Her inspiration came from the conservative Islamic Revolutionary Corps in the 1980s. She thought everybody has guilty pleasures. Even the Corps would also have had guilty pleasures, so she started work from this point. A tiny hole is more sexual than big ones - the less that it reveals, the more sexual it is - so she designed a suit with one small hole and the proportions of the garment came from sexual clothing. The garments straddle the line between feelings of guilt and pleasure. She reduces the sexuality of the garment to evoke feelings of guilt.
Eugene emphasizes the three-dimensionality of clothes. Because clothes are not two- dimensional but three-dimensional that is exist in a three-dimensional world. So, she usually does a half-sided drawing because it makes her think about the front and back of the clothes together. After drawing, she usually makes these into rough silhouettes on a body three-dimensionally. Then, before the toile, she does a pre-toile. It is her three-dimensional pattern process to test its flexibility to make sure of the maximum range angle of the body. And it emphasizes the flow of the front and back of the clothes.
She exposed guilty pleasures as materials. Individuals feel extreme happiness when their guilty pleasures are exposed to others. So I started my work by exposing these guilty pleasures.
A hole is a device that allows others to look inside a person. On the contrary, it is also a device that can expose the wearer. In that sense, it makes both the wearer and the third party guilty. That garments with a hole straddle the line between feelings of guilt and pleasure. She reduced the sexuality of the garment to evoke feelings of guilt.