DZHUS’ SS25 “ANTICON” concept presents a metamodernist version of theLast Supper mystery. The collection speculates on the ‘Utopia codes’ 
generated by humanity in aspiration to program happiness. Irina Dzhus ironises about the mankind’s conventionalism as she pays tribute to encoding 
systems, from spirituality to commodity. She desaturates the rainbow, replacing colours with abbreviations, while a splash of pigments from the white 
garments’ insidebrings a life-asserting message.Frustratedabout the society’sdualism towards animals, the artist spices iconographic zoomorphism with
‘pet afterlife’ caricatures. DZHUS suggest exploiting the civilisation’s semantics database to navigate a subjective idyll: any sign, term or notion can serve 
as a coping strategy for existential dilemmas: a vector to ‘self-settlement’. At that point, the brand incorporates wearability into homeware objects. As 
social self-consumerism is traced to gastronomic sacraments, a series of ensembles is inspired by table setting. As she refers to Gnosticism, Kabbalah, 
Judaism, and Christianity, Irina Dzhus believes: whichever conventional system chosen to refer to is relevant as long as it showsa way out of desperation.