She is a genius creative, with an exceptional imaginative ability, a risk-taker, dedicated to her craft, consistently pushing boundaries and producing groundbreaking work that can reinvent existing knowledge and create new standards. She is a self-taught fashion designer who in a short period of time has displayed phenomenal garment creations.
Nakira Pansurini is a designer and founder of Nakira Studio, based in Berlin, Germany. She is an artist who transforms discarded objects and repurposes clothing into wearable art. She is a Butoh-inspired fashion designer, who creates garments that focus on texture, form, movement, and the body’s relationship to gravity and the environment, rather than just surface-level aesthetics or trends.
Through this practice, she turns the mundane into the extraordinary, the discarded into the performative. Her work is not about perfection but about the process, play, and possibility. Each piece she creates emerges unpredictably, alive with movement, turning waste into radical, performative fashion. Nakira creates wearable art from what others throw away, discarded clothes, forgotten fabrics, and mundane objects from everyday life.
“My practice is rooted in Butoh, an experimental Japanese dance form born in the 1960s. Butoh is not about technique or polished form, it is about surrender. The dancer does not control movement but allows themselves to be moved by external forces, the environment, the air, gravity, textures, memories,” says Nakira.
Nakira’s use of improvisation is a significant element in her design process, allowing for spontaneous movement creation and the exploration of experimental design processes, such as the tearing and reassembling of fabrics, where the form is discovered through intuitive action rather than a fixed plan.
Nakira flips garments inside out or upside down. Sleeves become pantlegs, pants become sleeves, socks emerge from sleeves. Nothing is fixed; nothing is wasted. A bathrobe becomes a dress, shower puffs become leggings, yet their essence remains visible.
“I transform discarded clothes and forgotten objects into wearable art. Nothing stays as it was. Sleeves become pant legs, pants become sleeves, and ordinary fabrics are flipped, torn, and reimagined into moving sculptures. My background in dance drives me to create garments that stretch, shift, and deconstruct during performance, making the act of wearing inseparable from the art itself. I thrive on limitations, no budget, no rules, no fixed plans and using constraint as fuel for invention,” she says.
“I grew up in poverty in the suburbs of Bangkok, Thailand. As a child, I searched for discarded things on the street and made use of whatever I found, making them functional at any cost. My free time was spent building imaginary worlds where trash became treasure, each object carrying a story. My toys were made from garbage I reimagined into something meaningful. I have always loved working with my hands,” she says.
“And now, working as a sushi chef as well, I sharpen my hand–eye– brain coordination every day. Cooking for staff at the restaurant also means creating meals from limited ingredients, within tight budgets and time constraints. This philosophy of resourcefulness and invention carries into my sewing and upcycling work. For me, constraints are what make things creative; breakthroughs emerge from chaos and limitation,” she elaborates.
Nakira began sewing in August 2025 with no knowledge, no training, no rules. Her first piece was mesh, considered difficult by professionals. She says not knowing that mesh is difficult to deal with, freed her. Nakira says she discovered that constraints in budget, tools, time, and knowledge are not barriers but sparks for invention.
“Time pressure excites me, forcing me to use all my willpower and imagination to make something work. Recognition of what they once were is part of the art, a reminder that transformation does not erase but reimagines. As a dancer, I need garments that stretch, shift, and deconstruct with movement. Sewing is not just a craft but a performance. I use whatever tools are at hand, sometimes even my teeth, and often begin with no plan, allowing fabric and object to move me,” she explains.
“Sometimes the most alive moments happen when you have no time to overthink. No pattern, no plan, just hands and fabric, trusting the process even when you do not know what the process is. Butoh teaches that nothing stays intact. Outfits shift as the body moves, pieces fall away, and the garment continues deconstructing long after it leaves my hands.”
Nakira’s approach to design is instinctive and experimental, rather than aiming for perfection. She says, “I work with the chaotic energy of the material, accepting accidents and limitations as part of the creative process. What emerges is not a polished garment but a wearable sculpture that carries the memory of its former life, while simultaneously inhabiting a new identity as a raw, performative costume.”
GARMENT CREATION PROCESS
“This piece began as an experiment during the second month of teaching myself how to sew. I wanted to explore fabric manipulation through smocking, a technique that gathers fabric into folds and textures through repeated stitching. My first attempt was on a red dress made for a shibari session, and soon after I turned to my old bathrobe as material for further exploration. Working without a pattern or plan, I allowed the fabric to guide me. Over twenty hours, simple white stitches pulled the bathrobe into dense, puckered folds that resembled organic forms, almost like the surface of a brain. Unlike traditional smocking, which follows a decorative grid, this process was improvised and irregular, producing an unpredictable sculptural effect. For me, this process embodies the balance of control and surprise. Each stitch, a small experiment, each fold a decision made partly by me and partly by the material itself. The final garment is both familiar and estranged, a bathrobe reimagined as performance wear while still carrying the memory of its original form.”
Documented at Mahalla Open, Berlin Art Week, 10 September 2025
“I found a pair of Uniqlo winter trousers discarded on the street in Berlin and reimagined them as material for a post-apocalyptic style top. The decision to transform street waste into wearable art reflects my ongoing interest in post-consumption fashion and the poetic potential of discarded materials. The process was entirely improvisational, with no pattern or predetermined design. I began cutting directly into the trousers and allowed the fabric to dictate the outcome. The front features irregular cutouts that expose and conceal the body, while the back incorporates a shibari-inspired lacing system. The piece was constructed using whatever tools were immediately at hand, including unconventional methods of fabric manipulation to create texture and tension.
Upside-Down Dress Transformation (August 2025)
“This piece was created on my fifteenth day of teaching myself sewing and upcycling. I found an abandoned dress left in a box on a Berlin street corner and reimagined it by turning the garment completely upside down. The sleeves became pant legs, and the zipper, originally placed at the chest, shifted downward to serve a new function in the transformed piece. This process reflects my approach of working directly with discarded clothing, allowing the material to dictate new possibilities. By flipping and reassigning functions, what was once a discarded mistake becomes a playful, wearable experiment that questions how garments can be reconstructed and reused.”
Slashing Technique Top (August 2025)
“On my thirteenth day of learning sewing and upcycling, I created this top using the traditional slashing technique, but with unconventional fabric choices. I combined a patterned scarf with mesh and two additional fabrics in a similar colour scheme, creating layered contrasts in tone and texture. The mesh was chosen deliberately to evoke the look and feel of fish skin. Its surface not only adds a scaly, organic appearance but also produces sound when touched or scratched, giving the garment an unexpected auditory dimension. The key breakthrough came from incorporating a stretchy black dress as the base fabric. When slashed, its elasticity revealed black areas beneath the folds, adding depth and movement to the surface. Traditionally, the slashing technique is used only on non-stretch fabrics, but by introducing stretch, the piece shifts and transforms as it is worn, making the texture appear alive. This experiment demonstrated how a historical technique can be reimagined through unusual material choices, turning discarded textiles into a garment that engages not just the eye but also touch, sound, and motion.
Red Improvised Dress (September 2025)
“This piece was created in two hours for a shibari session, with the intention that it would be ripped and deconstructed. I began without a pattern, working only with instinct and urgency. At first, I stitched by hand, using improvised smocking and gathering, and let the availability of thread decide my rhythm. When the thread ran short, I stopped; when more was available, I continued. Impatience eventually shifted the process to the sewing machine, where I sewed one-handed while filming, randomly folding and feeding fabric through. At some point I abandoned stitching altogether and began ripping the fabric directly, letting destruction become part of creation. Inspired by Tatsumi Hijikata’s 1968 costume for Revolt of the Body, the dress was never meant to stay intact. During the session it was torn apart, the fabric fragments unravelling through ropes and tension. At the end, I tied myself with the ripped pieces, binding body and fabric together in an improvised act of continuation. The garment’s value lay not in durability but in impermanence, in its transformation, its undoing, and its release.”
Nakira’s wearable work of art deserves recognition for essentially demonstrating a blend of avant-garde designs, creativity, innovation, and unconventional upcycling processes that create aesthetically appealing garments.
ALL IMAGES SUPPLIED BY NAKIRA STUDIO
COVER AND MAIN PHOTO IMAGE PHOTOGRAPHED BY: Martin Oskar @m3q.photo
Using leather offcuts to make bags is a growing trend, driven by increased interest in sustainable fashion, upcycling, and unique, handcrafted products. This practice reduces waste and allows for the creation of stunning bags with a distinct character and the appeal of being eco-conscious.
The fashion industry is moving towards more eco-friendly practices, and using leather scraps helps reduce landfill waste. Offcuts allow for the creation of unique, “patchwork” designs that are different from mass-produced bags.
Small businesses like Mayamaya, founded by Maiada Salousa, are using upcycled leather to craft products, which helps support local economies and promote sustainable business models.
Mayamaya is an upcycling brand that makes luxury bags from genuine leather offcuts. Each piece is handcrafted carefully using premium materials such as cow leather, lamb leather, ostrich, and crocodile.
“From the very beginning, I’ve always loved all kinds of materials, textures, and colours. I had the opportunity to collect beautiful offcuts of genuine leather and high quality fabrics. I used to keep every single piece for a long time because I saw beauty and potential in them. Over time, these collected pieces became the heart of my designs. My mission is to transform left over materials into elegant pieces, that are practical and timeless,” says Maiada.
Her new collection “New signature” is simple yet luxe. Aesthetically the collection combines minimalist simplicity with high-end, luxurious elements. The bags are made from high-quality offcuts materials, incorporating classic designs, and thoughtful, intentional details, rather than excessive ornamentation.
Mayamaya designs are sophisticated, refined, and an effortless look that feels both current and timeless. The upcycled bags are designed to be both timeless and functional. Each piece is firm and sturdy, crafted to be worn all day.
“The bags are made for elegant women who appreciate the timeless allure of classic, refined bags. They value exceptional quality and sophisticated design over fast fashion. It is for women who seek pieces that speak to individuality and elegance. These women are drawn to unique creations that reflect their personal style and offer a sense of understated luxury rather than following short-lived trends,” she says.
ABOUT THE FOUNDER AND DESIGNER
Maiada Salousa
Maiada Salousa in an Egyptian currently residing in South Africa, who comes from an artistic background. Her father is the renowned Egyptian painter, Ahmed Salousa. Surrounded by art, Maiada developed a profound appreciation for the beauty of materials and fabrics.
In 2016, driven by curiosity and desire to create, she taught herself how to crochet through online tutorials. This new found craft deepened her love for textile, and she felt compelled to explore beyond the craft. Eager to broaden her skills, she pursued sewing and other forms of artistic expression. Each new endeavour fueled her passion further.
Today, Maiada’s artistic journey continues as she implements ways to expand her expertise. She is constantly seeking new avenues to blend creativity and craftsmanship into the world of fashion and design. Her fascination and appreciation for upcycling fabrics has propelled her to strive to design the best quality, sustainable and durable bags.
Cocoon sweaters are a fashionable item, popular for their comfort and versatility, and are considered a trend in contemporary knitwear. They are often seen in stylish looks due to their unique, loose, and rounded shape, which can be layered over other clothing items and worn in multiple ways.
Cocoon sweaters fit into broader knitwear trends that include other evolving cardigan styles and are embraced by various fashion demographics. But there’s a deep cultural story that lies behind the now trendy cocoon sweaters, made from crocheted blankets.
The culture surrounding women and crocheted blankets is deeply tied to community, creativity, and heritage. Historically, it was a way for women to express creativity and a means of producing useful and beautiful items, sometimes out of necessity. Today, crocheted blankets are celebrated for their connection to the past, serving as heirlooms, but also for fostering modern creation.
Now designers have given rise to upcycled designs like the crocheted cocoon sweaters. Seasoned Designers such as Nichole Moss, founder of Renewed by NM are preserving the culture by upcycling the intricately designed vintage crocheted blankets into elegant cocoon sweaters.
“Discover timeless warmth and love woven into every stitch with our cocoon sweaters collection. Each piece is crafted from one-of-a-kind vintage hand-crocheted blankets, lovingly knitted by moms and grandmas of generations past. Some call it upcycling, I call it Renew by NM,” this is how Nichole passionately describes her collection and brand.
A cocoon sweater is an oversized, loosely-fitting sweater that resembles a cocoon, with a circular or rounded shape. These sweaters are designed for a relaxed, “cuddly,” and comfortable feel and can be layered to create effortless and stylish looks.
“Our elegant cocoon sweater jackets breathe new life into cherished memories, preserving the tradition of handmade craftsmanship. Treat yourself to your new forever favourite that celebrates the bond of family and the beauty of handcrafted artistry. So you can always be wrapped in a mother’s love,” says Nichole.
The vintage crocheted blanket cocoon sweaters are generally sustainable because they extend the life of existing garments and divert them from landfills. They are a form of upcycling, which is more sustainable than buying new, as it avoids the resources and waste associated with new production.
The sustainability of the original material is also a key factor; natural fibers like wool or cotton are renewable and biodegradable, unlike synthetic yarns that can shed microplastics.
“Using vintage hand-crocheted blankets to make cocoon sweaters is a way to upcycle, create a unique garment, and achieve a cozy, retro style. This method is popular because it gives new life to old blankets, allowing for creativity with existing patterns, and results in a warm, one-of-a-kind garment with a unique, handcrafted feel. Nothing is old, nothing is new, it is just a matter of your point of view,” she says.
Nichole Moss
Drawing from her background in apparel production, Nichole designs ageless, sustainable, and gorgeous cocoon sweaters. Nichole recently collaborated with NSF, a Los Angeles-based clothing brand that offers relaxed, luxury womenswear with an LA-inspired, vintage aesthetic.
“Strolling through Erewhon Market in Los Angeles, I serendipitously met Nick, the CEO and Creative Director of the well-known brand NSF Clothing. Known for their artisanal denim, and luxury separates with California cool vibes. Nick spotted my cocoon sweater, and upon learning about my admiration for NSF, he suggested a collaboration for a capsule collection, resulting in the first drop. The collection was a huge success, selling out in just 24 hours. I am eternally thankful to Nick and Kimberly for wholeheartedly believing in and supporting the vision. Stay tuned for the second capsule drop,” she says.
More and more fashion designers are responding to the call for sustainable fashion by using eco-friendly materials like deadstock fabrics and discarded materials. Many designers are also embracing circular economy models by upcycling existing garments, and others are exploring innovative and biodegradable materials.
One such fashion designer is Elena Corobciuc, founder of By Ely Atelier, a sustainable clothing brand based in Exeter, United Kingdom. Elena is a designer who embraces a sustainability ethos through her brand. She works with discarded materials and sees “trash” as a valuable resource, transforming waste into beautiful garments through techniques like upcycling.
“I’m the hands, heart, and mind behind the brand. I create one-of-a-kind garments from my cosy home studio, carefully crafting each piece from discarded or forgotten textiles. We are rooted in upcycling, intentional design, and love for sustainable fashion that doesn’t compromise on elegance, bold femininity, or uniqueness. Every fabric is consciously sourced, often on treasure hunts through vintage shops and charity stores across the UK and Italy, seeking out the kinds of textures and patterns that stir inspiration and memory. I work with old cotton bedding, vintage crochet, antique lace and worn linen. These materials carry stories, and I’d like to think that I help them whisper again,” she says.
Elena Corobciuc
Elena creates unique pieces, motivated by environmental concerns often blending artistic vision with a commitment to sustainability, demonstrating how creativity can give new life to overlooked materials. She views waste as a resource instead of discarding what others consider junk, she sees it as a source of unique and valuable material.
“My fashion journey began in second-hand clothes. I wore them not as a trend, but out of necessity. I used to be embarrassed by that. Now, it has become my proudest influence. Upcycling, to me, is not just a way to reduce waste, but a creative rebellion. It is a statement, a redefinition of beauty and worth. It says fashion doesn’t need to be new to be powerful. Every item I make is one-of-a-kind, meaning it’s slow, intentional, and stitched with hours of love and attention. I believe in buying less, but better. Valuing not just how clothes look, but how they were made, and by whom. I believe fashion should empower, not exploit. I also believe that wearing the same thing more than once isn’t a flaw, but freedom,” she says.
Maisha by Nisria is a sustainable fashion and design studio based in Gilgil, Kenya. The studio creates unique, handmade clothing from upcycled and repurposed materials, focusing on sustainable and ethical fashion. Their collections include one-of-a-kind pieces like dresses, jackets, and two-piece sets, all made by giving new life to textiles that would otherwise be discarded.
Maisha by Nisria was established in 2021 by Nur M’nasria, an accomplished TV and film producer. The studio aims to provide opportunities and skills training for young adults from marginalized communities. Maisha is the Swahili word for “Life,” reflecting the brand’s focus on giving new life to textiles and to the lives of the youth they support.
The purpose of Maisha by Nisria is to empower vulnerable individuals in Kenya by providing them with fashion and design skills through their non-profit, sustainable fashion and design studio. They use upcycled materials to create unique garments, aiming to foster economic independence for community members and promote a sustainable approach to fashion. The studio equips individuals, including youth, women, and refugees, with skills in tailoring and upcycling.
The training aims to enable participants to become independent adults and provides employment within the studio. Maisha by Nisria are committed to upcycling discarded textiles into new, high-quality fashion pieces, advocating for a circular approach to design and production.
Nur M’nasria
“Throughout the years I could always recognize how vulnerable young adults received the least attention from social organisations and contributors. When it comes to clothes, they are either excluded or they would receive worn-out clothes that are not suitable to wear. Hence for a long time, I wanted to create a project where we could teach young adults how to make their clothes from waste textiles and repurpose the worn-out clothes they receive into fashionable pieces,” says Nur.
Maisha by Nisria was inspired by Nur’s grandmothers. “Growing up I could always see how they transformed curtains into dresses, towels into rugs, pillowcases into sacks, and so on. Then in 2021, my late friend Randah Taher approached me about starting a project and offered to fund and support it. She wanted to honour her late mother’s memory through a social project and suggested a couple of ideas. The up-cycled fashion project was one of them and she picked it without hesitation,” she says.
Maisha by Nisria started with one sewing machine and to date, more than 15 beneficiaries have particpated in the projects. Some of the beneficiaries have transitioned into full-time designers and tailors for their workshop, which is a testament to the transformative power of Maisha by Nisria.
Cynthia Mwangi
Cynthia Mwangi is the co-founder and Project Manager of Maisha by Nisria. She is a passionate community builder and a creative entrepreneur. She leads Maisha by Nisria’s projects and partnerships, driving programs of the studio that empower youth and transform communities.
Cynthia elaborates on the inspiration behind their current collection.”This year, Maisha by Nisria’s crafted a collection called “Amazigh Colletion” in response to Nairobi Design Week 2025’s theme “We Are the Ancestors”. The collection was inspired by our founder’s Amazigh roots. Each piece is made from upcycled jackets and materials donated by Mr. Green Africa and rescued from landfills and markets, then reimagined in our studio,” says Cynthia.
She further indicates that the collection features embroidered Amazigh symbols, vibrant patterns, and bold seams. She says this limited-edition collection is both a tribute to the past and a statement for the future; and a celebration of care, compassion, and craft passed down through generations.
A vision and a strong desire to build a business based upon ethical processes of developing and producing products, are what prompted the establishment of this conscious brand.
The visionary behind the brand, Wendren Setzer, is an innovator, a sustainable and purpose-driven entrepreneur who founded WREN, in 2008.
The company’s primary goal is to make a tangible difference in the world, aligning business operations with a broader global sustainability mission.
Wrenden worked as a textile designer for many years, but made a conscious decision to leave her job to pursue a more fulfilling venture. This gave rise to WREN, a sustainable brand that specializes in handmade bags and accessories.
To date, Wren has become a well-renowned sustainable brand internationally. In 2008, they began to make accessories from ProtectPaper™ which was developed by the company and trademarked in 2023.
This innovative material is a groundbreaking fusion of paper, fabric, and nano-technology. The material combines the natural texture of paper with the strength of cotton fabric, resulting in a unique feel that “wears like leather” and transforms over time like a beloved pair of jeans. Coated with nanosilicon dioxide, ProtectPaper™ is water-resistant and durable, ensuring that Wren’s bags and accessories protect their contents from the elements.
Wren’s success journey began in a local design market called, The Biscuit Mill in Woodstock in Cape Town, where it quickly gained recognition. The company’s breakthrough came with an invitation to the Design Indaba as an emerging creative, where the famous PPC Cement Laptop Bag was launched.
This pivotal moment solidified Wren’s identity with paper and marked the start of its expansion into an international company known for sustainable manufacturing, fair business ethics, and quality workmanship.
Since 2009, Wendren, began crafting travel bags from jute coffee sacks and subsequently in 2016, she was asked to make a paper version, which initially raised doubts about its durability. Despite the skepticism, she ventured into this new territory, and the results were nothing short of spectacular
Founder: Wendren Setzer
More about the Founder
After leaving her job as a textile designer and seeking a new challenge, Wrenden began crafting a handbag from fabric off-cuts, which sparked her curiosity about materials, textiles, and their potential roles in the creative process. This curiosity led her on a journey of innovative product development, resulting in a series of creative breakthroughs as her business took shape. Despite initial skepticism, her idea to work with paper as a durable material has flourished.
“The inspiration for Wren’s unique material came unexpectedly. While driving behind a truck loaded with cement bags, I wondered if paper could be made as strong as ballet shoes. My experiments led to the development of ProtectPaper™, a durable and adaptable material now used in all our products. By bonding recycled paper to cotton, I created a versatile fabric that reimagines origami into something both tangible and functional. Folded and stitched, it reveals the untapped potential of paper,” says Wendren.
She concludes by saying that, beyond practicality, ProtectPaper™ embodies Wren’s commitment to sustainability, innovation, and quality, offering a material that is as functional as it is environmentally conscious.
