep up with demand. That’s not how we work.
Do you think that the ‘made-to-order’ concept allows the brand to break away from this cycle?
UV: Maybe - it’s more of your own decision to work with the made-to-order method. We just talked about it today; if you want to make two collections in a year, which doesn’t sound like that much, you have to launch one, and you have to think about the next one instantly. But when do you start producing for the demand of the first collection? You don’t have time to sit with it. To me, the idea of slowness is so essential to sustainability and could be the main component of it, but it’s usually not mentioned…
KL: And since you’re a small brand and your capacity is limited, you can’t afford to produce so much regardless.
UV: We still have deadlines, though; we don’t sit around for three months doing nothing.
KL: We launch one bigger collection per year, but at certain times, we have some small additions, for example, a mini summer launch. Since there are still some shopping habits that we are aware exist, like when the seasons change, for example.
What I find super fascinating is that you’ve been commercially successful since the launch of your first collection.
UV: We were surprised by it, too! [Laughs].
KL: The first collection was really just created for ourselves.
As I remember, the bestsellers from that collection were your bags.
KL: Since the first collection wasn’t created to be sold, we didn’t even think about it, but when people started writing to us about the beanbags.
UV: And everything actually started from there; we realized we’re no longer making things because we feel like it - we had to start thinking about the creation from a sales perspective. Sometimes, we still make pieces that we suspect might not sell too well, but we like how they look, so we sacrifice a bit of money on them. But then, alongside that, we create something that is easier to sell. But, honestly, it’s hard just to guess what people will want to buy. Before we launched our second collection, we were betting on what we thought would sell best, and we were totally wrong. Feedback from our customers really helps guide us.
On your website and in your designs, I noticed there’s a lot of attention to detail.
KL: We love details. If we create a garment with a clean shape and simple construction, we like to bring it to life with the details. Often, we use the word ‘real’ - what brings the garment to life is its physical weight and the unique details we add to it.
UV: And details are really what we offer. You can buy a pair of pants for 20 or 30 euros if you want to, but we’re selling them for 200. We hate serger seams, especially when you can see them, so we hem everything. It takes three times longer, but to us, it’s the inside of the garment, and to us, these details are crucial.
UV: Another word we like to use a lot is materiality. We want all kinds of different materials and surfaces in the collection. The vest, for example, is made from a wool blanket, but we wanted some shiny satin or leather for more texture.
KL: For the communications side of things, the way we showcase our brand, we use a lot of handwork, materiality, and collages as well; we want them everywhere. It’s not exclusive to the clothing; you can see it throughout the brand. For now, we are still making everything with our hands; we literally add our touch to all the pieces.
UV: It also creates this feeling that you want to see how it feels when you look at the pictures beyond the piece just being visually pleasing.
Do you find the production process as enjoyable as the act of physically creating? Since SSTKMS is a smaller brand and is made-to-order, it could be seen to function as a mini factory, always at work in some way.
KL: We do sew quite a lot, and we’re simultaneously thinking about the new collection while doing it. I think it’s nice to have time to spend with your collection after launching it. You don’t have to jump straight into the next one.
UV: But I actually really like sewing. Of course, when you have 60 pants to make, it’s hard, but we also take that time to improve the product - solve problems. We tried working with seamstresses, but we were too pedantic, so we ended up remaking them ourselves.
KL: We’re putting too much attention towards the details.
So, freedom in creative expression, but excellence in production.
UV: You know, they say you have to think about everything thoroughly before starting a business - what will your strategy be? And if you don’t have an exact answer to that, that’s deemed inadequate. But I don’t feel that’s true. I think it’s better not to limit yourself, go in all the different directions you want until you choose the right one, instead of having to decide right away. It’s the same story with our name.
KL: Our first collection was called SSTKMS.
UV: In Lithuanian, this word means ‘to reconcile' - susitaikymas - but with the vowels removed because we only had a few minutes to think it up before the show. And then it ended up staying - the brand is still SSTKMS today. After some time, different people started asking if the brand’s name meant ‘a meeting’ - susitikimas - because the consonants are the same, just like susitaikymas. It got us thinking about it that way, like, 'yeah, it represents the two of us working together,' and just like that, SSTKMS got a new meaning.
And it doesn’t limit us at all; we can take whatever paths we choose in the future because we aren’t tied down to anything in particular, not even the ‘meaning’ of our brand. Right now, for example, we are creating a costume for a performance piece.
For us, if we’re only making collections, we get tired, so we switch it up sometimes and work with installations and exhibitions. When people ask us what the brand is about, I’m not sure what to say. Today, it's about this; tomorrow, it might be about something else.
KL: After the first collection, we started talking about how we wanted our creation to be about something that excites us immediately - like what excites us right now. Our inner experiences, our collaborations, the whole thing - it all got intertwined…
UV: And I guess that’s the story [laughs]... that’s SSTKMS…
MANY THANKS TO THE
ISSUE 2 CONTRIBUTORS
KOKO FIGURA
ANNIE
VANESSA TORPEY
YVES BARTLETT & DA-JIONG DONG
MANY THANKS TO THE
ISSUE 1 CONTRIBUTORS
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