Petra Stellam is Built By Hand, Not Hype

Tommy Flanagan

Petra Stellam isn’t trying to build a brand that plays by fashion’s typical rules. Based in Houston, designer Luis Ruiz sketches to his own pace, making garments with rope, plastic, wire, and whatever else feels honest. His brand sits somewhere between clothing and sculpture, held together by tension, intuition, and a refusal to over-explain.

There’s no chasing the algorithm, or inauthentic collabs. What Petra is doing feels slower, more intentional— less concerned with going viral and more interested in making something that lasts. We talked about the freedom of working from the sidelines, why fashion school almost ruined everything, and how to keep authorship intact in a space that rewards sameness.

MERDE: Your work often blurs the line between garment and object. Do you see fashion as a way of communicating ideas that can’t be said in words? You use plastic sheeting, cable ties, cast-off hardware, what do these materials let you say that traditional fabrics can’t? 

Petra Stellam: Yes, certainly—materials serve both functional and symbolic purposes. Our material choices often complement the concept behind each collection. We consistently reference design in thoughtful ways, such as using pattern hooks as belt closures to highlight the tools of the pattern drafter—a homage to their everyday craft. We always ask ourselves: Why settle for traditional methods or conventional ideas? 

Visually, the materials and collections reflect what resonates with us—they are a mirror of who we are. Our goal is to move beyond tradition by embracing more abstract, unconventional approaches to design.

MERDE: There’s a quiet rigor in the way you treat materials—plastic, wire, rope—as if they carry memory or history. What draws you to those textures, and what are you trying to preserve or disrupt by using them?

David Leon

PS: Our choice of materials encourages the design team to experiment with more bold techniques.These decisions are guided by the concept behind each collection and how well the materials complement that vision. Ultimately, our goal is to communicate the essence of the collection visually without needing to explain it in words. While our work may not directly focus on preservation, it reflects a deep sense of acknowledgment and appreciation.

MERDE: You’re based in Texas, surrounded by open space, heat, and a kind of cultural tension that doesn’t always align with the fashion world’s centers. How does that geography seep into the work—visually, emotionally, or even logistically?

PS: Establishing a brand outside of the major fashion capitals can oftentimes be challenging, but Houston offers a unique advantage with its cultural and artistic diversity. While we don’t draw direct inspiration from the city itself, being based in Houston gives us the space to experiment freely and explore new markets. Being in a slower paced city allows us to focus more on the artistic side of design, rather than being confined by the traditional logistics of running a business.

Tommy Flanagan

MERDE: Has working outside of New York or LA given you a kind of freedom—or do you feel like you’re constantly having to prove your relevance from the margins?

PS: I do believe that living in larger cities often brings certain restrictions—especially with the high cost of living, which can influence key business decisions. In contrast, the sense of space in Texas feels like a luxury. Openness allows us to fully explore our creative possibilities without placing heavy constraints on the brand. It gives us the freedom to create collections that prioritize artistic expression and the preservation of thoughtful design.

MERDE: How do you know when a piece is finished? Or is the tension of “unfinishedness” something you’re drawn to?

PS: I rely on a combination of knowing the final vision for our designs and trusting my intuition—there’s a moment when I can say, ‘Okay, this look is complete.’ As an example we explore the idea of process in many ways, as seen in our recent runway collection ‘A Romantic Hypothesis’, where we brought the drafting stage to life by constructing garments from actual patterning paper. It was a humbling process which took trial and error. Testing various techniques and knowing to not settle for the first outcome. When we choose to present an 'unfinished' look, it’s a deliberate design decision that reinforces the concept behind the collection.

MERDE: You’ve been labeled an “emerging designer,” but your work feels fully formed. Do you ever feel like the word “emerging” says more about other people’s perception than your own trajectory?

PS: I try not to dwell on labels or opinions whether positive or negative when it comes to Petra Stellam. People will always have their perspectives, and that's something we can’t control. We know we can’t please everyone, so why let that be a concern? Our focus is on internal growth and pushing Petra Stellam beyond what it is today. There's still so much for us to learn, and as the world continues to evolve, we’re committed to adapting and growing with it.

MERDE: How do you protect your sense of authorship in a space that often favors trend over voice?

PS: We understand that our collections and designs may not resonate with everyone, but we remain true to our core values throughout the brand. Our work leans toward the unconventional, telling stories that reference design itself. Our concepts originate through the way we feel in the moment and what speaks to us. We acknowledge topics that we feel need to be discussed. When working on our upcoming collection that is centered on the concept of Tailoring, we use it as a foundation to build a deeper narrative around the collection. The concept is bled through the runway, editorials, and our design process. 

Hope Obadan

Taking the leap to create a shoe as our first high-quantity product was a risk—but it aligned with our vision and felt authentic. In our process, we’re tailoring not just the garments, but ourselves to become better than before and learn from our mistakes. We don’t let the pressure of flawlessness overwhelm us. Having the space to pursue the ideas we’re passionate about is a privilege, and we remain deeply grateful for it.

MERDE: In fashion, ambition is often measured by visibility, scale, or speed. But what does ambition look like for you right now, in your own quiet terms?

PS: Our collections take time, as each garment is made in-studio and made to order. We intentionally work outside the traditional fashion week calendar, following our own timelines that align with the pace and vision of the brand. Organizing a runway show while still producing the collection can create significant overlap, so we maintain strong organization and time efficiency as an essential. By setting our own deadlines, we’re able to stay true to our creative trajectory without compromising quality or intention. 

MERDE: You’ve said in past interviews that you're more interested in building a world than a brand. What would it mean to build that world fully—and what would it take to protect it?

PS: I’m still in the process of defining what the world of Petra Stellam truly looks like—nothing is ever perfect, and we’re constantly learning along the way. At the core of the brand is an ideology centered on bringing awareness to design and the importance of it. Consumption has become the selling point for fashion and the design aspect is forgotten about, which is why we consistently reference design within our collections. Through intricate editorial stories, we translate each collection into a new medium, deepening the narrative and broadening its impact. Petra Stellam is protected and sustained by our commitment to consistency and staying authentic to who we are.

MERDE: What do you want your work to make space for—not just for yourself, but for others coming up behind you?

PS: As I mentioned, Houston doesn’t yet have a large fashion scene—but that’s part of what makes working here so meaningful. I enjoy working with others and offering our younger team members (some of which are still fashion students) real, hands-on experience they can carry into future opportunities. We don’t view other brands or creatives as competition; real growth happens when we support and uplift one another.

David Leon

MERDE: If you had to place one piece from your archive into a time capsule—something to be discovered 100 years from now—what would you choose, and *what would you want that future viewer to understand about you*?

PS: The first garment I created that became a turning point for the brand was the ‘Rope Dress’. Hand-sewn from over fifty yards of cotton rope, draped on a dress form with an asymmetrical silhouette. It embodies the simplicity inherent in garment-making. I want the audience to feel the beauty and significance of the time and intricate details invested in the piece. I deeply appreciate the handmade, artisanal quality of a garment and find elegance in the delicate design process—there’s a profound fulfillment that comes when the look is finally complete.

MERDE: Is there a belief you held about fashion, or about yourself, that you’re in the process of unlearning?

PS: I’ve gone through many classes and internships, learning through trial and error to get to where I am today. I believe the best way to learn is by doing. In relation to the reason a sample garment is being made is to understand all the flaws in the cracks and revise the issues. In design school, garment construction was heavily focused on traditional techniques, which sometimes felt limiting and constrained my creativity. This often led me to take a step back and explore more unconventional methods to achieve the exact results I envisioned. 

On a personal level, I’ve realized that the beautiful things we see—whether in person or online—aren’t always as perfect as they appear. I truly admire and embrace the things that genuinely speak to me.