SUSTAINABLE SYMPOSIUM
DORIAN WHO
by Melania Musci
Dorian Who is an unconventional designer whose journey spans from Iran to Canada, shaped by a desire to express individuality against restrictive norms. Her brand reflects a bold, genderless vision, combining artistic authenticity with a commitment to sustainability.
Dorian Who’s identity is eccentric and non-conformist, and it seems to best reflect your personality. Have you always wanted to express yourself through fashion?How did your journey begin?
Growing up in a restrictive environment drew me to fashion at a very young age. My mum was passionate about fashion and often sewed clothes for us, despite Iran being an Islamic country after the revolution, where fashion was discouraged. My dad, a businessman and Persian rug dealer, would travel and bring back fashion magazines for her, which became a source of inspiration for me. As a teenager, I began to express myself through clothing, wearing styles that stood out from the norm, even though it was considered illegal not to follow the dress code laws. I also started taking sewing courses, as there were no formal fashion schools in Iran. Eventually, I worked for a designer who ran a private maison catering to affluent clients. After that, I moved to Turkey to study fashion design, and then immigrated to Canada in 2015. I began sharing my personal style on Instagram, which opened many doors and gave me global exposure. In 2019, I finally launched my own brand, marking a significant milestone in my journey.
You’ve stated: ‘I’m not one to just follow trends blindly.’ How do you balance your artistic vision with the commercial demands of the fashion industry?
It’s not always easy to find that balance. As a creative, I naturally want to go super artistic and stay authentic, but with an avant-garde brand, I also need to ensure that my clientele doesn’t perceive the pieces as overly custom or something they can’t connect with—thinking it’s only perfect for me because I’m the face of the brand. At the end of the day, the brand needs to sell. I believe that I’ve managed to navigate this challenge by taking it slow and showing people how each piece can be styled both minimally and maximally. Finding the balance between artistic vision and commercial demand is a challenge for every designer, and it’s something I’m continually working on.
In the list of the ‘Ten themes that will define the Fashion Industry’s agenda in 2025,’sustainability ranks tenth. Do you think this topic deserves a higher position at this moment in time?
As an emerging designer, I strongly believe that sustainability is one of the most crucial factors in shaping the future of the fashion industry. However, I think the responsibility should be placed more heavily on big brands, fast fashion companies, and industry leaders who have the resources and power to implement significant changes. These companies are in a better position to prevent waste, clean up supply chains, and produce sustainable products at scale. Currently, a lot of the attention and pressure seems to fall on emerging designers, who’re often navigating the challenges of establishing their brands during their early years. While sustainability is important for everyone, smaller brands typically have limited resources compared to major corporations. For real impact, the focus should shift toward holding larger players accountable for driving meaningful change.
Could you elaborate on the specific steps Dorian Who is taking to be more sustainable, and the future goals you have in this field?
At Dorian Who, we focus on using deadstock materials to create genderless, seasonless, and timeless pieces. Instead of producing a large number of new styles, we help our clients build their wardrobe with high-quality, timeless pieces that can be worn for many years across different seasons. Currently, we’re facing challenges due to limited access to labour and production resources in our location. Unfortunately, at this stage, we’re unable to incorporate more advanced technology or artisan techniques. However, we’re optimistic about the future and hope to integrate recycled prints, sustainable materials, and collaborate with artisans from our region as we grow.
What’re the biggest challenges you’re facing as a designer today, particularly in relation to sustainability and the environmental impact of fashion?
As an independent brand, financial resources are often the biggest challenge we face. Canada, unfortunately, offers almost no government support for the fashion industry. There’s a lack of labour, production facilities, and resources, and everything is incredibly expensive. Additionally, Canadians, in general, don’t prioritise fashion or actively support Canadian talent. Canadian retailers rarely make efforts to help local brands either, which leads many designers to leave the country. This lack of support has hindered the growth of the fashion industry in Canada. Canada is one of the wealthiest countries in the world and could heavily invest in technology, create job opportunities, and build the infrastructure needed to grow the industry. Instead, we’re losing talented individuals who’re forced to move elsewhere. One of my personal struggles is being far from many global markets, which makes shipping extremely expensive. I aim to be sustainable by using deadstock materials instead of purchasing new fabrics. However, this also limits how much I can produce, as certain fabrics are available in small quantities. Sometimes, a fabric becomes popular, and we miss out on potential sales because it’s no longer available. Additionally, many retailers and stores prefer working with larger, consistent orders and are hesitant to use deadstock materials, as they prioritise what sells fast. As a slow-made brand, we don’t produce stock in large quantities, which means our production process takes longer. Unfortunately, people have become accustomed to fast fashion, where they can order and receive items quickly, and we often receive complaints from clients about the waiting time. On top of that, Canada’s distance makes shipping take longer, adding to the challenges we face as a direct-to-consumer brand.
In addition to being the designer and creative director of your brand, you also work a lot with social networks such as Instagram and TikTok. Do you feel closer to your audience by communicating through these platforms? What do they allow you to convey?
I started creating content before launching my brand, and it became another form of self-expression and therapy for me. It allows me to connect with a specific audience, but at the same time, social media is full of close-minded individuals who use the platform to spread negativity. The amount of hate I receive daily is overwhelming. Initially, it affected my mental health, but as my content started going viral, I’ve grown numb to it, and it doesn’t impact me as much anymore. For many creative directors, having an additional source of income is essential to running their brand—whether it’s consulting or part-time positions. Unless someone is privileged enough to come from a wealthy family or receive significant funding or awards, it’s difficult to sustain a brand. For me, social media has become my primary source of income to fund my brand. While it has its advantages, like offering a global reach, it also comes with disadvantages. It doesn’t allow me to focus 100% on my brand. Living in Canada, I don’t have access to the same resources that designers in Europe, the U.S., Africa, or the Middle East have, so I’ve found social
media to be the only way to connect with the rest of the world. As the face of my brand, I believe that I’m the best person to represent it. Social media is the only platform I have to share my vision and build those connections, and despite its challenges, it remains a vital tool for me.
Staying on the same topic, what do you find most rewarding about collaborating with other artists or brands?
I’m a highly collaborative person, and when brands reach out to me, I always strive to create something that represents both sides authentically. The most rewarding part of these collaborations is seeing the trust that big brands or companies place in me. It makes me feel incredibly proud and, at times, surreal—especially when bigger brands approach me. Collaborating with other artists is equally fulfilling, as everyone brings their unique skills and talents together to create something truly special. It’s a process that always inspires me and pushes my creativity further.
Your ‘Off Court’ collection is a fascinating blend of cultures and styles. What inspired you to combine Persian prints with basketball aesthetics? Is this fusion a core element of your design philosophy?
Growing up in a culture rich in history and art, I’ve always wanted to share the beauty of my heritage with the world. Over the years, I’ve seen big brands incorporate Persian motifs and prints without giving proper credit. As someone born and raised in Iran, in a family deeply rooted in the Persian rug industry, I’ve been surrounded by the most stunning designs my whole life. When I started my brand, I wanted to bring these elements into my work—but not in a traditional way. I aimed to create contemporary pieces that resonate with the Western world while honouring my roots. Prints have since become a signature of my designs. As a teenager, I played basketball and spent a lot of time with my brother, which shaped my tomboyish side. Having a genderless brand allows me to challenge myself to create unisex pieces, blending masculine touches with feminine ones, and vice versa. For the Off Court collection, I wanted to channel that tomboy side of me in a cool, edgy way. That’s why we created pieces like the jersey with printed jacquard, bridging the gap between menswear and womenswear—something I’ve been passionate about since the second year of my business. As someone who often shops in the menswear section, I don’t believe in separating clothing by
gender. Today, many of my designs are shopped equally by men and women. I also love sports, and bringing that energy into my work feels like an authentic expression of who I am as a creative person.
Your collaboration with the Art Gallery of Ontario is a testament to the intersection of art and fashion. How has hip-hop influenced your work, and what does the concept of ‘contamination’ between different artistic disciplines mean to you?
As a millennial, hip-hop has had a significant influence on my style. In my teenage years, I used to wear baggy pants and jerseys, inspired by artists like 2Pac and Snoop Dogg. Growing up, I had a tomboy side, which shaped how I expressed myself through clothing. I’ve always been captivated by the idea of blending different cultural and artistic influences—what some might call ‘contamination.’ To me, it represents breaking down barriers, encouraging experimentation, pushing boundaries, and fostering creativity. It’s about borrowing and reimagining elements from various mediums, resulting in something entirely new that reflects a dynamic and interconnected cultural landscape. We live in a world oversaturated with the same ideas, and I feel very grateful to have grown up in an environment with restrictions but with some access to the Western world through art and music. This allowed me to convey the richness of my heritage while combining it with Western culture and the things I truly loved, like hip-hop. I think this unique combination has made me authentic and, in a way, shaped my identity as someone living between two worlds. It has given me a distinctive voice as a creative and helped me bring something new to my work.
Winning the Emerging Talent Award in 2023 was a significant achievement. How has this recognition shaped your career, and what new goals have you set for yourself?
Winning the CAFA award was a big moment for me. I didn’t expect to achieve such recognition just four years into my business. I felt incredibly proud, knowing that my hard work had been acknowledged across Canada. Being nominated in two categories—Emerging Designer and Digital Creator—and ultimately winning Emerging Designer was truly an honour. I do think winning an award changes how others perceive you. It brings a certain level of validation and recognition. However, it didn’t change my perspective as much as others might think. In fact, after winning, I went through a period of depression. I felt overwhelmed and unsure of what to do next. It took me a few months to process everything and decide my next move. There’s this perception that once you win an award, you’ve made it, but as the person behind the scenes, you know your struggles haven’t disappeared. Nothing truly changes overnight, and you realise you need to work even harder to meet the heightened expectations. Mentally, it was a challenging time, but after a few months, I found my motivation again and got back on track.
Credits: Pictures by Saty+Pratha, Grooming by Brittany Sinclair at P1M Agency, Interview by Melania Musci