My unique process does not involve stitching, weaving, knitting, or printing
At UAL (University of the Arts London), fostering a culture of entrepreneurship among academic staff is central to building a vibrant, future-facing university community. Kiren Passi, an alum of London College of Fashion and Central Saint Martins and now Senior Lecturer and Course Leader across LCF and Chelsea College of Arts, is one of many academic staff members across UAL balancing teaching with their own professional practice. Her patented 3D sculptural textile process exemplifies how research-led innovation can intersect with industry, spanning luxury fashion, protective sportswear, and emerging fields like soft robotics.
In a conversation with Fibre2Fashion, Kiren Passi shares insights into her journey from graduating at UAL to becoming a pioneer in textile innovation. She reflects on how her diverse industry experience, cultural heritage, and passion for experimentation led to the development of a patented 3D sculptural textile technique. As both a designer and educator, Passi discusses how she balances creativity with commercial viability, explores the evolving role of technology in fashion, and highlights the importance of cross-disciplinary collaboration in shaping a more inclusive, functional, and future-facing fashion industry.
Can you share a memorable project or collection that significantly influenced your career trajectory?
I graduated from UAL in 2004, and my graduate collection was inspired by the Indian Partition—a deeply personal subject, which made the project especially memorable for me.
The BA (Hons) course included Fashion Design with Surface Textiles (print, knit, and embroidery), which sparked my interest in mixed media textures and led me to create fashion silhouettes that complemented the textiles. The course no longer exists in its original form; students are now generally required to specialise in a single pathway—knit, weave, print, or embroidery.
My BA collection received press coverage from several publications, including The Daily Telegraph and The Evening Standard.
With over a decade of experience in the fashion industry, working from supplier level to luxury brands, how has this diverse background shaped your perspective as a designer and educator?
My experience in the fashion industry has provided me with a strong foundation in the operations and processes of fashion companies. This background informs my role as a fashion educator, which involves liaising with and sourcing relevant industry projects from established fashion brands, as well as preparing students for work experience and graduate opportunities.
How important is cultural influence in driving fashion trends globally?
Cultural influence plays a vital role in driving fashion trends globally. Inclusivity and the embrace of cultural identity are becoming increasingly feasible through technology, making it easier to connect across borders. As a result, access to the World Wide Web naturally supports the emergence of broader, more diverse fashion trends on a global scale.
How do architectural elements, such as Japanese vernacular architecture, inform your textile and fashion creations?
During my international fashion career, I have been inspired by global craftsmanship and have collaborated with craft communities in Bali, India, Nepal, Hong Kong, and Japan. Both of my parents are from India, and my Asian heritage continues to be a strong source of inspiration for my work.
My creations aim to capture the tension between traditional and contemporary textile methods, as demonstrated in the juxtaposition of inspiration from an antique Japanese rope pattern with the glossy finish of silicone on the dress.
What role do you believe technology will play in shaping the future of fashion?
Technology will play a significant role in shaping the future of fashion, but I believe traditional craft will continue to have an important place as well. I am excited and intrigued by the intersection of the two.
Your patented 3D sculptural textile technique is a significant innovation in fashion. Could you walk us through the development process and the challenges you faced over the five years it took to perfect it?
The development process began during my time at the Royal College of Art (RCA), where I had the opportunity to experiment with various materials, particularly in the sculpture workshops. I worked extensively with silicone and resin, eventually embedding these materials into textiles for fashion. Through playful, cross-disciplinary experimentation, it became clear that what I was developing might be quite innovative.
However, my curiosity was driven by the desire to create a clean, sculptural design bonded onto fabric. Silicone, by nature, is quite runny, and one of the main challenges was containing it within the raised surface pattern. Over the five-plus years it took to perfect this technique, I encountered numerous hurdles, including refining the bonding process to ensure a consistent and durable finish.
How does your unique silicone process differ from traditional textile methods, and what inspired you to explore this material?
My unique silicone process differs from traditional textile methods in that it does not involve stitching, weaving, knitting, or printing. Instead, it uses handcrafted moulds and bonding techniques that allow the silicone to fuse directly with the textile during the drying process. This eliminates the need for glues or other adhesives, resulting in a seamless integration of materials.
The inspiration to explore silicone came from my access to the sculpture workshops at the RCA. The flexibility and unique properties of silicone captivated me, offering endless possibilities for innovation and creativity in textile design.
Originally developed for luxury fashion, your textile technique is now finding potential in protective sportswear. How do you see it translating across such varied sectors?
Yes, my textile technique was originally developed for luxury fashion, but it is now finding potential in protective sportswear. The silicone bonding process offers enhanced durability and flexibility, making it ideal for applications requiring impact absorption. The aspiration is to provide a comfortable fit that allows athletes to perform at their best without compromising safety. This technique could potentially be integrated into everyday garments used for cycling, e-bikes, and scooters, or adapted for high-impact sports that demand a certain level of protection.
How has this partnership with UAL’s Creative Computing Institute influenced your work and perspective on fashion technology?
We have only just begun exploring the possibilities together, but the initial stages have been encouraging—particularly in terms of considering how the material could embed sensors for a variety of future applications. The flexibility of silicone allows for intricate movement and responsiveness, making it well-suited to contexts that require delicate handling. Additionally, the material can accommodate embedded sensors that track and analyse movement, which has potential applications in sportswear and performance. We are also trialling projects that incorporate sensors into textiles to support individuals with various disabilities.
In what ways do you see the fusion of aesthetics and function influencing the future of fashion design?
As consumers become increasingly driven by sustainability and minimal lifestyles, garments that combine functionality with aesthetic value are likely to grow in demand. For example, if a well-designed jacket also offers protective and practical features, the purchase feels more purposeful—especially when the garment’s lifecycle is taken into consideration.
How do you balance commercial viability with innovative design in your projects?
I begin the textile design process with an open mind regarding the final outcome, which encourages an innovative approach to the collection. I then draw on my professional design experience to adapt the textiles for contemporary fashion designs and placements, ensuring a balance between creativity and commercial viability.
Looking ahead, what exciting projects or collaborations are you most looking forward to?
I am looking forward to collaborating with a luxury fashion company to expand the range of designs, as well as seeing the progress of our explorations in soft robotics.
What advice would you give to emerging designers aiming to make a mark in both creative and commercial aspects of fashion?
Take risks and explore new business models or ways of working. With the rise of social media, independent creatives now have opportunities that were not available 20 years ago. For example, designers like Roberts Wood are redefining how consumers purchase and engage with construction by offering “make your own” kits—building a business that speaks directly to bespoke consumers and cultivating a loyal following through Instagram.
