Bhumi: Divine Garden

Some brands don’t wait to be discovered - they arrive already knowing what they stand for. Bhumi, founded by Dutch designer Emma Van Engelen, belongs to the latter.

Already worn by figures like Julia Fox and Nicola Coughlan, the brand is building its identity outside traditional systems combining 3D printing, decentralized production, and a direct relationship with its audience. But what makes Bhumi interesting is not only the technology. It’s the way it is used to rethink how the body is seen, shaped, and represented.

With its latest collection, Divine Garden, Bhumi continues to develop this language.

The starting point is familiar, the myth of Aphrodite, but the interpretation feels grounded in the present. Instead of an idealized figure placed on a pedestal, the collection imagines a woman in motion. The reference to classical beauty remains, but it shifts. It becomes more personal, more physical, less distant.

You see it in the shapes. Sculptural pleats echo the folds of marble statues, while floral forms open across the body in a way that feels both ornamental and intimate. There is a softness to the silhouettes, but also a clear structure - something that holds the form rather than decorates it.

This season also marks a new step for the brand with the introduction of its first footwear. The 3D printed heels extend Bhumi’s visual language beyond stillness, allowing the pieces to move with the body rather than exist as static objects. Alongside them, sculptural bags, Aphrodite and Venus, continue the exploration of form, surface, and detail.

What underpins all of this is Bhumi’s ongoing use of 3D printing. The technology allows for a level of precision and complexity that would be difficult to achieve through traditional methods, but here it feels less like innovation for its own sake and more like a tool - one that supports the idea of clothing as something between garment and object.

For Emma Van Engelen, this approach is also personal. Having experienced the pressures of traditional beauty standards firsthand, she builds Bhumi as a space where the body is not corrected, but acknowledged. The pieces don’t aim to reshape, they respond.

At HAY-HAY, this is where the interest lies. Not just in the aesthetic, but in the intention behind it. Bhumi sits at the intersection of art, technology, and self-expression, proposing a different way of thinking about fashion, one that is less about fitting in, and more about inhabiting your own space.

Creative team:
Photographer – Chiara Steemans; 
Videographer – Raphy; 
Make-up Artist – Aoife Dewandeleer; 
Hair & Wig Artist – Victoria Zynwala; 
Assistant – Liza Gerdan