Upcycling has become a popular sustainable practice in recent years, with some fast-fashion retailers such as H&M adopting the trend. On an individual level, the practice allows artists such as Regan Ku’ulei to gain their footing as designers through recycled materials that are much more affordable, giving their work the creative breathing room they need to express their vision. Whether it is hand-painted vintage suede or a cropped high-low beaded top—made from a curtain—Ku’ulei has a healthy and delicate sense of play within both material and gender expression through their inclusive, accessible and sustainable clothing designs.
“The fashion industry is the number two polluter, the way that whole machine functions is so fucking wasteful. As individuals we can demand better for ourselves and for our planet and hold
To Ku’ulei, the idea of going to a store and getting an article of clothing feels disconnected and stale, “not to mention imagining the conditions it was made in,” they say. Photo: Evan Hancock
larger corporations accountable.”
Ku’ulei’s eye for the dainty yet abrasive shines. Photo: Evan Hancock
To Ku’ulei, the idea of going to a store and getting an article of clothing feels disconnected and stale, “not to mention imagining the conditions it was made in,” they say. “I think slow fashion is much more exciting and more fun, and that is what gets me excited. But also sustainability is incredibly important to me.” Like many of us, Ku’ulei strives to practice sustainability in other areas—like taking public transit and recycling—as they try to navigate their role within the current fashion landscape. “The fashion industry is the number two polluter, the way that whole machine functions is so fucking wasteful. As individuals we can demand better for ourselves and for our planet and hold larger corporations accountable,” Ku’ulei says.
In Ku’ulei’s rolodex of work you’ll see upcycled hand-painted denim, embroidered mesh tops, bombastic-yet-tender puff sleeves, skirts with tiered ruffles and enough lace to put your mother’s wedding dress to shame. With inspiration rooted in the kinderwhore (egregious feminine designs perverted by rebellious undertones—think Courtney Love and Madonna) and grunge trends, Ku’ulei’s eye for the dainty yet abrasive shines. Meanwhile, they assert that materials and silhouettes that can seem “meant for women” are actually genderless. “Marina and the Diamondswas a huge part of that (kinderwhore) resurgence. I think that allows for a range of genderplay which I find exciting,” they say. “I see a lot of it in online spaces and in Salt Lake, people really playing with masculine and feminine and being a little slutty.”
Inclusivity is an important cornerstone of Ku’ulei’s work, and they deliberately practice it in terms of who they choose as models in photoshoots and runway shows. “In my very first show I knew I wanted it to be different from a traditional fashion show,” they say. “I was just coming out as nonbinary and lacked a community here in SLC, and I knew I wanted to use queer models.” The goal wasn’t to have “visibly queer” models, though, but rather make the show feel inclusive to folks who wanted to participate. For the ten models who were chosen for the show, it was their first time walking. “I remember after the show one of the models said, ‘For someone like me to have this kind of opportunity meant a lot to me,’ and I knew I wanted to continue to use marginalized bodies and people who are part of other marginalized communities.”
“After that show I was like, ‘No, I am talented. I have a lot to offer and a lot to say, and people haven’t seen anything like this before.’”
Ku’ulei participated in the 2023 Utah Pacific Fashion Show, featuring 18 Pacific designers from Utah to New Zealand. “It was really intimidating,” they say, “but it gave me the confidence to take myself seriously enough to go to school for fashion.” As a Samoan/Hawai’ian designer, the opportunity allowed them to connect with other designers from similar backgrounds. “After that show I was like, ‘No, I am talented. I have a lot to offer and a lot to say, and people haven’t seen anything like this before,’” they say.
Ku’ulei is currently preparing for their fall semester at Salt Lake Community College’s fashion program. “When I finish a project I can say when it is ‘done,’ but I know there is more and that I can do better if I just keep learning,” they say. As they take time to increase their skill set and solidify the trajectory of their fashion career, they hope to learn how to screen print and collect inspiration for their next collection. Check out Ku’ulei’s available work on their Instagram at @kuulei.co.
