The period of 1960-1980 is considered to be a turning point in architecture in its content: cardinal updates of forms and constructions, refusal of decoration and nationalization, functional approach. Really valuable and innovative objects have appeared, which are characterized by simplicity of forms and constructions and boldness and complexity of compositional solutions. These buildings are devoid of unnecessary aesthetic “noise”, and not oversaturated with details, color, or decor. Each element is justified, corresponds to the idea, and creates a complete composition of volumes and lines. Following the principles of modernist architects, it was decided to create a collection of Kyiv modernism, which rethought the famous buildings of Kyiv modernism: Vernadsky Library, Hotel “Salyut”, Hotel “Mir”, “Memory Park”, the building of the Faculty of Physics of KNU. T. Shevchenko, and “Flying Saucer” on Lybidska Square.

Caisson (architectural element) on the ceiling of the gallery of the Vernadsky Library is reflected in the Caisson bag.

Taking the “Flying Saucer” form as a basis, Kyiv UFO was created. This is a small leather bag for keys and cards.The Salut backpack bag is the most iconic and most difficult element of the collection to manufacture; with the help of hand crocheting, large eyelets, and a round shape, it was possible to convey the composition and details of the famous Kyiv hotel.
The color scheme of the collection is not accidental: reinforced concrete and steel were used in the construction of modernist architecture. Due to this, the architecture is perceived as a whole, like a sculpture. For the Kyiv modernism collection, the designer chose a palette of gray shades with the addition of black and nickel in the accessories.

Although the inspiration for the collection was architecture, there was no desire to quote it directly in clothing.

The brand designer sought to create functional things for a woman who lives in a big city and combines several roles. This approach is fundamental for modernist architects.
However, now in Kyiv, as in the whole of Ukraine, there is a problem of losing the monuments of modernist architecture. Most of the objects are in critical condition, and others are being ruthlessly destroyed. PODYH’s work aims to draw public attention to the problem of the disappearance of the cultural layer so that everyone could see the beauty and value of this architecture impartially, without reference to the era.