GLITCH was able to connect with Swedish design student Abbas Mandegar in a profound and moving discussion about the importance of ethical communication in fashion. Mandegar reflects on his toils with child labour, his movement from Afghanistan to Pakistan, and the emotional significance of using of weighty metal, pins and scissors in his designs. His outlook on the fashion industry at large, and his role as an orator within it was poignant.
How and when did fashion first enter your life?
Fashion entered my life in quite a negative way, and not as you might expect. I was born in Afghanistan and my family left the country because of the war and shifted to Pakistan, where I grew up. My first interaction with fashion came at the age of ten, when I started working for production companies in Pakistan. It wasn’t a pleasant experience; I hated working there, but it was necessary for survival. I worked long hours in difficult conditions to help my family financially. Although it was a challenging time, I am not ashamed of my past because I learned a lot. I became proficient with various machines and developed fast sewing skills, which are very helpful to me now. However, I do regret missing out on some of the best years of my life as a child, as I sometimes wish I could have spent them playing outside and being joyful.
Did you always dream of fashion school? How integral was a formal education to your pursuit of fashion?
I never imagined coming this far in my life. Everything happening right now feels surreal, and I feel blessed every day that I could break my familial cycle and come to Sweden. Studying at the Swedish School of Textiles (SST), one of the best fashion schools in the world is a dream come true for me. Prior to SST, I spent three incredible years at Viskastrand High School, studying fashion design. Those years were the best of my life, where I learned pattern construction, digital programs for creating patterns, and sketching. At SST, I learned something new every day, and my classmates inspired me constantly. I would say this formal education has not only honed my skills as a designer but also shaped me into a more thoughtful and conscientious individual.
Can you pinpoint a person or moment in fashion which is of consistent inspiration to you?
I have always admired Rick Owens for his bold and unapologetic approach to fashion. He has maintained a unique and consistent aesthetic throughout his career, proving that staying true to oneself can lead to enduring relevance and success in the fashion industry.
Your graduate collection was rooted in metalwork — how, and why did this material become a point of creative interest for you?
My graduation collection, titled “Made in Pakistan” is a deeply personal reflection of my experiences with child labor. This collection portrays the pain, anxiety, and trauma that accompanied me throughout my early years. Instead of toys, my childhood was filled with sewing tools, which have now become symbols of my struggle and survival.
Through this collection, I aim to express these intense emotions and share my journey from a child laborer to a designer. I incorporated sewing tools such as bobbins, scissors, buttons, and needles all made of metal to vividly convey the pain and anxiety I have endured. These pieces are heavy, and uncomfortable to wear, and some are sharp, embodying the burdens I carried. My collection serves as a testament to my resilience and a way to bring awareness to the harsh realities of child labor.
What is the purpose of your accessories brand Salvaged Metals?
I have always been fascinated by the transformative process of working with metal using heat. The act of melting hard metal into a liquid form and reshaping it into new, unique pieces is quite poetic to me. Salvaged Metals began by melting old cutlery to create recycled jewellery. This practice aligns with my commitment to sustainability and allowed me to experiment and gain a deeper understanding of metal’;s properties. This experience enabled me to incorporate intricate metalwork into my designs, reflecting both my technical skills and artistic vision.
Where does clothing stop and accessories start?
For me, the line between clothing and accessories is fluid. Accessories can enhance and transform an outfit, making them integral to the overall design. My work often blurs these boundaries, using materials and techniques that integrate accessories into the garments themselves, creating pieces that are both wearable art and fashion statements.
Lots of your pieces, look almost “unwearable”. How do you approach the practicality of fashion and the artistry of fashion?
Many of my pieces might appear “unwearable” at first glance, but this is a deliberate choice to challenge conventional notions of fashion. My approach balances practicality with artistry by pushing the boundaries of traditional garment construction.
While I have spent years creating commercial and practical clothing, my academic journey at the Swedish School of Textiles inspired me to explore the artistic side of fashion. I began working with unconventional materials and techniques to create pieces that are more than just clothing—they are statements and expressions of my experiences and emotions. The duality allows me toinnovate and expand the possibilities of what fashion can be, blending craftsmanship with conceptual design.
Do you find the industry at large exciting or daunting as a fashion student?
As a fashion student, I find the industry both exciting and daunting. The excitement comes from the endless possibilities for creativity and innovation. The fashion industry is dynamic and ever-evolving, offering constant opportunities to push boundaries, explore new ideas, and make impactful statements through design.
Being part of such a vibrant and fast-paced field fuels my passion and motivates me to continually grow and improve.
However, the industry can also be daunting, especially for emerging designers. It is highly competitive, and the pressure to constantly innovate can be overwhelming.
Additionally, having experienced the harsh realities of child labor, I am acutely aware of the industry’s darker sides. Despite these challenges, I am determined and resilient. My experiences have equipped me with a strong work ethic and a deep understanding of the industry’s complexities. I am ready to face these challenges head-on and contribute to a positive change within the fashion world.
Do you intend to disrupt the fashion industry, and how so?
I don’t know if I am disrupting the fashion industry. I just want to tell my story through my work. by bringing attention to the issues of child labor and sustainability, and by pushing the boundaries of convention. My personal journey from a child. laborer in Pakistan to a fashion designer has profoundly influenced my perspective and my work. Through my collections, I strive to highlight the importance of ethical practices and sustainable materials. For example, my brand Salvaged Metals transforms old cutlery into unique, recycled jewelry, emphasizing the beauty and potential of repurposed materials. Additionally, my designs often incorporate elements that reflect my experiences and the emotions tied to them, challenging traditional aesthetics and encouraging viewers to think deeply about the origins and impact of fashion. By combining innovative design with a strong ethical message, I hope to inspire others in the industry to prioritize sustainability and social responsibility, ultimately contributing to a more equitable and conscientious fashion world.
What do emerging designers need to remember?
Emerging designers should remember to stay true to themselves and their unique vision. It’s easy to get caught up in comparisons, but fashion is about self-expression. Don’t be afraid to be bold and take risks. Authenticity and innovation are what make a designer stand out. Also, always be open to learning and evolving. The industry is constantly changing, and adaptability is key to staying relevant and successful.
How do you want your work to be iconised?
I want my work to be iconised for its craftsmanship and meticulous attention to detail. Each piece I create tells a story, often reflecting my personal journey and the challenges I’ve overcome. I strive to make every garment and accessory not just a piece of fashion, but a work of art that conveys emotion, purpose, and a commitment to high-quality craftsmanship. By doing so, I hope to leave a lasting impact on the fashion industry and inspire others to value the artistry and narrative behind each creation.
Interviewed by Hebe Street from GLITCH Magazine
Words by Abbas Mandegar
