Having lived in Lisbon, London and New York, Ana Margarida Feijão, a recent graduate of Parsons MFA, tells us a little about her origins, academic career and thoughts on the future.
At what point did you realize that being a fashion designer was the path you wanted to follow?
I never had a specific moment where I chose fashion design—it just felt natural. From childhood, I was drawn to creativity, inspired by my grandmother, an embroidery maker, who instilled a deep love for Portuguese culture. Starting my degree, I knew fashion was my path—I fell in love with the freedom to break tradition while staying rooted in my heritage, blending sculpture and molding techniques
Tell me a bit about your academic career.
I began studying fashion at Faculdade de Arquitetura in Lisbon, where I initially felt creatively limited. Looking back, I now appreciate the strong technical foundation it gave me. Later, I applied to Central Saint Martins (CSM) to expand my creative practice, and my professor David Kappo’s mantra, “It’s better to be shit than boring,” inspired me to make bold statements in my work. After CSM, I felt pressured to pursue a master’s, and life made the decision for me when I received a scholarship to Parsons, where I refined my style.
How have these journeys and experiences molded the way you perceive fashion design?
CSM taught me to go beyond the conventional and strive to make a unique mark in everything I do, so people recognize it as my work. The idea that it’s better to have something to say than nothing, freed me to embrace my own world. That course was really affirming—it released me from the pressure to fit in. Then, Parsons helped me refine my vision, focus on my niche, and consider the world I’m creating.
Photo: Jenn Xu @jennxuxu Hair: Maria Batista @snickzart MUA: Coco Zhu @cocozhumakeup Models: Riley @rileyhundleywoodell Angeer: @angeer.amol Alison Musso @alisonmusso16 Nikki @highkeyz
What are the biggest differences in education you’ve felt in these three countries?
My degree in Lisbon felt more commercial and safe. London was great for networking and creating, but it didn’t seem ideal for working in fashion. In New York, though, the freelance scene is a bit better —there’s more support and press for young designers. While it’s still a struggle, there’s a sense that we’re building a future for ourselves here.
You also traveled to Italy, where you took knitwear design as part of your university exchange programme. Do you think that’s where you started to enjoy creating your own fabrics?
The exchange program in Italy sparked my interest in creating textiles. Experimenting with fabric scraps and learning to knit felt empowering. My first project, Materiality, used unconventional materials, like melted fake hair, to create unique textures. This experience led me to break norms—like using plaster in a dress at Parsons—fueling my passion for pushing textile boundaries.
I’ve noticed you consider volumetry in your work, especially in the CONTROLLED CMS ‘Voice Project,’ where a powerful yet silenced voice mirrors the reality many, especially women, face globally. Is this something you’d like to be recognized for technically?
I’m deeply inspired by the women in my life, especially my great-grandmother, who embodies the ancestral strength and struggles many women carry. I aim to honor and give voice to this powerful energy, representing my mother, grandmother, friends, and unseen women. My passion lies in designing bold, voluminous pieces that make women feel empowered.
Photo: Jenn Xu @jennxuxu Hair: Maria Batista @snickzart MUA: Coco Zhu @cocozhumakeup Models: Riley @rileyhundleywoodell Angeer: @angeer.amol Alison Musso @alisonmusso16 Nikki @highkeyz
I know that themes of oppression and memories of your birthplace are central to your work. How do the volumes, fabrics, and their manipulation reflect this theme?
In my last collection, I explored oppression subtly, using light, delicate textiles to create bold shapes that reflect society’s view of women as both fragile and resilient. Inspired by traditional Portuguese garments like the “Manto” and “Capote,” I reimagined their dramatic curves to empower women, blending strength and heritage in modern fashion, and channeling the intensity of Portugal’s black-and-white aesthetics into each piece.
The exaggerated female form and 16th-17th century Portuguese-inspired headpieces in your designs convey a unique storytelling and technique. What techniques will you continue exploring in future collections?
Right now, I’m enjoying experimenting with plaster as a textile and exploring sculptural materials, refining my techniques while having fun. I’m not interested in mass production; I believe some pieces should remain unique, created as one-of-a-kind statements without overdoing it.
Can you describe the feeling of seeing your pieces on the VOGUE RUNWAY website?
Even though I knew my collection would be on Vogue Runway, it still felt surreal, especially after such a tough year. I struggled with self-belief, and personal challenges affected my mental health. But seeing my work featured and receiving such positive feedback gave me the motivation to keep going and believe in myself.
What does the future look like?
I’m creating a small accessory collection that blends my love for sculpture and fashion, aiming to be more active in Europe. Financially, it’s uncertain, and unconventional fashion lacks guidance, so I’m navigating various projects and hoping for a positive outcome. My main goal is to return to Portugal, give back through education, and inspire Portuguese talent. Currently, I teach garment construction and illustration.
Written by Joana Valente a GLITCH Magazine Contributor
