From its first runway show to the cover of ELLE, Bhumi is quickly becoming a name to watch. The label is flipping off fashion’s outdated standards with couture that refuses to shrink itself. Founder Emma van Engelen is at the forefront of 3D printing, transforming rejection into radical reinvention. In this interview, she talks breaking the mold, reclaiming space, and why maximalism is a power move.
Bhumi was born out of a desire to challenge the fashion industry’s restrictive beauty ideals. As a former model, you’ve experienced these limitations firsthand. Was there a specific moment in your career when you realised you wanted to change the system? How has your experience in the industry shaped Bhumi’s vision?
I started modelling in high fashion when I was 15, so I was already immersed in the fashion world at a young age. When my body changed, I felt completely rejected by the industry. At that point, I thought I would never work in fashion again. I didn’t see myself continuing my studies either, so I took a few gap years after high school. Then, something clicked. I had always dreamed of being a fashion designer as a child, and I rediscovered that passion when I bought a sewing machine and moved to Italy.
I started Bhumi as a personal project, handling everything from design to photography myself. Over time, it evolved into a platform where I could break through my own insecurities. Working as a curve model showed me how brands were using body positivity as a marketing tool rather than a genuine commitment, a form of ‘body positivity greenwashing’ if you will. I saw how toxic the industry was and realised that if I didn’t see the change, I had to become the change. Bhumi is my protest against the hypocrisy of the fashion world.
Your designs embrace maximalism—not just in silhouettes, but as a statement. Beyond the visual aspect, what does maximalism mean to you? How does it empower the people who wear your pieces?
For me, maximalism is about amplifying presence. It’s a way of taking up space unapologetically. Plus-size bodies are often hidden behind minimalist, shapeless clothing. Even when plus-size models are included in fashion, they’re usually dressed in simple jersey pieces that conceal rather than celebrate. I want to accentuate curves, not minimise them. My designs challenge restrictive sizing norms by embracing bold, exaggerated forms. It’s about reclaiming visibility and making sure plus-size bodies are seen, appreciated, and elevated in high fashion.
Bhumi merges cutting-edge technology with artisanal craftsmanship, from 3D-printed accessories to hand-stitched couture pieces. Why is this fusion of tradition and innovation so important to you?
I have really been thinking a lot about how I can continue combining these two in my work. I only learned to use 3D techniques during my graduation. What I could do with them at that time was very limited, and I felt the motivation to continue with it. I thought to myself, if I want to move forward with this, I really have to learn it now and start experimenting before I graduate. This was the time when I could bring all my fascinations to life. I’m really excited to merge these two ways of designing even further.
Your graduate collection, Breaking the Mold, featured five looks inspired by the human body and organic forms from nature. Since then, your focus has shifted primarily to accessories. Do you see yourself returning to clothing design, or are you more interested in experimenting further with 3D-printed footwear and accessories?
I really miss creating full collections. Right now, my focus on accessories is more of a business decision—I had to figure out how to make my vision sustainable as an emerging designer. Starting with a smaller product range allowed me to refine my creativity within realistic limitations. But designing clothing remains my ultimate goal. I’m currently feeling the itch to return to it, and I hope to present a couture collection in September.
Bhumi’s latest collection, Bathe in the Waters, evokes themes of fluidity, transformation, and the raw beauty of nature. What inspired the title, and how does it connect to the collection’s themes?
The name came from a vision I had of a woman walking into the sea, symbolising cleansing and renewal—washing away life’s struggles. I wanted a title that carried the same emotional weight as Breaking the Mold but with a poetic layer. The collection represents my introduction to the fashion industry as a designer, beyond just being a plus-size designer. It’s a protest against the rigid structures of the industry itself. I guess this is my way of offering a healing experience in fashion, a different narrative.
Chiara Steemans, the photographer, had the idea to submerge the collection’s images in water and then rephotograph them. That concept resonated deeply with me. I don’t want my work to just be about the garments; it’s about creating a visual narrative that lives beyond the physical pieces.
Sustainability is a core value in Bhumi’s design philosophy. How do you approach sustainability in your creative process, and how do you plan to evolve this further?
I see sustainability as more than just a buzzword. It’s actually a natural part of how I create. I work exclusively with deadstock fabrics sourced from warehouses and draft all my patterns digitally, simply because I find it more efficient. I’m constantly questioning how to make the process even more sustainable. Since I don’t come from money, I also have to be smart in my design choices, and can’t just get things produced for me. This on the other hand forces me to think of creative production solutions. One of my long-term goals is to localise production by setting up 3D printing stations in different regions, so pieces can be printed on demand rather than shipped worldwide. The idea of minimising waste excites me, and 3D printing offers endless possibilities. Everything is recyclable—the excess material from one design can be melted down and reused for the next. It’s a process that not only challenges traditional production methods but also pushes my creativity further.
Your designs have already been worn by notable names, including Nicola Coughlan on the cover of ELLE. How does it feel to have such notoriety early on in your career? Are there other artists and celebrities you would love to dress in the future?
This was honestly something that came up randomly and it was truly a blessing and a sign to keep going. To have the luxury to start like that is insane. I received a DM from the stylist working on the cover story, and that’s when I heard that the corset had been used and that she had personally chosen it. At that point, I still didn’t know if it would actually make it onto the cover until I held it in my hands.
As for other celebrities, there are so many people on my list. Lady Gaga, Rihanna, and I would love to work with Nicola again. I also admire curvy supermodels like Precious Lee and artists like Mahalia. I’ve even been in touch with Lizzo and SZA, working with them would be a dream come true. Dressing celebrities can be a big investment though, since most pieces are custom-made and costly to produce. But as I grow in my career, I’d love to do more of it.
The fashion industry is evolving, but challenges around size inclusivity persist. What do you think is the next big step towards true inclusivity, and how is Bhumi contributing to that change?
A huge part of Bhumi’s identity is not just what I create, but how I communicate it. Social media allows me to educate and inspire people in a way that luxury brands often don’t. High fashion has historically been about exclusivity. I want to challenge that notion by making my process transparent and engaging. The reality is that plus-size consumers make up the majority of the market, yet they are still widely underserved. The average clothing size in the Netherlands is a EU 42, yet fashion continues to cater predominantly to smaller sizes. I’m building Bhumi by listening to my audience and fostering an open dialogue with my followers.
It has also been a very personal journey for me. Through Bhumi, I have discovered myself and can now tell my story. I really wanted to do something with my experiences, and as a designer I found an outlet for that. This journey is not easy; it’s perhaps one of the hardest career paths you can choose, so for me, my reasoning to follow this path has to come from deep within my heart. I’m doing this to create freely and contribute to a fashion landscape that is truly inclusive. In the end, it’s more about my mission than about the money. I reinvest everything back into my brand to grow as a designer.
Photo credits
Photography/ Creative Direction: Chiara Steemans @chiara_steemans
Hair + Make Up: Marjolein M. van Dijk @marrrjooo
Model: Michelle Bergwijn @michellebergwijn
Set Assistant: Janaki van Os @janaki.design
Mixes Media Assistant: @hanibal_12
