The purpose of this study was two-fold. The author proposed first to develop a group of postmodern artwear garments inspired by an East Central European folk aesthetic, and second to briefly examine the history of East Central European folk aesthetics as inspirations for modern and post-modern garment design. The research included a historical survey of how the adaptation of folk motifs has been approached by individuals working in different fields, visual research, and creative development including the design and creation of a group of Slavic-inspired artwear garments. The historical survey included a discussion of dress scholars, anthropologists, fashion designers, and fashion commentators who have addressed the influence of East Central European aesthetics in garment design. These findings put the design process for this study in context. The visual research component included the collection of images from contemporary and historical texts on East Central European folk art and a visual inventory of the inspiring aesthetic, specifically: the use of bright colors including blue, red, pink, yellow, purple, green, white, black, and metallic gold and silver, a mix of textile materials, an amalgamation of textile embellishment techniques, an eclectic combination of semi-geometric, sharp, and naturalistic patterns of flowers, hearts and birds, a historical accruement of elements, mismatched motifs, layered patterned materials, and high visual density. The creative development phase concerned the application of this aesthetic to the creation of three jackets with companion garments. Non-traditional sewing machine embroidery played a key role in experimentation with designs, as well as in the final adaptation and implementation of the East Central European folk aesthetic in artwear design.