Be in the know and join our inner circle of style mavens, innovators, art lovers and tech-aficionados.

Google reCaptcha: Invalid site key.


“Who is that guy that just walked in?” I whispered at a house gathering in northwest Cairo festival city, being so intrigued by the character’s allure and densely pierced ear. “Ah that’s Kojak!, wait let me introduce you two” Hisham replied with excitement.

There was an affirming sense of relief when I was finally able to put a face to the work of Kojak’s fashion, that nearly everyone I had met within the “new” Cairo design/fashion scene had mentioned with a sense of pride. In fact the same reason that made me call our Editor in Chief at Buro Jessica Bounni, suggesting that I wish for my next due article to be about a visit I ended up paying to Mr. Kojak on Monday, July 10th 2023 at 4:30 pm Cairo time, at Garden City (iPhone video cam rolling…see the edit).

I knew that the intention of my visit was not sprung out from a fashion editor’s standpoint. Moreover I was absorbed to see Mohanad Kojak from a trend spotter’s perception. As phony as I might sound to Kojak right now, I was compelled to unveil the personality, the obvious (not so obvious) rebel, the “new kid on the block” sort of ambiance, and whether you agree or disagree, the total Kojak polaroid is not so every day to a Cairo fashion scene. To experience an Egyptian fashion designer that investigates “beauty within the ugliness” as Kojak says, is indeed a direction that dwells into self-expression. Fashion and individualism have both throughout history contributed immensely to the progression of the industry. “I created a print out of an MRI scan of my brain, I wanted to experiment the impact of that as a print” he added as he pulled out a sheer bodice made out of little mosaic scans of his MRI’s.

Early in our conversation as I was sipping through some coffee facing Kojak he said, “let me show you around the apartment before we start” I sensed instantly that he fancied introducing me to his world, as an icebreaker possibly, yet deliberately to discern the impact of positioning himself as a character on stage or part of a narrative Kojak script. His self-taught autobiography branding method is vastly compelling; precisely what I was hoping I would combat. Drama delivered so recklessly! I shadowed him around with my iPhone handheld video camera on record capturing his latest resort 2023 print (in collaboration with Italian Brazilian print designer Giulio Forgiarini) on a kimono he was swaying. And there it was, a staged rococo Alice in wonderland maze tour around Kojak’s Studio. Not one space within that set up was left unattained, mirror rooms, racks with embroidered gowns hanging; nearly felt like a backstage room of Maria Callas “La Mamma Morta” operate or a Garden City version of “The House of Bernarda Alba” by García Lorca.

I have to admit that I was juggled between his concepts; to the extent that I did not clearly touch that one story travels across a wide-ranging structured fashion line (from a disciplined retail angle at least) However when he mentioned, “I don’t care if they talk about me or wear my garments, in fact sometimes I feel I don’t want my story to be distorted just because I have to see my designs worn. I am triggered by the journey, the process; this is why I archive my work” It is not a response you often await from a fashion designer but clearly that of an artist in self exploration phase. An answer well delivered and worth respect. The consistency in his approach in my opinion especially with print implication on textile and whimsical styling (like his studded rabbit masks) have made Kojak an alarming name and one to watch out for.

“I have collected dead birds as you can see, and this is an image of me carrying the flesh of a rabbit” he said while skimming through his inspiration notebooks and iPad. “So you see glamour in death? Because your dead rabbit is bejeweled in pearls.” I asked, thinking this is very much the Mexican “Dia de los Muertos” (One of Mexico’s most important religious holidays is celebrated on All Saint’s Day on the 1st of November. Day of the dead ceremony)

Towards the end of our conversation, it became evident that Mohanad Kojak was a man of few words, preferring to express himself through a subtle display of body language and at times sensitive visual content. His piercing gaze that dissolves into his well-carried posture; resembling the eyes of his adored Sphynx cat, Pharaoh (who I met sunbathing outside his bedroom terrace) brands Kojak the personality upfront, and leaves one questioning his “measured” ambiguity. Now you go figure and read between the walls of his opulent storytelling atelier as you unfold his emotions and demeanor.

The meticulous attention to detail, the aesthetic choices, and the bold combination of fabrics and textures all reveal a deeper narrative. By skillfully intertwining craftsmanship techniques with contemporary influences, Kojak manifests his sentiments and memories into wearable garments, rendering each creation a personal and expressive statement.

Kojak’s restraint in over expressing himself verbally only serves to heighten the passionate impact of his work, leaving room for interpretation and inviting viewers to engage with artistry before them.