Jamie Kimani is the founder and creative director of Sevaria, a Nairobi-based brand that includes upcycled and deadstock materials to produce genderfluid pieces. His collections feature made-to-order or limited edition garments, finding inspiration from African cultures and religions. “We’re keen on telling African stories − whether that’s culture, history, or something personal to me,” says Jamie. “I love telling stories about the Maasai, about where I was raised, as well as fostering pride and self-expression.”

Sevaria’s new collection SAFARINI is available at AKJP Studio in Cape Town. Before the launch event, we asked Jamie to tell us about his brand and his work.

How did Sevaria start?

The brand started in 2020 after I got into the Creative DNA programme, powered by the British Council. They gave me seed funding, which validated me and pushed me to register the business and take it seriously. Before that, I used to work at a makeup counter, saving money while doing tailoring experiments on the side. But from 2020, when COVID hit, I was headstrong about starting the brand.

How would you describe your design aesthetic?

I like to blend men’s and women’s tailoring, so my clothes have a hint of androgyny about them. I like structure and tailoring, but also the juxtaposition of drapery.

I’m also keen on upcycling, which we usually do from the second-hand markets in Gikomba, Kenya − one of the biggest second-hand markets in East Africa. We take fabrics that are one-of-a-kind and turn them into garments. We don’t advertise these because it’s just one item. Once it’s gone, it’s gone.

Recently, we’ve started exploring hand-weaving techniques, and weaving with cotton. There’s a textile we’ve made where we hand-wove cotton and upcycled polypropylene to create a new Sevaria fabric. Those weaving experiments are something we’re really keen on these days.

Look 6 from the SAFARINI collection is tailored from linen. Photo: Sarah Waiswa

Can you tell us about your upcoming collection?

I’m launching a new collection in Cape Town called SAFARINI, which was inspired by safari through an African lens. I felt like I had something to say that was different, based on my recent travels to Singita lodge in the Serengeti ecosystem in Tanzania. There was also a ballroom party in Nairobi hosted by the Haus of Andeti, which inspired elements of the collection.

What inspired your interest in fashion?

My love for fashion began when I was pretty young. At the time, I loved sketching girls in pretty clothes. That’s how I used to describe it because I didn’t know it was called designing. I didn’t have the understanding that you could be a designer. Also, I didn’t grow up knowing a lot of designers − we knew tailors. I didn’t know designing was a viable career.

At high school I began being intentional about what my career would be. I started reading a lot of newspapers, and I would see brands like KikoRomeo and Katush. That’s how I figured out that fashion was a real career path. Once I finished high school, I managed to convince my dad to pay for fashion school for a year. We learned how to sew, how to use an industrial machine, how to do patterns − the basics of making a garment.

From then, it’s just been a lot of interning and making mistakes as we go and learning from them.

A delicate lace dress. Photo: Sarah Waiswa

What does sustainability mean to you?

For me, the most important things when it comes to sustainability is ethical sourcing and ethical practices. I’m a believer in slow fashion. I believe in quality over quantity. That’s how I produce. I’d rather have fewer collections and fewer items than a lot just to make sales.

We make sure that every piece is thoughtfully made, and that it’s durable and timeless rather than easily disposable. Transparency in the production process is also key: understanding where the materials are sourced from, who makes them, and all the little details that go into it. Even down to the tiniest trims, like where do the buttons come from? We work with upcycled bone for buttons, sometimes coconut, making sure that every part of the process is ethical.

The Desiree dress, made from hand-cut lambskin strips stitched onto tulle. Photo: Sarah Waiswa

Where do you produce your garments?

All production of our garments is done at our atelier in Nairobi. We work with Weavers Worth, a company that creates handwoven cotton for us. I do a lot of thrifting, and we upcycle a lot of fabrics, using a lot of deadstock.

Our team consists of two full-time tailors and two part-time interns who help make our garments. Our atelier is based in Nairobi and serves as both a showroom and a production space. The intention is for clients to be part of the creation process: you come to see the clothes on one side, and there’s a window into the other side where you can see the tailors working.

What excites you about fashion?

Construction, and well-structured pieces. I love attention to detail. I also love quirky, fun fashion. I don’t think it always has to be so serious.

I get excited about how fashion makes people feel. For example, when you’re wearing your favourite piece, even the way you walk and present yourself changes. It’s an addition to your personality; it’s so powerful. Tapping into how fashion makes someone feel is what excites me.

A detail. Photo: Sarah Waiswa

What kinds of themes do you explore in your collections?

I’m keen on telling stories about where I’m from: my culture, my tribe, my country, and Africa as a whole. I like exploring topics like religion and subcultures that aren’t often talked about.

For example, in our previous collection, before SAFARINI, we explored the Akorino faith − a religious group in Kenya similar to the Zion Christian Church in South Africa. These smaller subgroups are fascinating, and I love shedding light on them through fashion. I also look at how different Kenyan and African communities interpret fashion today − how the Maasai dress, how the Samburu dress − and then I reimagine those influences in a modern way.

The SAFARINI campaign takes inspiration from colonial-era stamps, offering a new lens through which to view the past. Photo: Sarah Waiswa

For this collection we explore sisal, a material that speaks to both tradition and innovation. We have sought to transform its inherent structure by twisting and handweaving it with cotton, creating a unique fusion of textures that evoke fluidity . The result is a tactile celebration of movement and joy, where the natural rigidity of sisal is softened, yet amplified, by the supple warmth of cotton. This interplay between materials reflects our fascination with the delicate balance of form, function, and the subtle dynamism that textiles can embody.

Which designers do you admire?

Right now it’s Jonathan Anderson and Sarah Burton. Sarah, because of her tailoring − I really love her looks. And I love Jonathan Anderson because of his craftsmanship and how quirky it gets. His thinking is not limited. He is the true definition of thinking outside the box.

What are your dreams for Sevaria?

I hope to collaborate more with different brands, and not necessarily just in the fashion industry. I’m also keen on selling internationally and being respected as a powerhouse in fashion on a global scale. As for Kenyan fashion, I hope our people start wearing more local, and the continent at large too. We need to start buying more locally and appreciating our own brands.

• Sevaria is currently available at AKJP Studio on 73 Kloof Street, Cape Town
• Discover more about Sevaria on their Instagram
• Images supplied and sourced from Sevaria