When Art Meets Environment: A Young Designer’s Vision with Farah Abualjadayl

One of the first garments I’ve hand-sewn is a Victorian waistcoat. The sheer discipline, adherence to historically accurate sewing techniques, and fabric manipulation (like pad-stitching the lapels) really taught me much about proper tailoring. It truly resonated with me, as I like to revisit complex sewing methods where prior tailors would make the most out of their materials and find their modern implementations.

It all started with me finding my Grandma’s sewing kit in high school. It started as a durable self-expression, since nothing in the shelves seemed to represent me or my personality, or last very long. But nowadays, I’m driven by the intersection of environmental science and art. Whether it’s in the goal or the design, environmental motifs have the most significant influence on my pieces.

I’d say it’s very serene and exact, but there’s a certain degree of inner-chaos. Because my projects are often meticulous, and commissions have time constraints, I’m always pushing my limits to ensure the highest quality products.

Whimsical, natural, and classical.

For the longest time, I thought my submission should only focus on showcasing maximum workmanship and skill to have a winning chance, until I realised that fashion can sometimes be about conveying a story. When I looked at the mermaid attire out of all of my other, more labour-intensive pieces, I realised that it told the most cohesive story of them all.

If fashion wasn’t bound by the laws of physics, I’d really like to see abstract gravity-defying shapes in fashion. And if gravity was nonexistent, maybe we could even have fly-ways instead of runways. 

I feel like hair accessories like Renaissance snoods should have their moment again. They add intrigue and can open up more possibilities for customisation.

I believe that it’s important for all designers to split their time between their own passion projects and commissioned work to protect their creative liberty. Personal projects are an important outlet when you’re stuck making pieces that might not fully represent your vision. 

I’d pick Paul Poiret for his innovation and resourcefulness. Some of his pieces were even fashioned out of one piece of fabric alone, while still looking striking and elegant. I’d like to collaborate and make a similar fabric-conscious outfit, but inspired by my cultural heritage. 

It means having a distinct style. Fame, impact, and legacy are controlled by external factors. But the quality of your work, the voice of your pieces, that’s true success and expertise. 

With the cycle of fast fashion coming to a halt, I believe we’ll start seeing a transition towards durability. It’ll be the age of not trend revivals, but rather technique throwbacks. This is already occurring in shoemaking spheres. I hope to provide long-lasting yet highly customisable outfits then. 

To focus on practising the methods of the era they’re inspired by, no matter how unconventional. All fashion borrows from the past and reimagines it into something new. So, being reverent to past silhouettes is exactly how you recreate them in modern reinventions. 

It would be not conforming to other people’s perception, and wearing what you want, while also being conscious of your consumption.