Boris Kráľ exclusively creates bespoke clothing, engaging in a quiet dialogue of cuts and proportions with his clients. He believes that when dresses are made gradually, a connection to them is formed. In this interview, he speaks about his love for craftsmanship and detail, why universal cuts suit no one, and the joy of watching a woman admire herself in the mirror...
Boris Kráľ is a young Slovak fashion designer based in Prague, known for his refined sense of elegance, attention to detail, and exceptional craftsmanship. In his work, he masterfully blends classic silhouettes with a modern sensibility and a touch of gentle nostalgia.
He is the co-creator of the Olympic collection for the Czech team. His debut collection, Salon de nuit, captured the attention of the fashion industry, earning him both
a nomination and ultimately a victory at the 18th edition of the Czech Grand Design Awards. His creations are often chosen for special occasions, including weddings, where his dresses become the centerpiece of unforgettable moments.
Does your new collection have a name?
Not really. I mostly go by the season for which the collection is made, so this time it’s KRAL 2025. I’ve realized that the names of collections aren’t that important to me in general; I don’t feel the need to label them overtly.
How often do you create a new collection?
Over the last three years, I’ve managed to establish some sort of regular cycle. I create one collection per year. I also collaborate with Honza Černý, who follows the same pattern. Over time, we’ve managed to align our calendars. However, in the future, I’d like to create more, smaller collections.
Do you prefer working alone, or do you seek collaborations with other designers?
I mostly work on my own, and I usually don’t invite anyone else into the sewing process. I don’t outsource anything to seamstresses either, because sewing is one of the aspects of the process I truly enjoy. I don’t want to miss out on that. So, if I’m making a bespoke dress for a client, it’s entirely my work. The only tasks I don’t handle myself are, for instance, PR, for which I have my manager, and graphic design, for which I have a graphic designer. However, I’m also part of the Jan Société brand, where we always work as a larger team.
When did the desire for this profession arise in you? Does it have deeper roots?
Even in primary school, I loved art classes and anything visual. My grandmother used to sew, and my grandfather on the other side of the family also knew how to sew, so I had a connection to it. Even then, I was following fashion. I would watch all sorts of fashion shows on YouTube, and I absolutely loved it. So, it was quite natural for me to apply to study fashion design at the Secondary School of Arts in Trenčín, where I learned to sew. It all evolved gradually and naturally from the beginning.
Do you lean more towards artistic expression, or do you emphasize craftsmanship and the manual process of creation?
My work is definitely based on craftsmanship. However, my pieces carry
a certain signature style of mine, my own visual language. And that’s what
I enjoy. I wouldn’t say it’s about self-expression; rather, it’s about a certain “visuality” and a projection of my inner world, an ideal universe where people would dress the way I imagine. (laughs) To be honest, I haven’t entirely figured out where my fascination stems from or when it started, but I truly enjoy the style. And it makes sense to me.
Do you only sew on commission?
For me, the key is the fashion show. I keep the items from the show and don’t sell them so that clients can later examine them, see the silhouette, craftsmanship, materials used, and all the details. Based on that, each piece of clothing is then made to measure.
Do your clients inspire you?
You can read more from the interview HERE. 
Text: Diana Rykrová | Photo: Jakub Cabalka - Puf creatif
