Born from the creative vision of Sylwia Nazzal during her university years, Nazzal Studio (Instagram) is more than a fashion brand—it’s a statement of resistance and empowerment. Rooted deeply in Palestinian heritage, the brand gained international attention through Nazzal’s striking graduate thesis collection, “What Should Have Been Home” (2022-2023).
This collection became a powerful symbol of Palestinian resilience, sparking global conversations about the role of art in amplifying marginalised voices. Rejecting mass production, the brand prioritises ethical practices, collaborating with refugee women to craft garments that tell stories of struggle and hope.
What was the lightbulb moment behind Nazzal Studio and how did it come about?
I always knew I wanted to create an ethical brand that was deeply rooted in activism. But after graduating in May 2023 with a collection on Palestinian resistance it was difficult looking for a job after October 7th. I started to share more of my work from the collection “What Should Have Been Home”, which started to take a deeper significance following the world waking up. I began seeing that the world was ready to accept the kind of work I was creating.
What inspired you to create a collection that blends traditional Palestinian garments with contemporary fashion?
I wanted to create a collection that reflects how I feel about Palestinian culture and I wanted to highlight the beauty and struggles around how I view my culture. Therefore, when I looked at Palestinian resistance I could only see it in two forms, maintaining tradition and the actual images of Palestinians resisting the occupation and who happened to be wearing contemporary garments.
How did you select the specific textiles, like nylon and traditional fabrics, to symbolise Palestinian resilience and the harsh realities of occupation?
It began with an image of a boy wearing a puffer jacket in a photo as he was detained by soldiers. From there it kind of inspired this harsh reality of choosing these resilient fabrics that can sustain certain weather conditions like leather and nylon. But then contrasting them with soft silhouettes and fabrics like jersey or hairy camel skin.
Can you elaborate on the symbolism behind the colours you chose, particularly the dark red and the monochromatic greys and beiges?
I wanted to create this otherworldly feeling for this collection, reinterpreting what it feels like to be Palestinian. The colour range between grey, beige, silver and gold form this sense of gloom and sadness. This monochromatic theme enhances the sense of otherworldliness, reflecting Palestinians’ resilience in the face of occupation and displacement, where memory and communication sustain existence. Almost creating this new universe for Palestinians to continue existing in, despite living in our country.
In what ways do you hope “What Should Have Been Home” will change the narrative or perception of Palestinian culture and resistance in the global fashion industry?
I believe we need more activism in art, and fashion has been a form of art as well as resistance throughout history. Clothes tell a story and this collection is only here to shed light on the fact of what is happening. I chose these huge silhouettes so people cannot ignore what they already try to silence. And the narrative I want to share is the truth. The culture is elegant and full of richness, yet it also carries a lot of sadness and despair. Despite the suffering, we continue to stand together in unity. This is the feeling that the collection embodies and hopes to instil in everyone who sees it.
How has your own connection to Palestinian culture and heritage shaped your approach to design?
It is so easy to be inspired by our Arab heritage that when I design, I look at what I was raised with as my biggest form of inspiration. Beyond how I see my culture, I combine it with the way I express my aesthetic in art.
In what ways do you see your personal identity reflected in the pieces you’ve created?
Art is subjective at the end of the day, and the things I create are an extension of me and how I view my culture. Everything an artist creates embodies who they feel they are and how they express themselves. That is all I have done, I am just grateful for other people to resonate with it.
If you could see Nazzal Studio pieces in one specific place or event, where would it be, and why?
I want to see more celebrities advocating for Palestine in events, this extends to more than a pin on a dress by a designer you should already be boycotting. I want to be a way for more people to advocate, while also giving a bigger platform to Palestine. I personally work with refugee women and donate a percentage of the profits to Palestine, so why would you want to wear a designer who does not care about the world we are living in when there is an ethical one that happens to also be avant-garde?
For more stories of regional and international fashion, like this tale of Nazzal Studio, visit our dedicated archives.
