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Inclusivity in fashion is not a niche, but a new standard

  • A fashion model walks the runway wearing a black asymmetrical dress with a diagonal zipper and shiny accents. The slit reveals a prosthetic leg with a blue metal rod and patterned socket. The model wears brown platform shoes. Behind her, the brand name “JULIYA KROS” is projected on the wall. The scene highlights inclusivity and diversity in fashion, showcasing adaptive design and representation of individuals with disabilities.
  • Black-and-white photograph: a person in a wheelchair sits near a wall, smiling with hands clasped in their lap. They wear a dark garment with white trim resembling a ceremonial or academic robe. In the foreground, another individual is partially visible holding a phone. The scene appears to capture a formal event or ceremony, emphasizing inclusion and representation of people with disabilities in celebratory contexts.
  • A male model walks the runway during a fashion show. He wears a loose, asymmetrical brown top with wide sleeves and a deep V-neck, paired with baggy blue pants rolled at the cuffs. The model has a bald head and beard, confidently presenting the outfit. A prosthetic leg is visible, integrated into the overall look. The scene highlights inclusivity and diversity in the fashion industry, showcasing adaptive design and representation of individuals with disabilities.

25.01.2026

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ELLE magazine featured the Ukrainian brand JULIYA KROS, created by Yulia Perekrestova from Sumy, which has been consistently implementing the principles of accessibility, universal design and social responsibility in fashion for over 12 years.

The brand's team rethinks clothing not as an ‘adaptation’ but as the norm, where the person is at the centre. Their design is about:

  • convenience in everyday life: simple, functional and versatile models;
  • taking into account different physical characteristics — for people who use prostheses, wheelchairs, have visual impairments or other characteristics;
  • comfort in different body positions, without unnecessary actions, made of soft materials that do not rub or restrict.

As the brand's founder emphasises, it is precisely the work with real people and their daily needs that has made it possible to create a design that accepts people as they are, rather than trying to ‘fit’ them into clothing.

For those working to build a barrier-free society, JULIYA KROS is a powerful example of how fashion can be a tool for equality, respect for diversity, and true inclusion.


Because inclusivity is not a separate category.

It is a new standard.

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