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This collection is a tribute to the strength and spirit of Bakhtiari nomadic womenfierce , grounded, and always in motion. Drawing from their traditional silhouettes, I’ve reimagined their garments through the lens of modern hiking wear: vest shaped by the structure of back packs, skirt inspired by functional hiking pants, and shirt echoing the design of protective jackets. Each piece carries its own story, layered with psychedelic prints sourced from different regions of Iran, merging place, memory, and movement. The result is a portrait of a contemporary Bakhtiari girl rooted in heritage, fearless in expression, and unafraid to carry her culture into the wild terrain of the future




 


 





This collection is inspired by the Bosozoku gangs, Kamikaze pilots, and the plight of theJapanese salary man, explores the interplay of rebellion, sacrifice, and societal expectations. It juxtaposes the rigid, disciplined uniforms of Kamikaze pilots and the Bosozoku gangs with the disheveled, vulnerable imagery of drunken salary men, symbolizing the cyclical and destructive nature of societal pressure in Japan. The pieces evoke both the honor and the burden carried by these figures, unified by a common thread of self-sacrifice, whether for the thrill of rebellion, a war mission, or economic survival. At its core, the collection is a reflection on the delicate line between honor and despair, order and collapse Each look integrates structured tailoring with subversive elements, overalls that mimic suits, screen printed footprints and bike tires, bringing to life the streets where these stories unfold.






























In this project, the focus is on the Paralympics, particularly the sport of archery, and an exploration into the life and achievements of Nayyereh Akef, a champion from the Sydney 2000 Paralympic Games. Nayyereh Akef, the first Iranian woman to secure a Paralympic medal, faced life-altering paralysis at 18 due to a car accident, leading to permanent wheelchair use. Despite this, she persevered and achieved historic success in Paralympic sports. Nayyereh Akef’s journey serves as a powerful testament to resilience and determination in overcoming significant challenges. Her story underscores the transformative impact of sports, transcending physical limitations to attain exceptional accomplishments.
Inspired by Nayyereh’s unconventional athletic outfit, which features a skirt, t-shirt, and sweater, this project aims to reimagine and adapt these elements into an unconventional ensemble for able-bodied individuals. I altered the skirt by using a model in a sitting position and draping it with bent knees, then reinforced the seams with boning to hold its shape, making standing in it difficult and uncomfortable. For the tracksuit, I deconstructed an existing one and enlarged the sleeves while extending their length, gathering them around the waist using the same technique applied to the skirt. I also stiffened the seams with boning to maintain structure. The sleeves are tucked into the waistband, with hand openings on the back of the sleeves, providing an unconventional way of using them. By challenging conventional norms of sportswear and exploring how these garments might be perceived and utilized by those not facing physical constraints, valuable insights emerge regarding the intersection of sport, identity, and accessibility. Nayyereh’s achievements have inspired me to challenge stereotypes and embrace diversity, fostering a more inclusive society where everyone, regardless of physical ability, can strive for and achieve greatness.










Inspired by the rich symbolism of fencing, derived from ancient sword battles, I found myself delving into the archetype of duels, particularly those revolving around women, as exemplified in tales like Tristan and Isolde. Their narrative, steeped in forbidden love and tragic sacrifice, shed light on a recurring motif: the passive role often assigned to women in battles for their affections. This prompted a journey through love stories from diverse cultures, including the Persian epic of Shirin and Farhad, where societal constraints and sorrowful conclusions underscored the power dynamics inherent in romantic sagas. During my research, I stumbled upon the legend of Gord Afarid, a formidable warrior from Persian mythology celebrated for her valor and strategic acumen. Her tale of bravery and defiance against insurmountable odds deeply resonated with me, laying the foundation for the central theme of my project: the empowerment of women as architects of their own fates. This exploration served as a stark contrast to the traditional symbolism associated with the fencing jacket, conventionally viewed as a safeguard against harm. My intention is to challenge this notion, portraying women not merely as passive recipients of protection, but as proactive agents capable of asserting themselves and instigating change. In my quest to redefine this narrative, I turned to the history of Joan of Arc, a figure renowned for her courage and conviction in the face of adversity. Despite being labeled as mad or even debated as to whether she was a messenger or a devil, Joan of Arc epitomized the spirit of a warrior, steadfastly fighting for her beliefs. Her story exemplifies the complexities and challenges faced by women who dare to defy societal norms, yet also serves as a beacon of hope and inspiration for those who strive to carve their own paths. Through my project, I aim to shift the focus towards women’s autonomy and agency, highlighting their capacity to shape their own lives and destinies, just as Joan of Arc did centuries ago. In line with my aim to challenge conventional perceptions, I’m incorporating light, almost sheer fabrics into my designs, utilizing stripes to suggest the contours of armor. This deliberate choice symbolizes the confidence and self-assuredness of women, who, unlike their traditionally depicted counterparts, do not require protection but rather exude prowess and allure through their skills. As the second fabric, which were sheer and very fluid, came into play, I transformed the design by incorporating three different colors of fabric, reminiscent of 12th-century Persian armor. Additionally, I layered the fabrics with a Western dress style, eschewing traditional strips in favor of a gathering method and varying shapes of flaring, all seamlessly attached to the garment with a single stitching line. By reimagining the visual language associated with armor, I seek to reinforce the notion of women as capable and empowered individuals, capable of commanding attention through their abilities rather than relying on defensive measures.










   


HISS centers predominantly on the inventive viewpoints of Comme des Garçons and its designer, Rei Kawakubo. The Broken Bride collection by Comme des Garçons serves as a poignant metaphor within the project, embodying the fragmented experiences of the victims. Furthermore, the incorporation of influences from Christobel Balenciaga and Simone Rocha, characterized by their abstract silhouettes and A-shaped designs, plays a pivotal role in molding the ultimate ensemble. The project draws inspiration from the film “Hush: Girls Don’t Scream.” This poignant narrative follows the tragic journey of a 7-year-old girl enduring silent suffering after being sexually abused by her chauffeur. The film explores the lasting impact on her ability to communicate, leading to a life overshadowed by fear, affecting her marriage and compelling her to take drastic measures against another victim’s abuser. HISS is a dedicated project addressing child abuse, with a specific focus on its profound effects on girls, particularly concerning their future relationships and marital life. The alarming statistics underscore the urgency of the issue, revealing that 1 in 9 girls under the age of 18 experiences sexual abuse. Shockingly, 93% of reported child sexual abuse cases are known to the victim, with 34% involving family members. An additional disturbing statistic is that 88% of perpetrators are male. The culmination of these influences results in a symbolic dress representing the victim’s journey. The bridal gown reference, made of white cotton poplin and devoid of straps, features ruffles embodying the victims’ mixed emotions. Corset details on the ruffles signify the struggles post-tragedy, concealed by an invisible corset that restricts comfort but remains unseen. The dress’s asymmetry signifies the imbalances taken from the victims’ lives. Layered over an oversized shirt, it represents the loss of comfort experienced by victims. An oversized blazer, symbolizing the perpetrator’s influence, is chosen for its ambiguity regarding the protector’s gender. The blazer, supported with corset details, emphasizes the victim’s potential influence on the predator’s life and is crafted from dark blue denim with engraved stripes, highlighting secrecy. Completing the outfit is a Teddy Bear bag, representing the loss of childhood innocence post-attack. Crafted from the same fabric as the blazer, it serves as a poignant reminder of the childhood stolen by the perpetrator. In summary, the HISS project uses design as a medium to raise awareness about child abuse, shedding light on its pervasive impact on victims, especially in the context of their future relationships. The carefully curated elements in the final design aim to evoke empathy and understanding for survivors while challenging societal norms surrounding abuse.





















ZAN is dedicated to the Women Life Freedom Movement that began in August 2022 in Iran following the tragic murder of Mahsa Amino by the morality police. The primary objective of this protest is to once again give back the freedoms that were once taken away from Iranian women and the general population. In this project, my aim is to depict the fear and emotions experienced by individuals during the protest, the treatment they endured, and the path towards regaining their freedom. To accomplish this, I conducted a comprehensive exploration of various historical periods in Iran, focusing on the evolution of clothing styles. By blending elements from the Ghajar era with the Chador, I seek to provide users with a means to symbolically shed their coverings and express themselves freely. My design represents a step toward restoring the freedom of choice that was taken away from the people of Iran, who faced a tragic event last year when a girl was murdered by the morality police because of her clothing. I delved into history to examine how fashion has evolved, transforming women’s attire from everyday wear into a uniform that seemed to render them invisible. Deconstructing elements of this uniform, including pants, a long coat (manto), and a scarf, I created a design that allows for comfort and subtly distorts these elements. Using a waist-free method, I fashioned the look using varying sizes of rectangles. In summary, this project is not merely an artistic endeavor but a profound exploration of history, culture, and personal liberation. It is a testament to the resilience of those who strive for change and the power of self.





Updated 24.10.31