Talent Talks: Neža Simčič

Neža Simčič pays respect to her Slovenian heritage through a crafted attention to detail. Drawing on rural knowledges of woodenware, sieve and basketmaking, Neža creates modern aesthetics by combining delicate knit textiles with local natural materials like wood, reindeer leather, and linen yarn. Her collection MARA explores cultural preservation, sustainability, and community engagement; bridging past knowledges and present experiences.

Could you please introduce yourself? 

My name is Neža Simčič, and I come from Nova Gorica, a small town in Slovenia. Growing up, fashion wasn't really a part of my environment or Slovenian culture. However, I soon realized our national identity lies in the skilled hands of our people, in our craft practices. These craft traditions became my gateway into the world of fashion. 

Before I understood the aesthetic appeal of clothing, I learned the skills of creation - knitting from my grandmother, sewing from my mother, and crocheting from my sister. It was during my studies at Aalto University that I realized how much these craft experiences had shaped my identity as a designer. 

Having graduated recently; how do you look back on your studies? 

When I look back on my studies, I see growth. Starting my BA in Fashion and Textile Design at the University of Ljubljana in Slovenia and continuing with the MA in Fashion, Clothing and Textile Design at Aalto University in Finland taught me a great deal. Moving to Aalto was a big step for me; the university gave me the freedom to express myself in ways I wanted to. It was also due to Aalto University's facilities that I was able to perfect my skills. 

I always knew I was drawn to craft, but at Aalto, I really felt that this inclination was appreciated. Moving away from home made me value the skills I associate with my nationality more, inspiring me to showcase them on a global level. I found myself wanting to give voice to Slovenia's rich heritage and showcase the depth of culture that exists within a nation of just two million people. 

Could you please tell us something about your graduation collection/project? 

In my collection, I explore the gradual disappearance of traditional textile crafts, with a particular focus on my home country. As a fashion design student who moved away from home, I found myself drawn to examine how my identity and nationality influences my design approach. 

I decided to look into the oldest Slovenian craft of woodenware and basketry. For some years now I have been collecting and analyzing photographs from the digital archives of the Slovenian Ethnography Museum, to not just better understand my cultural heritage but also Slovenian lifestyle. This exploration was one of the main inspiration sources for the collection. 

The decision to spotlight these traditional crafts was driven by a sense of urgency. The number of artisans and craftspeople in Slovenia is in decline and these practices and knowledge is slowly disappearing. I felt the need to contribute to their preservation. 

I started the project by visiting the handicraft center of Ribnica, Slovenia, where I learned basket weaving and sieve making from skilled artisans. The collection is crafted entirely from wood, reindeer leather, and linen and mohair yarn, sourced with support from local Finnish and Slovenian suppliers. 

I wanted the collection to represent a bridge between past and present, tradition and innovation. By incorporating elements of woodenware and basketry into my designs, I seek to honor my Slovenian heritage while pushing the boundaries of what these crafts can become in a contemporary, global context. My wish was to create a full circle with this collection, recalling my very first encounter with the world of fashion and textiles when my grandma handed me her knitting needles. At that time, the outcome was not as important as perfecting the technique. The hands narrated the work through craftsmanship, and the same notion guided me throughout the design process this time. In a way, I was trying to capture the feeling and warmth of home and translate it into something that I could carry with me wherever I go. 

Which materials, techniques, programmes and/or applications are you mostly interested in? 

I'm particularly drawn to old traditional handcraft techniques that have been with us for years. There's something challenging about working with them and envisioning their use outside of their original intent. My work often involves natural materials like wood, leather, and various fibers, especially those sourced locally or with cultural significance. 

In terms of techniques, I'm passionate about knitwear, leatherworking, and various handcrafts such as basketry and crochet. I enjoy pushing the boundaries of these traditional crafts by applying them in unexpected ways. Above all I feel a certain need to protect and keep craft techniques alive so I’m always looking for ways to incorporate them and learn new skills.

The exhibition you are a part of looks into meaning of regeneration. What does regeneration mean to you and your work? 

Regeneration, to me, means respecting heritage, past, and traditional skills while reimagining them through a contemporary lens. I aim to keep certain skills alive and increase their use and popularity. I view craft as something that’s alive and can grow from generation to generation, always reshaping and adapting. 

In my work, regeneration manifests in several ways. But mostly, I'm trying to revitalize heritage by reinterpreting traditional techniques in a contemporary fashion context. 

How do you perceive the meaning and importance of community within the fashion field? 

I believe community is very important, not just in fashion. It's because of this community that I learned craft skills and continue to improve them and learn new ones. It's important to share, listen, and give back; that's how you can grow not just as a designer/craftsperson and as a person in general. 

In the broader fashion field, I believe community is crucial for driving positive change. It's through collaboration, knowledge-sharing, and mutual support that we can address challenges like sustainability, cultural appropriation, and ethical production. 

How do you view the future of fashion? And your own role therein? 

I would like to be positive and hope for a change in fashion. As someone who loves craft, I would like it to be more appreciated and valued, especially by the mainstream. People seem to forget that clothes take time and skill to be made. On that note, I hope that fashion slows down and becomes more thoughtful towards our current climate. Whether in a design team or by myself, I would like to continue my approach to fashion by honoring craft skills and striving to preserve them.