Desinger

Nelly Serobyan trained in fine art before she ever cut fabric. A graduate of the Armenian Academy of Fine Arts and Moscow's Slava Zaitsev Fashion House, she founded her eponymous label in Yerevan in 2014

Every piece is conceived and handcrafted in her Armenian atelier, where minimalism meets an uncompromising attention to craft. The result is fashion that doesn't follow seasons — it outlasts them.

Runway

Milan Fashion Week
SS23 — Palazzo Visconti, 2022

London Fashion Week
SS21 — Fashion Scout, 2021

London Fashion Week
SS20 — Fashion Scout, 2020

Exebitions

Project
UK’s Good Governance Fund (GGF)

Year
2021

A woman with short gray hair stands in a barren, gray landscape with small mounds of gravel behind her. She wears a black, patterned sleeveless top and a matching long skirt, and has an arm painted with abstract white and beige lines.
Close-up of a surface coated with white soap scum and soap residue, creating a textured, uneven pattern.

Cancer Causes
Tackling sustainability issues in the Armenian fashion and textile industry with Ecoage.

The campaign has been launched to raise awareness of environmental issues directly or indirectly connected to the fashion and textile industry.

Project
Shape of Manner

Year
2025

A mannequin dressed in a black, avant-garde gown with structured and pleated fabric, head covered with a black fabric, and decorative jewelry in an art museum. Paintings are visible on the teal walls in the background.

Shape of Manner: A Dialogue Between Art and Fashion: This exhibition officially launched Yerevan Fashion Week 2025 at the gallery, showcasing reinterpreted artworks as wearable art.

Armenian designer Nelly Serobyan has collaborated with the National Gallery of Armenia for the exhibition "Shape of Manner: A Dialogue Between Art and Fashion". This special project featured Serobyan alongside designers Vahan Khachatryan and Mari Hayrapetyan, who created unique garments inspired by specific paintings within the museum's permanent collection

Exhibition
Sergei Parajanov Museum, Yerevan

Year
2025

A mannequin dressed in a black, sleeveless, floor-length dress with a hood, displayed in an art gallery. The mannequin has wooden arms and a no face mask. It is surrounded by framed art photographs and drawings on the gallery wall.
A mannequin dressed in black rain gear with a string of small, white, human face sculptures hanging from the waist and a large, dark, breast-shaped object attached to the skirt.

A black taffeta gown exhibited at the Sergei Parajanov Museum in Yerevan — a tribute to the filmmaker whose poetic visual language reshaped Armenian art. Hand-sculpted porcelain faces descend along the bodice like devotional icons, each unique, each watching outward with calm composure. Cord lacing cinches the waist in a gesture borrowed from both corsetry and bondage — restraint as ornament, tension as form.

At the hip, a sculpted hand in black lacquer cradles white carnations — life held by something already still. A deep hood conceals the wearer's face, surrendering individual identity to something collective, ancestral. Displayed among Parajanov's own collages and assemblages, the gown enters into dialogue with his world: the same obsession with found objects, ritual, and beauty forged under constraint.

Every element — the faces, the hand, the flowers — was made by the designer. Nothing is decorative. Everything means.