sulci (sul-kai)

Photographer ANDRES NORWOOD
Text HEIDI CANNON
Stylist HEIDI CANNON
Makeup MARTA MARIOTTI
Models DEI AND FALLOU

In an industry dominated by trend culture, where outward appearance often overshadows true depth, it’s refreshing to find brands that focus on a deeper exploration of identity. Enter Sulci, pronounced Sul-Kai—a brand that fundamentally represents an excavation of self. With a designer who chooses to remain anonymous [will be referred to in this interview as “K”], allowing the clothing to speak for itself, we have a genuine opportunity to form our own interpretations about its meaning.
Heidi: I was doing some research on the term "sulci," which refers to the grooves in the cerebral cortex, the outer layer of the brain. Did this concept influence your approach to the amorphous design process?

K: Absolutely. The theme of the brand revolves around the brain. I wanted to create work that captures not just a direct connection to this theme, but also conveys the appropriate mood. As you mentioned, when you look up the definition of "sulci," it describes the grooves or depressions in the brain. I thought that was a fitting name for the brand.

H: How did you arrive at this influence in your design process? Specifically, how did you come to be inspired by the brain itself?

K: So, the whole concept of the brain is something that resonates with me quite personally. It stems from my experiences with mental health and mental struggles. There are references to these struggles in my creative work, making it incredibly personal. I tend to feel the intensities of what the brain can produce, often when I least expect it. I’m someone who experiences everything on a very deep level. I’m sure others can relate to that as well, whether it’s the sadness or the happiness, navigating through the intensity of both.

I’ve always been this way, and it’s important for me to communicate and share this with others who may not experience emotions in the same way. So, my creative outlets end up being the means through which I can convey what I can’t easily put into words. While it might be harder to talk about certain things, it becomes easier to create something that captures all those emotions and conveys what I’m feeling.

I find myself thinking about my brain a lot; if that makes sense.

H: I haven’t seen you before this conversation. It’s interesting because based on your designs alone, I wouldn’t picture you as the designer. You truly let your brand speak for itself.

K: Everyone says that. Since I don’t talk about deeper things [publicly], I don’t have a conversational outlet for those topics. So when I show my friends and family the things I’ve made, they seem confused. They always say, “It’s so dark,” and they don’t really understand.

H: I’d say there’s a definite heaviness to it, but I don’t think it’s necessarily dark. Do you feel as though in your design process moving forward, you’re going to leave it in this anonymous space to the general public, as you grow as a brand, you’ll leave it to speak for itself and be less of a face for it?

K: I think so, yeah. I don’t really seek attention at all. I prefer to let what I create speak for itself. What’s important to me is interpretation. Although my work comes from a personal space, those who experience it might not know the backstory, and I love to see their interpretations and what they take away from it. My goal is to evoke feelings that resonate with similar individuals, and I aim to do this indirectly. I’m genuinely interested in other people's opinions and the emotions my pieces evoke in them—how they choose to wear them, how it makes them feel. Ultimately, it’s all about them and less about me.

H: Do you feel that by not presenting yourself on your brand page, near your designs, you’re not sharing any informed opinion about what the designs may represent? From a superficial first glance, your disposition seems so sunny. It becomes clear that your designs are a reflection of your inner monologue.

K: I've never thought about it that way, but it does seem like there's a mismatch. However, it still feels authentic to me. Even some of the work I did at university almost ten years ago carries the same essence—I believe I have always had this quality within me. I want it to have its own unique identity, but at the same time, it is truly a reflection of me, and that's something only I can fully understand.
The whole process is personal; it's like allowing someone into my mind. I would rather express my thoughts through a creative medium and invite opinions on it that way.

H: Do you think what you were making in school is similar to what you're creating now, or do you believe your style has evolved after you graduated?
K: Back then, I had a specific aesthetic, and I remember a few classmates saying, "That's so you," regarding my designs. While at university, we had to follow certain guidelines and design as if we were working for specific brands. We also had the option to choose some brands we wanted to "design" for. I always added my own twist, making things a bit more androgynous and a little darker.

H: Which brands did you pick? I’d love to hear
K: At the time, one of the brands I chose in a project was Rick Owens. I was drawn to the deconstruction, darker palette, sculptural garment construction, and overall rebellious mood.

I had this essence and aesthetic that hasn’t changed much for me. Even when I was asked to create for more girly brands, I didn’t enjoy it and tried to put my spin on it. In my 20s, I experienced some emotions that pushed me to find a way to express those feelings without having to say them out loud. I think it's a mix of a personal aesthetic that has always been within me and a form of storytelling.

H: You mentioned before this interview that the pieces you sent me took two years to make? K: Yes, they started off looking quite different. It took me a long time to understand the meaning behind each shape and why certain parts were puffy while others weren’t. I don’t view it as clothing; I see it as sculpture, considering how it’s been crafted. H: Do you envision ever mass-producing your pieces? I would love to see your brand on more people. It's intriguing and feels very personal, and it would be fascinating to see how individuals style your clothes.

K: At the moment, I don’t plan to produce items in large quantities. My main focus is on the creative process rather than on selling. In the future, I may design pieces that are more accessible, but if I do produce anything, it will likely be in smaller quantities using a made-to-order system.

K: I would love to showcase these pieces alongside artists from different fine art mediums that convey similar meanings. Mass production may never be a priority for the brand.

I would also love to collaborate with other artists skilled in creating accessories and jewelry, working together to combine our aesthetics and the essence of our brands.
It’s clear from speaking with K that Sulci epitomizes a thoughtful journey into the depths of identity and emotional expression. K’s dedication to crafting garments that resonate on a personal level invites wearers to explore their own narratives and share in a collective experience of introspection. By choosing to remain in the shadows, K empowers the work itself, encouraging us to find meaning beyond the surface. As the brand continues to evolve, it serves as a reminder of the beauty found in vulnerability and the power of self-exploration. In a world focused on trends, Sulci stands out as a beacon of individuality—an invitation to connect not just with style, but with our innermost selves. As we embrace the complexities of our emotions, may we all find solace in the art of expression, much like K does through the work they throw themself into.