A chance discovery at a thrift store sparked an unconventional creative journey for New York-based designer Neil Grotzinger. While browsing secondhand clothing, Grotzinger encountered a Halloween skeleton shirt that would become the catalyst for their latest fashion collection. The garment’s exposed bone imagery prompted a fascinating conceptual question: what if hidden interior elements could be transformed into exterior design features?
This revelation led Grotzinger to develop an entirely upcycled collection built around the principle of reversing garments to showcase their typically concealed inner construction. The designer systematically turned blazers, outerwear, and skirts inside-out, revealing linings, seams, and structural details normally hidden from view. The approach represented a deliberate challenge to conventional business attire, transforming corporate clothing into something more subversive and personal.
Grotzinger described the aesthetic as exploring ‘informal formalities,’ acknowledging their own distance from corporate culture while examining and ultimately disrupting its visual codes. The designer’s interrogation of professional dress norms took on an intentionally provocative character, questioning the rigid expectations of workplace fashion.
The resulting garments bore little resemblance to traditional office wear. Grotzinger enhanced the reversed pieces with vibrant beadwork applied in organic, vine-like patterns that resembled decorative growth spreading across the fabric surfaces. One notable gray blazer featured its navy silk lining prominently displayed as front panels, complete with the original owner’s custom tailoring label reading ‘exclusively tailored for Andrew C. Estill.’
This particular piece exemplified the collection’s deeper themes of transformation and identity. By taking a suit originally crafted for another person and reimagining it with bold, embellished details, Grotzinger created a metaphor for personal reinvention. The designer connected this process to broader themes of queer identity and historical suppression, explaining how hidden aspects of self-expression could be brought into the open through fashion.
While the conceptual framework proved compelling, the execution presented mixed results. The simple act of reversing garments and adding decorative elements sometimes fell short of genuine design innovation. Many pieces from discount retailers like Liz Claiborne and Ann Taylor would have benefited from structural modifications beyond surface-level embellishment to achieve more sophisticated silhouettes.
However, Grotzinger demonstrated stronger design instincts in the collection’s bottoms. The designer created distinctive voluminous skirts by hand-stitching multiple culotte pieces together, achieving original proportions and shapes. Some of these pieces incorporated unexpected elements like colorful swimwear or tank tops attached to one side, adding playful asymmetry to the designs.
The collection’s experimental approach to sustainable fashion highlighted the creative potential within discarded clothing. Through imaginative intervention and careful craftsmanship, Grotzinger proved that compelling fashion doesn’t require new materials or conventional construction methods. The designer compared the creative process to adolescent experimentation with clothing, recalling the joy of assembling eclectic outfits that challenged mainstream fashion sensibilities.
While the resulting garments may not appeal to mainstream tastes, Grotzinger’s vision offered a thoughtful exploration of identity, sustainability, and creative expression through fashion. The collection succeeded in demonstrating how personal creativity and conceptual thinking can transform overlooked materials into meaningful artistic statements.
Photo by pascal Stöckmann on Unsplash
