In conversation with Nadine Mos
© Nadine Mos
Nadine Mos is a multi-disciplinary artist and fashion designer whose work is deeply influenced by her cultural heritage, personal experiences, and a profound connection to her inner child. Her creative journey reflects the fluidity of her identity, shaped by transformative travels and ongoing exploration. Blending fashion and sculpture with ease, Nadine’s approach embodies resilience, curiosity, and the spirit of discovery. Through her work, she shares her roots, artistic evolution, and a unique fusion of fashion and art that resonates with authenticity and depth.
You talk about your childhood summers in Sahel, where you spent time with your cousins drinking Fayrouz and Fanta by the bluest beach. How does your childhood influence your work today?
All my life I kept having these battles with my own identity and who I am. I would struggle between being serious and being a child. I was taught that as an adult you have responsibilities, there are rules, you have to operate a certain way. But my inner self was always drawn to the truth, to being real, to being spontaneous… In a way, drawn to feelings. I was often accused by my mom of being very emotional, and that this wasn’t right, that people would take advantage of it.
Were you able to make peace with that? How does your inner child fit into the adult world?
Recently, during a trip to Egypt, several people told me I was “a big child,” like a three-year-old inside. I’m not sure if it’s because people there are more spiritual, but it made me realize that childhood doesn’t really have a specific role in my life—it’s my essence. I’m a big, big kid, and I’m perfectly fine with that. It’s what allows me to be creative. It influences everything: my personal life, my work, my health, my personality, my intentions. I want to nurture this feeling and never lose that part of me. I lost it once, and I lived a miserable life. So being able to embrace it now is incredibly beautiful.
Being connected to and understanding your essence lets you truly hear what you want to do.
Exactly. One of my recent decisions was to go to Cairo to produce a collection. It felt like a huge risk, something I’d never done before. It’s the biggest body of work I’ve created in terms of clothing. I was terrified, but I’ve never had as much fun as I did during that time. In a way, playfulness is what helps me be intentional in what I do. Without play, I wouldn’t have taken that risk, nor would I have realized that I needed to take it. As long as I don’t lose that feeling, it’s what keeps me going.
© Nadine Mos
You mentioned that the wealth of craftsmanship in Egypt is incredibly underappreciated. When did you realize this?
In February 2019, I went to Egypt to care for my grandmother, who had dementia and had undergone cancer surgery. At 24, it was my first time navigating this kind of responsibility, seeing her transform from the person I knew. It was also my first solo trip to Egypt, where I stayed alone and, despite my mother’s warnings about safety, chose to explore more of the country on my own, breaking free from the sheltered mindset I grew up with.
During this time, I connected with my heritage and discovered the extraordinary creativity and craftsmanship deeply embedded in Egyptian culture. The skill and dedication of the people were remarkable, driven by a true commitment to their art and the understanding that good things take time. The most powerful realization was that love, more than money, is the highest currency—fueling both the work and the essence of everyday life.
Tell us about your sculpture.
My journey with sculpture began after my trip to Egypt, where I was inspired by the vast craftsmanship I saw at the Egyptian Museum. Unlike pieces in international museums, these works weren’t just about showcasing skill but were deeply tied to life and functionality, embodying beauty. This experience stayed with me, especially during the pandemic when I was stuck in Canada. Longing for the healing energy I felt in Egypt, I realized I wanted to create and surround myself with that essence.
With minimal resources, I started sculpting using simple materials like tissue and glue, bought from a nearby dollar store. Working late at night in my dad’s kitchen, I found comfort and healing through the process. This self-taught, intuitive approach was driven by a desire to explore and play, evolving step by step without a strict technique. It was all about feeling and discovery, which marked the beginning of my sculpting journey.
How do fashion and sculpture converge? Do you find inspiration in sculpture and then apply it to your designs or the other way around?
It feels like pure synergy. The way clothes drape on the body should enhance its natural form, embracing the way it flows and changes. I believe in an organic, natural approach to beauty, where clothing adapts to how a woman's body evolves—even from week to week as we go through cycles. My goal was to create something that makes me feel good, no matter the phase or the change. People often describe my designs as sculptural clothing, but for me, it’s about simplicity, functionality, and beauty. That’s how fashion and sculpture come together for me—they’re inseparable, always overlapping in my creative process. Now, I can't imagine doing one without the other.
© Nadine Mos
“Slow ethos”is one of the core values of your brand, emphasizing quality, sustainability, and intentionality over speed or mass production. How does this philosophy shape your creative process and approach to business?
My slow ethos is the best part of my work. It’s about doing things properly and intentionally, creating not just for the sake of business, but for myself. I believe that when I stop creating for myself, that’s when I’ll lose my brand. It’s easy to get caught up in the idea that building a business means growing it quickly, selling it, and moving on—but that’s not my approach. I’m still exploring this journey. It’s personal and evolving, and it’s been challenging because I’ve had to unlearn everything I thought I knew about business. I’m in a phase where I’m trying to understand who I really am and what my business means to me.
I’ve had to accept that success doesn't always mean scaling up quickly or selling off. It’s about building something that’s yours, that you can nurture for your lifetime. I’m learning to embrace this idea, even though it’s hard. I was taught to always chase bigger and faster success, and now I’m figuring out how to redefine that for myself, especially in my Saturn return. It’s all connected, I think, and it’s a process of finding my true self.
What is your dream?
My dream is to be free—to think, create, and live without limits. I’m not sure if my path is as a designer or a sculptor, and for the first time, I’m okay with that. I believe creativity connects all practices, and it's about observing the world, sharing knowledge, and letting life fuel that process.
My dream is to become a more playful and content version of myself, because when I’m happy, my work shines. It may sound philosophical, but I’ve learned that when I'm at peace, everything else falls into place.