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Spilling through the bruised sky, the river of light dazzles my eyes as I stand below, breathing in the warm, hearty air of my home. Suid Afrika. 
Cobalt tears are cradled as they seep into soft cotton that lay across my elders lap. Heavy, I carry the weight of my home. Bharat. 

Glass shatters to foam as my feet sink into the shore. Pulled by an embrace of gentle mist and pushed by hostile waves, I search for balance in making my home. Aotearoa. 

I belong to the liminality between the transvaal, the village and the moana. But distance turns identity into a box on a form. Maori, European, Pacifika, Asian, African, Other. If I tick one, I lose another. 

Yet my cultures have never asked me to choose.                                                                                                                                            Instead they teach me. They console me. They encourage me

AOTEAROA: WHERE HOMES MEET

A young man wearing a white patterned top and a blue plaid skirt, with a yellow outline around him, standing in front of a background with fruit images.
A torn piece of white tissue paper with a white strip on top.
A torn piece of white tissue paper.
Beyond borders and across seas, a tether holds humanity. Whanungatanga, Ubuntu, Ummah, a shared lexicon of indigenous knowledge that refuses the idea that identity must be singular. They do not ask me to grieve the loss of my home to inherit another. They ask me to grow, to build, to understand. A continuous construction of self among migrations, generations and ways of life, I begin to imagine culture as something additive, expansive and continuously becoming.
Close-up of a person's hand holding a small, newborn puppy with closed eyes. The person is wearing a white, blue-striped, frayed-edge button-up shirt.
Exploring the paradoxes and fluidity of cultural identity, the ensemble reflects a broader Aotearoa; a nation shaped not by a single story, but by the meeting of many. Questioning what a New Zealander can look like among the diverse and multicultural growth of Aotearoa, garments respond with fullness as an abundance of identities, memories and experiences. Mirroring the negotiation between fluid selfhood and the pressures to be understood, the wearer is enabled to shift between these states by releasing or constraining their fullness through functional pleating, drawstrings and layering.
Fabricated from unravelled and reworked ‘Khadi’, a handspun, handwoven, Indian cotton alongside ‘Lungi’, the humble, chequered wrap cloth of my elders, I aim to assert that culture is not a resource to be lost through movement, but a seed that can flourish through exchange, practice and care. Retaining traditional textiles is not a dismissal of New Zealand, but an affirmation that the cultures I carry are also part of its evolving social fabric.
Aotearoa is not the place where I must painfully choose between my homes. It is the place where they are invited to grow together.
Close-up of clothing: a white, fringed shawl with blue stripped patterns and a blue plaid skirt wrapped around the waist.
A torn piece of white tissue paper with a strip of tape along the top edge.
A crumpled white tissue paper on a black background.

Hokonui Fashion Design Awards

2026

جزاك اللهُ
Thank you to the team at @hokonuifashiondesignawards for generously accepting, presenting and awarding my submission. Truly honoured to have received the Aotearoa and Narrative Awards this year.

Photography: Max Balloch

A young man wearing a white cap, a beige shirt, and blue plaid shorts, with motion blur, appears to be in a dark setting with small, bright, curved light streaks in the background.
A person in traditional attire walking on a runway during a fashion show, with an audience seated at tables watching and taking photos.
Young man with curly hair lying on a sofa, wearing a light-colored jacket and plaid pants, looking at the camera.

A Growing Archive of ‘Home’

‘Where Homes Meet’, is an open, collaborative project inviting people from all backgrounds to share a photograph of what home means to them.

Home isn't always easy to explain. It can be found in the silly moments, familiar faces, warmth and everyday rituals. It can also be what we search for through distance, hardship, uncertainty and change. Through the photographs and reflections shared, MANZIL makes space for these different experiences to be seen, acknowledged and understood, without asking them to fit a single idea of what home should look like.

As people from all walks of life, I find that we spend a lot of time in defense of our belonging, meaning that we never actually had the chance to define ‘Home’ for ourselves. This project is that chance. A space to explore what home means to us, in all its contradictions, and to recognise the lived experiences that shape the evolving identity of Aotearoa.

Each contribution becomes part of this growing archive, brought together through collage, layering and installation to create new collective artworks. The project is intended to travel, migrate and grow, welcoming new voices and perspectives along the way. What it becomes will be shaped by the people who take part.

Supported by: Whau Ethnic Collective, Whau Local Board and New Lynn Community Hub

A person with long hair in a ponytail wearing a beige sweater is looking at a photo display on a black wall, which features various landscape and outdoor photographs and text descriptions. Part of another person's arm is visible on the left side of the image.

Whau Arts Exhibition 2026

VIEW THE ARCHIVE