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Behind the curtain: The work of Margarida Feijão

Rooted in the craft traditions of her upbringing, Margarida Feijão weaves memory, technique, and the female experience into sculptural garments. Working with recycled nylon threads and plaster moulds, she gives form to clothing that speaks to the power of the handmade. Still honing her voice as a fashion design student at Parsons in New York, Margarida is steadily shaping a vision that feels both deeply personal and quietly radical.
Her Spring/Summer 2025 collection was captured for ZOOT through the lens of Austrian, NYC-based photographer Mike Kobal, in his East Village studio.

Photography Mike Kobal

Featured designer and stylist Margarida Feijão

Hair and Make-up Kyrstan Brandt

Models Pamela Holmes and Mika from Wilhelmina Models

Interview Andrea Probosch
Words Eduardo Alves

Born in Loulé, Algarve, Margarida Feijão followed an academic path that began at the Faculty of Architecture, University of Lisbon, and continued through some of the world’s most recognized fashion schools: Politecnico di Milano, Central Saint Martins in London, and Parsons School of Design in New York — a leading reference in fashion and design education. Her interest in fashion was sparked by her grandmother’s artisanal work and a desire to merge tradition with a reflection on the female condition and its associated challenges. During her studies, she developed a curiosity for exploring different approaches to design and creative expression, which led her to study in academic and cultural contexts as diverse as Italy, the UK and the United States. Her pieces are crafted using recycled nylon threads and plaster molds, exploring themes such as the presence of the body and the marks of personal experience. Today, as a student at Parsons, she continues to shape her path as a designer, combining technique, critical thinking and handmade creation into an increasingly defined language.

I come from a small town in the south of Portugal surrounded by so much culture and love for the handmade. I started studying in Lisbon for my bachelors degree and during that time I enrolled in the Erasmus programe and got a place in Italy for knitwear design. After the pandemic, I was accepted to study at Central Saint Martins in London, and from there it opened the doors to gain a scholarship to study at the MFA at Parsons in NYC.
Margarida Feijão

ZOOT: Where does your interest in fashion come from and why did you decide to go abroad? Can you tell our readers a little bit about the different fashion schools you attended and their specific angle?

MARGARIDA FEIJÃO: Growing up in a place that values the handmade and culture, made me realize that I wanted to pursue fashion – under the influence of my grandma who makes handmade traditional rugs and delicate meticulous embroideries. When I was in Lisbon I quickly felt that something was missing for me in the way the school was operating. At the time that I was studying it was more valued the technical aspect of the fashion industry (e.a production, tech packs, etc) than a more creatively free approach to design. Nevertheless, I learned many important things that no other place has taught me. Then, I got to apply to an exchange programe. I went to Italy and did one semester in Knitwear design – opening my interest to create my own fabric from scratch. After the pandemic I decided to apply to Central Saint Martins – a school very different from where I had started my studies. This experience freed the creative direction of my practice as at CSM it is incentivized for the student to really go outside of the box. My MFA at Parsons was the in between of my previous experiences; where the technical and the creative meet. It was where I was able to merge both the technical background that I got from Lisbon and the creative approach from London.

ZOOT: You started to play early with volumes, shapes and structures. Your creations are often very sculptural. What are your main challenges when designing these volumes around the human body?

MARGARIDA FEIJÃ : When designing sculptural pieces there are many challenges that occur; from making sure that the shapes don’t collapse, the weight of it or the most important; the relationship with the body – it is very hard to make sculptures that are comfortable for the body and that don’t restrict movement. I started by making heavy structures but after much research I now can achieve sculptural pieces with light or no structures at all.

ZOOT: What is the most complex part of creating your pieces? The assembly, the structure, the materials?

MARGARIDA FEIJÃO: I think the most complex part is time management; most of the techniques I use require a long time of hand work. I do enjoy it but it is very challenging as sometimes it leaves no time for mistakes.

ZOOT: Can you tell us a little more about the materials you are currently using for your garments and why? What is your favorite material and why?

MARGARIDA FEIJÃO: Currently, I am focusing on handmade woven textiles and plaster. The textiles that I create are a reference to my personal experience with hair loss; so through recycled nylon yarns I attempt to create a hair-like texture to my pieces. Combining this technique with molding processes I am able to create light pieces that can stand by themselves with no structure. In the process of achieving this technique I use conventional casting materials for my molds, after doing dozens of plaster dresses for my molds I realized that these could be an interesting material to use for pieces alone.

One of my earliest influences in fashion is the Portuguese costumes for women, e.a Bioco (Olhão); Capote (Azores), the Portuguese nuns attire, and many more. As I was starting my research for this collection, I knew I wanted to pay tribute to the culture that I grew up in. Going through books of the works of Artur Pastor and see represented so well the strong emotion that Portuguese women have and their roles within was the beginning point for the storytelling. The shapes were informed by architectural references; baskets and traditional costumes. The black color paid tribute to the Portuguese nuns; the white from the traditional southern houses and the red, to emphasize the narrative of hairlike texture as I dye my hair red.
MARGARIDA FEIJÃO

ZOOT: How do textures play a role in this collection ? Do you use different techniques to create tactile and visual contrasts?

MARGARIDA FEIJÃO: I think texture is everything for my practice. And that comes too from my heritage and the place I am from. I like to use different techniques to create texture; the most exciting one that I learned recently is soldering which led me to create the shoes for this collection.

I think storytelling is very important to put my ideas together; and from there I collect emotions that I want to portray or evoke. In the end of the day for me, it is more about how I can make people feel without necessarily understanding my story.
margarida feijão

ZOOT: What technical innovations have you introduced in this new collection compared to your previous work?

MARGARIDA: Molding processes were definitely an introduction that elevated my work in this collection. It was a very long research until I got to the point of doing light wearable sculptures.

ZOOT: Some of your looks brought to mind Charlie Le Mindu’s early work. Has he ever been a reference for you?

Margarida FEIJÃO: For sure, Charlie’s work is incredible!!

ZOOT: Which designers do you see as references for the way you think and create your work?

MARGARIDA FEIJÃO: Designers I would say, Alexander McQueen, Rei Kawakubo and Rick Owen’s. McQueen for his storytelling and energy, Rei with all the important messages behind her work and shape exploration, and Rick Owen’s for his community that he continues to create…. And there’s so many more!

ZOOT: Does your collection reflect a commitment to sustainability in fashion? What production techniques have been used to ensure minimal waste?

MARGARIDA FEIJÃO: As someone who grew up in a very slow paced environment, I am a big supporter of slow fashion and apply that to my practice religiously. I don’t agree with mass production and my ethics goes to a more handcrafted way of working. One aspect that I am very happy about is the development of my textile according to the pattern allowing for the creation of minimal waste.

There’s always a common political/social influence throughout my work and that is the oppression faced by women. I witness the women who raised me endure levels of constrictions that lead me to my social storytelling —stories of my past, traumas, and the enduring effects of patriarchy, which continues to impose new sets of rules on each generation. I face challenges much different from my ancestors but there are constant new obstacles to be taken down […] this collection was centered on analyzing women’s roles and positions in society through various generations in Portugal. With the continuous battle that women go through it is essential for me to keep the conversation open. Specially right now when I see women’s rights being challenged more and more.
Margarida Feijão

Margarida about what currently worries her…

My country recently had elections and we saw the insane growth of the far right party, a week later there’s already being advertised on national television a propaganda to end the right of abortion. We can’t pretend this isn’t happening, and as women’s we all need to unite and battle for ourselves. We see this in Portugal, but we can also see this all over the world. In the United States women are dying because they are being denied the proper care; you see the case of the pregnant women in Georgia, US, that is unfortunately brain dead and they are keeping her alive against her family wishes because of the extreme abortion laws. Women all over the world fear for their rights and safety because Men are deciding what to do with women’s bodies for centuries. I think it is also important to remember all the lives lost in Gaza, Congo, Sudan… the world feels a dark place right now, and is the younger generation that have the most important responsibility to speak up and don’t let our governments to do atrocities any longer.
Margarida feijão