Kestutis Lekeckas

I have been involved in fashion since 1999, and from the very beginning, I was drawn to the creative side of design. My early collections were conceptual and artistic, and they gave me the opportunity to participate in both national and international competitions. The recognition I received helped confirm that I was on the right path. My interest in design started early, shaped by my environment. I was surrounded by creativity. My grandmother was a tailor, so fabrics, fittings, and the world of garments were familiar to me from a young age. I later combined this creative foundation with academic study, eventually earning a doctorate in materials engineering and technological sciences. This background allowed me to approach fashion from a unique perspective, where the process often starts not from the surface but from the inside, by understanding materials, structure, and construction before shaping the aesthetic form. So yes, design has always been close to me, but my path developed gradually, shaped by experience, curiosity, and a growing desire to combine creativity with meaning and responsibility.

My design studio operates under the brand leKeckas. It brings together creative design, high-quality craftsmanship, and a strong focus on sustainability. We specialize in menswear, offering a wide range of garments—from everyday pieces to formal and statement designs—along with accessories and footwear. All items are available through our boutique and online store: www.lekeckas.com. The studio is built around the idea that fashion should be both thoughtful and enduring. We develop one-of-a-kind and small-batch pieces with a strong emphasis on quality, material selection, and timeless form. Many of our collections include zero-waste concepts and upcycling strategies, integrating textile offcuts into refined designs. Beyond the creative work, the studio also offers design, patternmaking, and production support for other brands. What makes our process unique is the fusion of creative practice with scientific thinking. My background in materials engineering allows us to experiment with construction and technology in ways that support both aesthetic and functional goals. In everything we do, the focus is on creating garments that are meaningful, responsible, and made to last.

For me, design is a way of thinking and shaping reality. It is the ability to transform ideas, experiences, and values into something tangible and meaningful. In fashion, design is not just about appearance. It includes material choice, construction, functionality, cultural context, and emotional connection. Design allows me to respond to the world around me and propose alternatives. It’s a tool for storytelling, problem-solving, and expressing identity. Ultimately, I see design as a balance between creativity and logic, where every decision serves both aesthetic and purposeful goals.

I enjoy designing garments that combine conceptual depth with technical precision. I’m especially drawn to tailored pieces, like suits and coats, where structure, material, and construction play an essential role. These forms allow me to explore subtle details, layering, and intelligent functionality while still leaving space for creative expression. I’m also passionate about projects that challenge the standard production system. This includes work based on upcycling, zero-waste design, or material experimentation. I find meaning in creating garments that are not only visually strong but also carry a deeper narrative about sustainability, identity, or heritage.

One of my favorite designs is the Re Created Sustainable Suite, which received the Gold A' Design Award. It represents a turning point in my creative journey where concept, craftsmanship, and sustainability came together in a very intentional way. This suit was made entirely from leftover fabric fragments from suiting production. The challenge was to combine pieces of different textures, shades, and sizes into a refined, well-balanced garment that could still feel elegant and timeless. I wanted to show that waste materials can be elevated to the level of high design without compromising on quality or aesthetics. Beyond the technical aspect, the suit also carries a deeper message. It reflects on overconsumption and invites people to rethink their values and recreate themselves in a more conscious and responsible way. For me, it is more than a design. It is a statement about what fashion can be when guided by meaning and respect for materials.

The first thing I designed professionally was a coat for an individual client. I remember being genuinely excited and eager to offer something truly original and bold. That experience quickly taught me an important lesson. When working with individual clients, the most important thing is not just the design itself, but the ability to understand and connect with the person in front of you. It became clear that good design in this context is a collaboration. It requires sensitivity to the client's personality, their understanding of aesthetics, and their comfort zone. Over time, this process becomes mutual growth. I help refine their taste and expand their perspective, while also deepening my own skills in creating for real people with unique needs and identities.

My favorite material is natural wool. It fascinates me with its versatility. Wool can be soft and delicate or thick, coarse, and structured. It can feel light as air or solid and architectural. No matter its form, it always offers a sense of comfort and warmth. What I value most is how wool responds to shaping. It allows for precise construction while retaining a natural fluidity. It also creates a unique microclimate close to the body, being breathable, regulating temperature, and enhancing the wearer's experience. For me, wool is more than just a material. It is a living medium that connects craftsmanship, function, and emotion in a very tangible way.

I often feel most creative after a period of quiet observation, when ideas slowly begin to connect in unexpected ways. But I have to admit, looming deadlines can be surprisingly inspiring too. There’s something about time pressure that forces clarity. Sometimes the best ideas come at the last moment, when they absolutely have to. Concepts that didn’t emerge for weeks suddenly take shape in just a few hours. So I would say creativity comes both from thoughtful buildup and a little chaos. That combination keeps the process alive and exciting.

During the design process, I focus most on the relationship between material, construction, and form. I usually start from the inside, considering how the fabric behaves, how it can be shaped, and how seams and structural details will affect both comfort and silhouette. Only then do I move toward the visual composition and style. I also pay close attention to proportion, balance, and how the garment will integrate into a wider wardrobe. For me, a good design is not just about a striking look. It is about how it functions, how it feels on the body, and how it communicates something meaningful without being forced.

When I design, I feel genuine joy. It is a state where I feel fully alive and connected to what I do. Creating is not just part of my work, it is a way of living. There is excitement in shaping an idea, in touching the materials, and seeing a form slowly come together. Even with all the challenges, that process gives me energy and purpose. It is a deep, quiet happiness that comes from doing something meaningful and personal.

It may sound unusual, but once a design is fully realized, I often feel a sense of emptiness. I find more fulfillment in the process itself than in the final result. The research, the shaping, the solving of creative and technical challenges is what excites me most. Of course, I value the outcome, especially when it resonates with others, but for me, the real emotion is in the journey. When a project ends, there is a quiet pause before the next idea begins to form. That space feels both reflective and motivating. It pushes me to start again.

A successful design is one that serves a purpose and creates real value. In fashion, that means the garment should not only look good but also help the person live better. Clothing can influence how we feel, how we move through the world, and how others perceive us. It can support our goals, enhance our presence, highlight our strengths, and sometimes even allow us to pretend until we grow into who we want to become. There is a reason why people say you need to look right before you can achieve what you want. A well-designed outfit can give confidence, clarity, and direction. It can help harmonize the body, flatter the figure, and align external appearance with internal identity. For me, a design is successful when it works on all these levels: functionally, emotionally, and visually. It helps someone express and become their best self.

When evaluating a design, the first thing I consider is whether it fulfills its intended purpose. A design should not only look appealing but also function well in context. In fashion, that means the garment should suit the body, respond to movement, and feel appropriate for its use or occasion. I also look at the balance between material, form, and construction. Proportions, finishes, and the overall harmony of the piece matter a lot. A good design feels resolved—it shows intention, care, and coherence. Finally, I consider emotional and cultural impact. Does the design communicate something meaningful? Does it respect the wearer and elevate their experience? These deeper aspects are often what separate a visually interesting piece from one that truly resonates.

From my point of view, sustainability is a mandatory part of design today. A designer must think not only about aesthetics and function, but also about the environmental and social impact of their work. We are responsible for choosing better materials, reducing waste, and creating products that last. Design should offer solutions, not add to the problem.

The importance of design is growing rapidly. It is no longer seen only as a tool for creating beautiful objects but as a key driver of change. Even at the European Union level, design is recognized as one of the essential elements shaping policy, especially in the transition toward a circular economy. I believe the future of design lies in systems thinking, sustainability, and cross-disciplinary collaboration. Designers will increasingly be expected to solve complex problems, not just shape appearances. That means creating with long-term value, ethical responsibility, and environmental awareness in mind.

Recently, I have had the opportunity to take part in several exhibitions, one after another. I participated in Design Days in Lithuania, presented a solo exhibition in Kaunas, and also held a personal exhibition in Florida, which was a valuable experience in bringing my work to an international audience. I truly appreciate every opportunity to share my creations with the public. As for future plans, I am always open to meaningful exhibitions, especially those that allow for deeper dialogue about sustainability, identity, and design as a form of cultural expression.

My inspiration comes from everything that surrounds me. Everyday experiences, human behavior, materials, textures, and even unexpected moments all play a role. But travel is what feeds my creativity the most. It allows me to experience new environments, meet people with different identities, and explore other cultures in depth. These encounters expand my thinking and help me see beyond familiar boundaries. Being in a new place sharpens my senses and breaks routine, creating space for fresh ideas. Inspiration does not come from a single moment. It builds gradually through what I observe, feel, and reflect on. That continuous flow of impressions eventually finds its way into my work.

My design style is thoughtful, structured, and expressive. It often combines tailoring traditions with conceptual ideas and sustainable thinking. I am drawn to clean forms, precise construction, and meaningful details. A garment should be well-made, long-lasting, and visually refined without being loud. I enjoy creating designs that do not shock or overwhelm at first glance. Instead, they reveal themselves gradually. Original details are often subtle and may not be noticed immediately. This allows both the client and the viewer to discover something new over time, in stages, creating a more personal and lasting connection with the piece.

I live and work in Lithuania, and yes, the cultural heritage of my country has a strong influence on my design work. I am inspired by traditional Lithuanian clothing, textiles, and the way things used to be made carefully, by hand, with respect for materials and longevity. These values align naturally with sustainable design principles. One of the biggest advantages of living here is the strong connection to tradition and nature, which helps shape an authentic design language. There is also a growing creative community that supports innovation and experimentation. At the same time, the local market can be quite small, and working sustainably often requires more effort and education when mass production is still the default. But I see this as part of the challenge, building awareness and contributing to a cultural shift through my work.

At the moment, I work with companies only occasionally, mostly in a consulting role. My main focus is on developing my own fashion house and working as a professor at the university. In the past, I used to offer design and patternmaking services to other brands, helping them shape their collections from concept to construction. That experience gave me a deep understanding of different brand needs and production models. Now, when I do collaborate, I aim to contribute more strategically by sharing knowledge, offering guidance, and helping others integrate more sustainable and thoughtful practices into their work.

I believe that there is no universal definition of a “good” designer. Each company has its own values, needs, and identity, so the right designer for one brand might not suit another. It is very much like a relationship. You have to find the right match. There needs to be mutual understanding, shared vision, and trust. My suggestion for companies is to look beyond just portfolios. Try to understand how a designer thinks, what they care about, and how they work in a team. If there is alignment on a deeper level, the collaboration will likely lead to meaningful and successful results.

I enjoy variety in my design process and try not to fall into strict routines. Still, the process often follows a familiar path. It usually starts with an idea, then moves to sketching and selecting materials. From there, I focus on construction, testing proportions, and refining the form through several intermediate stages before reaching the final product. Whenever possible, I use digital tools and 3D modeling to support the process. These technologies help visualize structure, improve precision, and speed up decision-making, especially in the early development stages. Even when the steps are similar, I try to keep each project fresh by adapting the process to the specific idea, fabric, or context. That flexibility keeps me engaged and allows each design to evolve in its own way.

I do not have a fixed list of favorite design items. For me, everything depends on context, mood, and the situation. What feels like the perfect choice one day might not be the right fit another day. I do have a few garments or furniture pieces that I enjoy using, but I do not get too attached to objects. I value design that serves a purpose, supports daily life, and brings a sense of balance. But I believe meaning comes more from how we live with things, not just from the things themselves.

I would like to say that my days are never the same, because when days are different, they do not pass by so quickly. I try to keep variety in my routine. I do not only work in my fashion studio, but I also teach, participate in research projects, and sometimes allow myself to rest or do nothing at all, although that happens quite rarely. For me, it is important that each day feels interesting in its own way. I enjoy switching between creative work, academic tasks, and personal time. That rhythm helps me stay balanced and inspired.

Be brave, stay curious, and do not be afraid to try everything. Explore without limiting yourself. The only way to truly discover who you are as a creator is through experience. Take initiative, stay active, and give yourself permission to make mistakes. That is how you begin to form your own design identity, which will be essential later when working professionally. And most importantly, enjoy life. Creative energy comes from living fully, not just working hard. Keep learning, stay open, and let yourself grow with every step.

One of the biggest positives of being a designer is the freedom to express ideas and shape the world around you. It is incredibly rewarding to see your thoughts turn into real objects or garments that have meaning for others. Design allows you to connect creativity with purpose, and that is a powerful combination. At the same time, being a designer requires constant problem-solving, discipline, and resilience. It is not always as glamorous as it seems. There are long hours, pressure to stay relevant, and the need to balance artistic vision with practical constraints. Still, if you love what you do, the positives outweigh the challenges. It becomes a way of thinking, living, and making a difference.

Design with intention, respect the material, and never create without meaning.

A good designer needs curiosity, critical thinking, and strong observation skills. Technical knowledge is important, but so is the ability to listen, adapt, and communicate ideas clearly. Most of all, a designer should be able to connect function, emotion, and context into one thoughtful solution.

My toolbox includes both traditional and digital tools. I still sketch by hand, but I also use computer-aided design software and 3D modeling programs to develop and refine patterns. I work with physical materials early in the process to understand their structure and behavior, especially when using fabric waste. For inspiration, I turn to books on fashion history, material science, and cultural studies. I also collect visual references from daily life, exhibitions, and travel. Sometimes even a walk or a conversation can bring the idea I was missing. I try to keep my tools flexible and diverse so they support both the technical and creative sides of the process.

Most of the time, I manage my time instinctively. A designer’s mind never really stops. Ideas develop in the background, even while walking, resting, or dreaming. So when the moment comes to put the idea on paper or into a sketch, it usually happens quite quickly. The creative process is always active, even if it is not visible. That is why I focus more on staying present, observing, and trusting that the right idea will take shape when it is ready.

The time it takes to design an object varies greatly. Sometimes everything comes together very quickly and the process can be completed in a single day. Other times, a design may take months or even up to a year to fully develop, especially when working with complex materials or concepts.

The most frequently asked question I receive as a designer is usually about inspiration. People want to know what inspires me and where my ideas come from.

I cannot single out one experience as the most important. Every stage and achievement has been valuable, helping me grow both as a person and as a creator. Each step contributes to my development, teaching me new lessons and shaping my approach to design.

I work with a very wide range of clients. They include everyday people who want to dress well for special occasions or find stylish clothes for daily wear. Politicians often look for high-quality formal wear, while celebrities tend to seek unique designs and interesting details that help them stand out.

At first, I thought I enjoyed idea generation and sketching the most. But over time, I realized I really love all stages of the design process. Constructing garments is one of my passions, especially solving complex construction challenges. I also enjoy searching for, selecting, and discovering materials. Beyond making the garments, I find great joy in the creative and conceptual parts of photoshoots and presentations of the finished pieces. In short, I like everything from the first idea to the final showcase.

My future plans involve continuing the work of my fashion house while exploring interesting and sustainable solutions. I want to keep pushing the boundaries of design by integrating new ideas that respect both people and the environment. The goal is to create garments that are not only beautiful but also responsible and meaningful.

I work with a team of skilled seamstresses who help bring projects to life. I have experience working in creative teams, but I prefer to lead the creative process myself and make the key decisions. This way, I can ensure the vision is fully realized and maintain a strong connection to every part of the design.

Yes, I am currently working on a raincoat model that I aim to design and construct in a way that uses 100 percent of the material. This zero-waste approach is a challenging but exciting part of the project. It pushes me to rethink traditional cutting and construction techniques to minimize waste while maintaining function and aesthetic quality.

People can find my contact information on our website at www.lekeckas.com. There, they can learn more about our work and get in touch directly.

I am grateful for the recognition my work has received through various design awards. These honors are important because they give me confidence and reinforce my belief in what I do. To everyone pursuing creative paths, I wish the greatest success and endless inspiration no matter what you do.