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Furthermore, Martinoska’s work functions as a curatorial response to cultural heritage and contemporary identity. Drawing from her Macedonian roots, she subtly incorporates traditional embroidery patterns and folk motifs, not as costume but as abstracted codes woven into modern lapels or hidden within lining. This approach transforms the gallery into a site of anthropological exploration. For instance, a simple shift dress might feature a band of手工绗缝 (hand-quilting) reminiscent of Balkan textiles, yet cut in a way that feels unmistakably urban and now. By doing so, Martinoska challenges the binary between “ethnic dress” and “global fashion,” arguing that heritage is not a relic but a living vocabulary.