Spanning three deliveries and extensive research and development, this project is presented here in a condensed form, offering a glimpse into its core directions and process.

My Golden Kurdistan is an ode to my family and to those who see themselves in it—exploring identity through reassigned garments, transformation, and material.

This spread documents an early stage of Design Direction I, where I began reworking jeans as a top. It moves from physical journaling to digital—holding prototypes, sketches, swatches, and process, with human imagery drawn from my own family, kept raw like my process.

While trying on clothes as a kid, I liked to put things on in unconventional ways. This shows in my design process as I use a skirt design to make a dress

This direction moves beyond interpreting finjan—I become both maker and surface. Inspired by my grandmother and the finjan ritual, the stain becomes the fortune

This direction explores adornment as armor—rooted in the richness of my culture. Constructed through repetition, density, and labor,
materials are pierced, drilled, and hand-assembled into a protective structure

I began reinterpreting henna motifs through material rather than skin—translating their fluid, protective language into surface. In contrast, the nail work came from a raw epiphany, sparked by “Shik Shak Shok”—I just kept making nails, letting them build into trim and structure.