In northern Chile, Karen Condori and Katterin Flores are drawing on Indigenous craftsmanship, regional heritage and discarded textiles to build a fashion label that places cultural identity at the centre of contemporary design.
In Chile’s northern Tarapacá region, two self-taught designers are exploring how fashion can preserve cultural heritage while addressing the growing challenge of textile waste. Through their label, Sunina, Karen Condori and Katterin Flores are bringing together traditional Aymara craftsmanship, recycled materials and design references drawn from the Andean landscape, creating garments that reflect both their cultural identity and their approach to responsible production.
The brand takes its name from the Aymara word Sunina, meaning “in the mountains,” a reference to the geography and cultural traditions that inform its creative direction. Established as Sunina SpA, the womenswear label combines alpaca wool, textile reuse and motifs inspired by the ancient geoglyphs of northern Chile. Its founders are seeking to develop a contemporary design identity that remains connected to the knowledge and traditions of their community.
At a time when the fashion industry is increasingly examining the environmental consequences of production and consumption, Sunina offers a perspective shaped by Indigenous heritage. Rather than approaching sustainability solely through new materials or technological solutions, the designers are drawing on existing knowledge, local craftsmanship and the potential of materials already in circulation.
Ancestral Craftsmanship as a Foundation for Design
Central to Sunina’s work is its collaboration with Aymara artisans, whose expertise in working with alpaca wool contributes to the development of the brand’s garments. The use of this traditional material connects its collections to regional craft practices, while the incorporation of recycled textiles introduces a contemporary approach to resource efficiency.
The designers also reference geoglyphs found across northern Chile, translating elements of the region’s archaeological and cultural landscape into motifs for clothing and accessories. These visual references establish a connection between the garments and the territory from which the brand originates, allowing cultural heritage to inform the design process rather than function simply as decoration.
For Condori and Flores, the relationship between fashion and identity is fundamental to the label’s development. Their work reflects an ambition to preserve traditional knowledge while making it relevant to contemporary consumers, particularly those seeking clothing with a clearer connection to its origins and production.
“Sunina was born from our identity as Aymara women and our desire to share our roots through what we design,” the founders said in a statement published by the Circular Economy Technology Centre, CircularTec. “We want to bring tradition and sustainability together.”
Their approach places cultural continuity alongside material responsibility, illustrating how independent designers can develop contemporary collections without separating their creative practice from the communities and traditions that inform it.
Rethinking the Value of Discarded Textiles
Alongside its use of alpaca wool, Sunina incorporates discarded fabrics into garments and accessories, extending the useful life of materials that might otherwise become waste. The designers also produce cases, multipurpose pouches and small souvenirs from fabric remnants, seeking to reduce the amount of material discarded during production.
Although the scale of the business remains modest, its methods reflect a broader shift towards designing with existing resources. Textile reuse can offer independent labels an alternative to relying exclusively on newly manufactured fabrics, while encouraging a more considered approach to cutting, material selection and product development.
For Sunina, circularity is also an educational practice. Following their participation in the Runway Fashion Design (RFD) event, Condori and Flores approached CircularTec for communications support to help introduce their work to a wider audience and demonstrate how textile reuse can coexist with traditional Andean craftsmanship.
The collaboration has already resulted in a public workshop during which participants learned to create a reusable tote bag from three unwanted garments. By sharing accessible techniques for transforming existing clothing, the designers are extending their activities beyond commercial production and encouraging consumers to reconsider the value of what they already own.
“Our goal is to build a clothing brand with a strong identity that keeps our knowledge alive and passes it on to future generations,” the designers explained. Their ambition encompasses both the development of the business and the preservation of the cultural knowledge on which it is built.
The initiative reflects an understanding of sustainability that connects material use with community participation. Rather than treating textile waste solely as an industrial challenge, Sunina is demonstrating how small-scale creative practices can contribute to changing attitudes towards clothing consumption.
From Regional Entrepreneurship to National Recognition
Sunina’s approach has attracted attention beyond its local community. The brand has been invited by Chile’s National Tourism Service, Sernatur, to represent the Tarapacá region at the National Tourism Service Expo, scheduled to take place in Santiago from 23 to 25 October 2026.
The exhibition will provide Condori and Flores with an opportunity to present their clothing collection and accessories to a national audience. Their participation also places Indigenous design within a wider conversation about regional entrepreneurship, cultural tourism and the commercial potential of traditional craftsmanship.
For independent designers operating outside established fashion centres, such platforms can offer valuable opportunities to reach new audiences and establish professional connections. In Sunina’s case, the invitation also brings visibility to the creative work of Aymara women and the cultural traditions of northern Chile.
“Participating in Expo Sernatur is an enormous opportunity to showcase our work and share a meaningful approach to fashion that respects nature and our roots,” the founders said. “We want to reach more people who value culture, tourism and handmade craftsmanship.”
The brand’s development has been supported by CircularTec, which works with entrepreneurs and organisations exploring circular economy models. Its executive director, Dr. Luis Martínez Cerna, has highlighted the relationship between Sunina’s activities, Indigenous knowledge and regional economic development.
Cultural Identity in a Changing Fashion Industry
Sunina’s emergence comes amid growing interest in the relationship between traditional craftsmanship and contemporary fashion. As brands explore ways to reduce material waste and develop more responsible production practices, the knowledge held by artisan communities offers an important perspective on the value of materials, skills and cultural continuity.
Yet the integration of cultural heritage into fashion also raises questions about representation and ownership. Traditional techniques and visual languages are frequently incorporated into contemporary collections, but the involvement and recognition of the communities from which they originate remain essential considerations.
As Aymara women developing their own label, Condori and Flores are approaching this relationship from within their cultural heritage. Their designs draw on the traditions and landscape of their region, while their collaboration with local artisans creates a connection between established craft knowledge and contemporary fashion production.
“The work Karen and Katterin are doing demonstrates that the circular economy is a highly practical tool that connects perfectly with the wisdom of our Indigenous peoples and the development of the region,” Martínez Cerna said, reaffirming the centre’s commitment to supporting local entrepreneurs.
The brand also demonstrates how environmental and cultural objectives can reinforce one another. By incorporating discarded textiles, working with traditional materials and sharing practical skills through workshops, Sunina is developing a model in which responsible material use and cultural preservation form part of the same creative process.
Its long-term commercial development remains to be seen, but the foundations of the business point towards a distinct position within Chile’s emerging independent fashion landscape. Rather than relying on rapidly changing trends, Sunina is building its identity around regional heritage, craftsmanship and the considered use of resources.
For Condori and Flores, the ambition extends beyond establishing a recognisable fashion label. It is also about ensuring that the knowledge, imagery and traditions of their Aymara heritage remain visible to future generations. Through Sunina, materials once considered waste are finding new applications, while ancestral references continue to shape contemporary design.
Follow Sunina: Instagram — @suninaspa
*Reporting based on information released by CircularTec in October 2026. Quotations translated from Spanish into English.
