Effortlessly merging contemporary edge with timeless craftsmanship, SUEZ has fast become one of the most compelling names redefining the language of modern fashion. Founded on principles of elevated minimalism, cultural nuance and sustainable intent, the brand draws on global references while remaining rooted in a distinctly London sensibility. With silhouettes that balance structure and fluidity, and collections that favour depth over trend-chasing, SUEZ designs with the modern wearer in mind—bold yet refined, expressive yet considered.
In this feature, we step into the world of SUEZ and catch up with founder Serag Elmeleigy to explore the ethos behind the label, the creative minds steering its vision and how it continues to shape a new narrative for independent design…
Tell us about the name ‘SUEZ’?
The brand is named directly after the Suez Canal in Egypt—one of the most, if not the most, important trade routes in the world, as it allows ships to cut through Egypt from the Indian Ocean rather than circumvent the African continent. But in a more metaphorical sense, the Suez Canal is literally a passage through the Middle East, and that pretty much summed up the brand mission from the start. On a side note, when thinking of a name, I really liked brands that had used geographical locations as their brand identity—like Casablanca and Port Tanger. I basically replicated that route with SUEZ, and I also wanted a name that would immediately hint at the kind of design you could expect from the brand.
What are SUEZ’s core values?
The core values of SUEZ are craft, tradition and quality. In everything we do, we try to make sure these principles are honoured in some way. We explore craft and tradition through age-old techniques like Khayamiya (the tentmakers of Cairo), and we reinterpret tradition through textiles by reworking the keffiyeh into our designs. On top of that, we ensure that the quality of all our garments is the highest it can be. I’ve had the privilege of working with brands like clothsurgeon, which really showed me the level I need to aspire to when it comes to quality and craftsmanship.
What makes SUEZ stand out from other brands at the moment?
It would be our reinterpretation of craft and tradition. For example, our use of Khayamiya is something I’m very proud of, and it will be a staple of the brand for a while. Working with traditions that date hundreds—if not thousands—of years is something that brings me great joy. Showcasing and presenting them in a different medium is what we’re trying to do. Hopefully SUEZ offers young people in the region a place to reach themselves without compromising on the multiple influences that continue to shape our taste and preferences, moving in a world and with an identity that is always in flux, and always ready to be inspired by something new.
Walk us through a couple of your favourite pieces you’ve released so far, and how they came to life.
The Keffiyeh Patchwork Jacket will always hold a special place in my heart, as it was our first clothing piece—and with what the keffiyeh means to us and so many others, it felt right. Looking back, it probably wasn’t the best idea to launch with such a time-consuming design, which obviously made the cost extremely high. For the first couple of years, these jackets cost us £200 all in, as they were crafted in an amazing atelier in London and made up of 36 individual body pieces that had to be cut and sewn together by hand.
The 1-of-1 Khayamiya Jackets were really special too, as they are made from 1-of-1 Khayamiya panels (wall hangings) that we source directly from Khayamiya artisans. Each panel is about a month’s work of hand-stitching. I actually don’t actually own one myself—they’ve been so limited, and with the cost of making them in that London atelier, they’ve all had to be sold. But I’m currently in Egypt and plan to make one for myself very soon!
What’s next for SUEZ?
Right now, I’m in Cairo for six weeks sourcing factories. Producing the majority of our garments here has always been the goal—to bring myself back as much as possible. We’ve found a very promising factory that meets all our requirements, and they’re currently sampling eight designs—four existing and four new. We’ve also been working with an incredible collective called Threads of Hope, a social enterprise based in downtown Cairo. They provide sustainable employment for marginalised women and teach a range of traditional techniques like hand embroidery, crochet, natural dyeing, beading, and more. I’m really excited about this direction—it will highlight the amazing talent Egypt has to offer.
We’ll also be homing in on fabric choices and silhouettes to create pieces that can be more easily incorporated into everyday wear, without losing the beautiful patterns that define us. Coming AW25!
Finally, what’s been playing on the speakers in the SUEZ studio recently?
Loving this new Marwan Moussa album, an Egyptian rapper who’s very big in the region. 200 Shams, another Egyptian artist. The new Bon Ivor album has been keeping me company and I’m still returning to what is turning out to be one of my all-time favourite records: MkGee’s Two Star and the Dream Police. Too many to name, but we’ve also been bumping that new Chaos In The CBD x Novelist track—that one’s been keeping me and my brothers’ heads bumping out here!