Sofía Ognjenovich Vaz

Artist, author and designer born in 1988.
Master of Arts in Fashion, Royal College of Art, UK.
Founder and designer at Autora Vaz.
Lives and works in Montevideo, Uruguay.

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AUTORA VAZ

Textile laboratory label
Montevideo, Uruguay
2026 Collection 27

Hemp, Ecovero™, Cotton gauze deadstock, Natural indigo, Madder, Logwood, Pomegranate, Cutch, Corozo, Wood, Organic cotton thread. 
Variable Measurements.
The first collection of this textile research project based in Montevideo explores garment construction as a visible and adaptable system. Seams, pockets and construction elements are brought to the outside, exposing the structure of each garment. Drawstrings, elastics, buttons and ties allow the wearer to adjust and transform each piece. The body has the final say and participates in its creation. The natural dyes and textile manipulations used wil evolve over time, allowing each garment to retain traces of the wearer.

autoravaz.com
@autoravaz


AUTORA VAZ

Textile laboratory label
Montevideo, Uruguay
2026 Research and Development

Hemp, Ecovero™, Cotton gauze deadstock, Natural indigo, Madder, Logwood, Pomegranate, Cutch, Corozo, Wood, Organic cotton thread. 
Variable Measurements.
An ongoing investigation into the relationship between clothing, territory and identity, developed through archival research, material experimentation and garment construction. Drawing on the work of Uruguayan artist Petrona Viera, local landscapes and architectural structures, the research explores how colour, materials and construction techniques can contribute to a situated visual language for the body.



AUTORA VAZ

Textile laboratory label
Montevideo, Uruguay
2025 Pilot Collection

Hemp, Ecovero™, Natural indigo, Madder, Black Tea, Corozo, Wood, Cotton thread. 
Variable Measurements.
Research project exploring modes of production and the construction of textile identities rooted in the Uruguayan territory. The pilot collection establishes a material and constructive language based on biodegradable, plant-based materials, natural dyes and adaptable garments. Developed in collaboration with women’s cooperatives and independent makers in Montevideo, it examines how clothing can reflect the conditions, resources and people involved in its production.



autoravaz.com
@autoravaz


BECOMING AN ORPHAN

Montevideo, Uruguay
2020-2024Book

Book: Hardcover, 128 pages, 120 x 200 mm
Published as a novel, preserving the original visual language and catalogue-like spirit. I recycled the eighty shopping bags I had saved and turned them into eighty handmade bookmarks inscribed with passages from the book.
Published by Editorial Encuentros, 2024

NOT EVEN THE RAIN

London, UK
Work in progress
2022-presentVideoperformance / Installation

Pencil on paper, canvas, thread, polylactic acid, digital media.
Casting made using Tinder app.
Variable measurements.


This piece explores memories anchored in the body’s physical memory. It proposes narration as a way of articulating events, dramatizing them, sharing them, and reclaiming them. The central work is a video-performance built around a minimal gesture that is later dramatized. In the final section, everyone involved in the film offers feedback on what they think happened.
The accompanying pieces echo the narrative as it is presented: fragmented, fragile, emotionally intense, and open to multiple readings.

TRANSITIONAL OBJECTS

After Lygia Clark
Montevideo, Uruguay
2022-2025Wearable sculptures

Paper, pencil, canvas, thread, ceiling painting.
Variable measurements

These pieces are a studio-based investigation drawing and sculpting with fabric that is based on the work of Brazilian artist Lygia Clark.

BECOMING AN ORPHAN

Montevideo, Uruguay
2021Performance

Garments, hangers, suitcase, paper. 
Duration variable.
This work investigates the meaning embedded in our most intimate objects: clothing. In 2020, during the pandemic and as my mother’s illness progressed, I compulsively bought garments, as if trying to shield myself with layers of fabric. I wrote down the expectations and fantasies I projected onto each piece and compared them with the relationship I ultimately formed with them.
The initial presentation was a performance in which I interacted with the audience, sharing some of these stories while the garments hung on a rack. Each piece carried a tag; when scanned, it played the corresponding narrated text.


Video documentation
HIPEROBJECT

Research tutor: Susane Irving
London, UK
2022-2023Research, concept, experience and fragrance design.

Glass, copper, IFF portfolio molecules.
Variable measurements.
Research supported by International Fragrances and Flavors.
Inspired by Timothy Morton’s Hyperobjects: Philosophy and Ecology After the End of the World, I developed a project that consideres fragrance as the shadow of a hyperobject. Focusing on the Anthropocene as such, I designed environments that enveloped viewers in a series of scents, using smell as a way to evoke the scale and ubiquity of certain issues of this era.
PAINTINGS

Montevideo, Uruguay
2021-2021Large format paingings

Acrylic on canvas
180 x 180 cm


Paintings made in format of 180 cm x 180 cm, that could inscribe my 170 cm tall body. Rather than representating something, I tried to explore the possibility of recording a gesture, a movement and actually feeling the effort in the body while doing it. 

AFTER IVES KLEIN

London, UK
2023Research, concept, experience and fragrance design.

Body paint, paper, scanner, digital print on cotton.

Printed my own overweighted body in the way Klein would use ballet dancers bodies’ to make his painting.  

HEMP PIJAMAS

Textile experimentMontevideo, Uruguay
2020-2021Painting, printing, garment prototype

Acrylic painting, kraft paper, transfer impresion, heat transfering, hemp, organic cotton thread
Variable measurements.

Outwear hemp pijamas is a street sleepwear project. They are pijamas made with 100% organic hemp fabrics produced in an Uruguayan factory, and ethically sewn in Montevideo. Both the fabric creation and the making process are fully traceable. The prints are made through heat transfer of paintings on wrapping kraft paper that are are a study of my own movement. There is also an unprinted model. It is about the need of leaving space for new things, the necessity of blank space, a space for breathing, for the idea of the void to show up, as I think preserving it is necessary for creativity to keep going.

Now we work from home.
Is there a chance for the inside to go outside?
Can we take our dreams and let them happen in the community?
Can we dream in the streets?

©Sofía Ognjenovich, 2026. All rights reserved.