
courtesy Sumeyya Donmez
Fashion is redrawing its boundaries every day. Digital fabrics, artificial intelligence designs, self-transforming materials... Amsterdam-based Sumeyya Donmez blurs the boundaries between clothing and chemistry, turning fabrics into a field of experimentation. The crystals, shaped for weeks in salt baths, transform each piece into a timeless work of art with a delicate yet strong texture.
With this extraordinary approach that bridges fashion and science, Sumeyya does not just design - she tells a story of transformation. We had a chat with Sumeyya about her work and production practice.
Interview: Onur Çoban
Who is Sumeyya Donmez? Can you briefly tell us about yourself?

I was born and raised in the Netherlands, where I’m currently based. Creativity has always been a part of me since childhood, though becoming a designer or artist wasn’t my initial dream. My earlier aspiration was to study pathology and work in a lab. However, after struggling with chemistry exams and leaving my lab education, I had to reevaluate my path.
Before my transition, my school administered a test to uncover my interests and unsurprisingly, art and creativity stood out. Encouraged by this, I applied to various art and fashion programs. Though I faced rejection initially due to a lack of a proper portfolio, I persevered and eventually secured a spot in a fashion design course.
I truly believe that if something is meant for you, the universe will guide you toward it, even if it feels forced at times. During my education at AMFI – Fashion Design, I discovered not only my passion for design but also the importance of finding your own artistic identity. That process, while challenging, was transformative for me. Today, I continue to grow as a designer. I work out of my own studio, creating a small lab situated in an old school building, where I remain dedicated to creativity and collaborate with others through my travels.

Crystallized experiment asymmetric top, made from upcycled tights, attached by hand and crystallized with salt.
(Photo: Sumeyya Donmez, Model: Magali Isabelle from Knownmodelmanagement)
How would you define your design philosophy?
Sustainability and reusability are at the core of my design philosophy. Every crystallized object or garment I create can be dissolved and repurposed, including the salt bath used to grow the crystals. Once the crystals are dissolved, the garment remains intact, ready to be transformed into something new. I refer to this as the "creative loop", a process that allows for endless experimentation and discovery without unnecessary waste.
I also deeply value one-of-a-kind, custom-made designs. In a world saturated with mass production and uniformity, I believe in creating pieces that are truly unique and personal, belonging to just one individual. This approach makes each creation not just a design but a meaningful, singular expression.
Can you tell us a little about your design process? Are you closer to analogue techniques or digital?
My design process begins with inspiration drawn from my surroundings such as art, film, elements from nature or even the present moment. I start by gathering materials, often using upcycled tights, and creating a mood board to capture the feelings and textures I aim to communicate.
From there, I drape and shape the fabric, manipulating the textiles directly on the mannequin. I rarely sketch or predetermine the number of garments in a collection; instead, the process flows naturally and intuitively. Before assembling the pieces, I submerge them in a salt bath to crystallize, a process that can take up to two weeks depending on the desired outcome.
"Due to the delicate nature of the crystals, I hand-stitch each piece together, allowing the crystals themselves to guide the final transformation of the garment. Each piece evolves as the crystals form, telling its own story and completing the design."
Crystallization Process, courtesy Sumeyya Donmez
In addition to analogue techniques, I also incorporate digital experimentation through a concept I call “seasonal experiments.” In this approach, I scan objects tied to a specific moment in time, transform them into digital designs and 3D print them. For instance, during fall, I worked with a horse chestnut, scanning and printing its form before attempting to crystallize it, exploring new shapes and materials through this intersection of analogue and digital techniques.
What factors do you consider when researching materials or choosing materials for your new projects? Can you tell us a little bit about the material choices in your work? How did you come up with the idea of working with crystals?
Graduating during the lockdown pushed me to explore sustainable and accessible materials, such as upcycled or deadstock fabrics. This shift led me to approach design differently, creating concepts based on the materials I could find rather than starting with a predetermined vision.
This is where the story of tights, which have become a signature material in my work, begins. I call them The Second Skin, because they symbolize the human skin in my designs. When I began experimenting with tights, I was curious to see how they could transform, which eventually led to the concept of crystallizing skin. The tights represent the skin, while the crystals symbolize imperfections, reminding us to embrace them as part of who we are.
Image 1: 3D printed and crystallized horsechestnut accessoires (Seasonal Experiment collection ’23): 3D printed horsechestnut, crystallized with salt. Photo: Sumeyya Donmez Model: Zakiya Cairo von "Radical Faces" & Image 2: Crystallized and frozen bag, made from upcycled tights cut in pieces and attached together by crochet/knit technique, crystallized with alum salt. Photo: Sumeyya Donmez
The idea of crystallization itself emerged during a self-reflective process I undertook for my graduation project. While brainstorming, I sought to embrace my weaknesses and failures instead of focusing solely on strengths. Having paused experimentation during my lab course due to past struggles, I decided to reclaim that lost curiosity. I transformed my small studio into a laboratory during the lockdown, diving into experiments with biodegradable plastics, fruit leather and crystallization.
By the time I presented my graduation project, I had an entire suitcase filled with textile experiments, which caught the attention of my teachers. Among all the processes, crystallization stood out to me, it allowed for endless discovery and experimentation. Since then, I’ve specialized in this unique technique, continuously uncovering new possibilities as I refine and expand upon it.
Which of your works has excited you the most in terms of the design process and the final product?
The Second Skin from my graduation project remains one of the most exciting and meaningful works I’ve created. It was one of my first experiments with crystallization and carries a profound message, to embrace imperfections, both on our skin and as human beings. This concept is also a personal reminder for me to accept and celebrate my own imperfections.
The Second Skin, courtesy Sumeyya Donmez
The process itself was incredibly challenging, as I worked with small, individual pieces rather than submerging an entire garment in a tank or aquarium, as some might assume. Each piece was carefully crystallized and then meticulously hand stitched together, giving the final design a couture like quality.
This project not only pushed me creatively but also inspired me to continue crafting one-of-a-kind garments over the years. Its impact on my work and mindset makes it a deeply special piece, and it holds a permanent place in my heart.
Can you tell us a little about the sources of inspiration behind your work? Who are the names you follow with curiosity in this field or in different disciplines?
I’ve never been particularly drawn to mainstream fashion designers for inspiration. Instead, I’ve always been fascinated by sculpture, objects, and artists who explore unconventional methods. One of my favorite artists is Sigalit Landau, who creates salt crystal sculptures from wearable pieces in the Dead Sea, using nature as a tool to shape her creations. Her approach resonates deeply with my own use of natural elements, like crystallization, to transform materials.
Another artist I admire is Ritsue Mishima, a glass-blowing artist whose work emphasizes how the concept behind a piece dictates its form. At times, the form is born organically from the glass-blowing process itself, which is a way of working that I relate to in my own design process. Much like Mishima, I allow the materials and processes to guide the final result, which often leads to unexpected and meaningful outcomes.
Process, courtesy Sumeyya Donmez
Are you excited for the future? What are your plans?
We are living in a digital era, yet I believe that creating by hand will always hold significant value. At the same time, integrating digital technologies, such as 3D printing, with natural processes offers exciting possibilities for new experimental ideas and innovations.
Since immersing myself in the world of crystallization, I've come to realize that the potential to explore new techniques is limitless. One of my goals is to build an archive of my various experiments and share them with the world through a dedicated website. Additionally, I plan to create exhibitions where people can experience the crystal growth process firsthand and witness the transformation as it happens.
Collaborating with larger brands is also part of my vision, as I aim to expand my reach and explore new opportunities. However, the most important thing to me is enjoying the creative process and allowing nature to shape the final outcome. Sometimes the most exciting results come from embracing the unexpected.


