Stella Polare Artist
Stella Polare is a French-Uzbek artistic house founded by artist Khulkar Yunusova. At the crossroads of contemporary art, textile, design, and ritual gesture, the brand creates wearable works of art—objects meant not only to be worn, but to be lived. At the heart of Stella Polare lies a singular concept: vitaculture. A philosophy of creation that embraces the urgency of joy as a conscious, aesthetic, and existential act. Here, beauty is not decorative—it is vital, intentional, and embodied. Each scarf and textile piece is conceived as a standalone artwork. Every drawing emerges from an artistic practice rooted in memory, the feminine body, motherhood, the dialogue between East and West, vulnerability, and resilience. Wearing Stella Polare means carrying a story, a symbol, an inner orientation. With a background in economics and years of experience in the pharmaceutical industry—particularly in pediatric oncology—Khulkar Yunusova brings a rare vision of luxury: a luxury of meaning. Shaped by encounters with children facing life at its limits, her work affirms a powerful belief:
joy is a form of resistance,
and living is a conscious act.
The name Stella Polare—the North Star—embodies this inner compass. It guides each collection toward what truly matters: creating pieces that accompany life through its cycles and transformations. Works designed to endure time, seasons, and emotions. Stella Polare speaks to those who seek more than an accessory: a sign, a refuge, a gentle force to wear close to the body.
Lettre H - La Minotaure de l'alphabet français
Chaque carré représente le texte sur les libertés des Constitutions des différents pays avec le motif “H comme Homme” entrelacés
Attention Feast — Labyrinth H
This work stages a grotesque arena of competition where bodies no longer run, but consume. Numbered participants gather and devour identical golden units in a repetitive, almost ritualistic action. Their effort is intense, yet without direction—suggesting a system in which accumulation replaces purpose.
The scene unfolds as a contemporary labyrinth. Parallel lanes become corridors, and each gesture leads not forward, but back into the same cycle. What appears as movement is, in fact, enclosure.
The golden objects resemble food, yet function as a metaphor for content: endlessly reproduced, instantly consumed, and rapidly forgotten. Consumption becomes a form of capture.
The Minotaur is no longer a figure at the center of the maze. It has dissolved into the structure itself—silent, pervasive, inescapable. In this sense, the work resonates with the logic of the letter H: present, structuring, yet without voice. A force that separates, redirects, and organizes space without being seen.
A silent crowd observes from behind, sustaining the spectacle. Visibility becomes the condition of continuation.
This work reflects on the attention economy as a labyrinth without walls—where urgency is performed, meaning dissolves, and exit remains uncertain.
Les enfants - les fleurs de la vie
Projet Kaukokaipuu
Instinct maternel
