An unpredictable path

Ever wonder how a passion for design evolves into a brand that defies all labels? Sabrina Mandelli, the visionary behind SSHEENA, shares her journey from graduating in Fashion Design at Istituto Marangoni in 2008 to steering roles at Dolce & Gabbana and Off-White before launching her own line in 2015. Her story is a study in structured chaos – a blend of disciplined training and rebellious flair – that challenges convention and redefines what it means to be a designer.

hube: Can you share insights into your journey from graduating in Fashion Design at Istituto Marangoni in 2008 to founding SSHEENA in 2015?

Sabrina Mandelli: I have always loved the idea of design: having a rounded vision of something and knowing how to shape it into clothes. Creating a story over time and codifying a taste and an aesthetic recognisable by all. That’s why I started studying fashion design at Marangoni; but I immediately understood that to be able to shape an idea into a dress, you need to master the technique and understand how a garment is constructed, so I also started a sewing course. I started at Dolce & Gabbana just after Marangoni: I was in charge of dressing celebrities, and there I learned how a large company should work, what is needed for everything to go as planned, and how a company is structured. Afterwards, I started working for Ring, a denim brand produced in Milan, which no longer exists today. The brand was small, and it was really educational because I had to carry out multiple roles transversal to design, and I interfaced with suppliers directly.

From there, the consultancy for Off-White began when it was not yet very well known; from there, eight very intense years followed. Things exploded in our hands, and in the blink of an eye, it became the coolest fashion house. There, I learnt how to manage a constantly increasing set of responsibilities and work. I also understood that fashion isn’t just about sartorialism but also storytelling and coolness. All these totally different experiences converged into SSHEENA, which is, of course, my favourite thing. Here, I can build my world and tell stories through garments exactly how I want, without compromises.

h: How did your experiences at Dolce & Gabbana and as Womenswear Head Designer at Off-White influence your approach to establishing your own brand?

SM: Imagine the creative chaos of Off-White with the perfect structure of a company such as Dolce & Gabbana – it’s a match made in heaven. You can have infinite possibilities, which will be the jackpot for a brand. That’s what I would love to keep with me as SSHEENA grows.

h: SSHEENA is described as embodying complex female characters, such as those from Billy Wilder’s films. Can you elaborate on how these influences shape your designs?

SM: You would not find a direct reference to these women in the collection. They are the starting point, but we focus on their complexity and abstract it into complex clothes – at first sight, they seem quite regular, but then your eyes keep catching endless details and information, leaving you feeling uncomfortable and disoriented. It’s a grotesque feeling.

We want you to question imperfection, and we work in that minimal yet disturbing space made of uncertainty and a lack of stability – the sensation we feel when we miss a step while walking up a staircase when we dream of falling, or when we set foot on dry land after a day on a boat. A precise sensation but difficult to define.

h: Your brand merges elements of punk aesthetics with classic luxury, like pairing a Chanel bag with a rebellious attitude. What message do you aim to convey through this juxtaposition?

SM: SSHEENA’s collections really represent my attitude. I refuse any kind of classification. The fact that I own a Chanel bag doesn’t conflict with the fact that you will find the Ramones playing in my AirPods. I’m super punk, and I really had a punk haircut when I was younger, but at the same time, I was hanging out wearing Cavalli or Rick Owens.

Personalities are very complex and fluid, and mood also plays an important role. I don’t want to be stuck in clothes that speak a single language. I need complexity, I need mistakes and confusion. Formal wear and punk aesthetics may seem to speak two completely different languages, but I’m that – I feel like I’m that impossible conversation.

h: You’ve mentioned that a designer should be ‘at least a half-decent tailor’. How does this belief impact your design and production process?

SM: Of course, I don’t consider myself a tailor or a seamstress, but in my mind, I have a clear understanding of how a garment should be constructed and built. If I speak with a patternmaker or one of our seamstresses, I understand what they’re telling me.

This practice is very helpful during the design process because I easily understand what is possible to do and what would be the best solution to create the best version of the garment. And also, knowing what I’m doing is helpful to learn more every time.

h: SSHEENA is referred to as your ‘problem child’. What challenges have you encountered in developing the brand, and how have they contributed to its evolution?

SM: The real challenges are all related to the world outside SSHEENA’s office. It’s hard to find buyers interested in emerging brands, so selling the collections is not always simple, and this really impacts what we can or can’t do in the next seasons financially.

Then, having my own company makes the design and development of the collection a really small part of my job because I have to deal with problems and make choices that can significantly impact my brand. It’s a constant job – it’s hard to take a break. But I’m constantly learning, and if I do something wrong, I do it better the next time.

h: Looking ahead, what are your aspirations for SSHEENA, and how do you envision its growth in the international fashion landscape?

SM: SSHEENA has to grow a lot in my vision. I love the idea of having a healthy company, and I think it already is, but I imagine it being much bigger and able to do way more.

And then, I would love to open my own flagship store – to put my vision into a space and into furniture, as well as into clothes. To give my ‘problem child’ a special home.

h: In your opinion, what qualities define the ‘ideal woman’ that SSHEENA represents, and how do you translate these qualities into your collections?

SM: SSHEENA does not have a female target audience. I find it an outdated concept. Life is fluid – I don’t feel the same as myself every day. One day, I can arrive at the office in Phoebe Philo heels and a suit, and the next day, I’m in cargo trousers and an SSHEENA football shirt – without denying myself or what I like.

That’s why you can find both super formal suits and hyper streetwear garments in every collection of mine. Sometimes, I switch during the day and change clothes to adapt to the situation. Buyers know who the ideal women of their stores are, and they pick pieces from the collection based on that. I just do myself, hoping it works – and so far, it always has.

h: You served as the Womenswear Head Designer and Style Coordinator at Off-White from 2015 to 2023. How did your role evolve during this period, especially in collaboration with Virgil Abloh?

SM: At first, it was small – I was the entire design team for both the men’s and women’s lines. Days, nights, afternoons – at every single moment, I was with Virgil via WhatsApp, sending him my ideas and sketches. The funny thing is that I never actually saw Virgil during the first collection I designed for him until it was completely done. Then we finally met in Paris.

For the first collections, we didn’t have an office or a studio. Virgil kept saying that if he had to work at a desk, he would die. We used to meet in the most uncomfortable places. Sometimes, we met in his hotel room, displaying the collection sketches on his bed. One time, he even wrote notes half on the pages and half on the sheets of his bed, so I had to take both home.

Then, luckily, Off-White grew, and we finally had a proper space, and the team expanded. Starting from one, then two, then three – and in the end, we were 35 collaborators inside and outside the company. I kept chatting with Virgil and exchanging ideas via WhatsApp day after day, just like at the beginning, for my entire experience at Off-White with him.

h: Off-White experienced significant growth and transformation during your tenure. What were some pivotal moments or projects that you believe defined the brand’s direction?

SM: I have three pivotal moments in mind from my time at Off-White.

The first was when Virgil developed the concept for The Ten with Nike. We brainstormed it together, and it became one of the most iconic sneaker collaborations in history. The second was designing Hailey Bieber’s wedding dress. It went super viral and had a huge resonance for the brand. Seeing something we created take over the internet and culture in that way was surreal. The last, and most important, was the High Fashion collection we did after Virgil passed away. It was his goal and dream, and we made it happen. That moment carried an emotional weight unlike anything else.

h: Working closely with Virgil Abloh, known for his multidisciplinary approach, must have been insightful. How did his vision influence your design philosophy and approach to fashion?

SM: His vision didn’t necessarily influence my personal design aesthetic, but it completely changed my mindset. He taught me that fashion inspiration can come from anything – literally anything – and that there are no limits to creativity.

Virgil always said that anyone could be a designer if they had the right eye. He also told me I could do whatever I wanted because, like him, I had good taste. I don’t fully agree with that – I don’t think everyone can be a designer. As I’ve said before, beyond vision, you need to master the technique, and you need the perfect balance of people and situations.

But I will always thank him for giving me the freedom to express myself, to design whatever I wanted, and for telling me later, ‘I like it if you like it’.

h: Off-White is renowned for blending streetwear with high fashion. How did you navigate this intersection in your designs, and what challenges did you encounter in maintaining this balance?

SM: It’s hard to explain in simple terms. Basically, you create something perfect – until a certain point. Then, you disrupt it. For example, you design the perfect pointy boot with a beautifully crafted heel and the highest-quality leather. And then, just when it seems too polished, you write something completely obvious on it, like For Walking. The mistake has to be something your mother would turn her nose up at.

That’s where the magic of Off-White happened – challenging the idea of perfection and making it playful, unexpected, even provocative.

h: The fashion industry has seen shifts towards inclusivity and sustainability. During your time at Off-White, how did these movements impact the brand’s design and production processes?

SM: Honestly? Not much. We just focused on making cool stuff for cool people, hoping they would respect the world in terms of people and the environment.

h: Following Virgil Abloh’s passing in 2021, how did the creative direction at Off-White adapt, and what role did you play in this transition?

SM: At first, it was a trauma – emotionally speaking. In working terms, nothing really changed. We continued working closely as a collective group of designers, and until I left, it stayed that way. I was in charge of all the lines – men’s, women’s, and accessories.

Off-White was always a collective effort – a mixture of ideas and people working together. The final product, both before and after Virgil, was always the result of that group synergy. A new creative direction wasn’t needed at that moment – we just kept building on what we had started.

h: Reflecting on your journey with Off-White, what key lessons or experiences have you integrated into your own brand, SSHEENA?

SM: I took with me the idea of live and let live. I want my design team to create and do what feels right for them. More or less like Virgil did with me – trusting others, trusting the process, and working together. That is always the best choice.