Issue link: https://maltatoday.uberflip.com/i/1540090
1. What's been the most defining moment in your career so far? One defining moment that stands out is the first time I saw a woman I didn't know wearing one of my pieces. That small, almost accidental sighting affirmed something deeply personal - it showed me that my work could resonate beyond my immediate circle, across language and background. Another milestone was when my designs were accepted into international retail spaces; it was the moment the brand began to exist outside of Malta. These instances were not just about visibility but about feeling seen as a creator. They validated the years of quiet experimentation, the risk of turning art into a career, and the commitment to building something with emotional and visual impact. That feeling, of creative work finding its way into the lives of others, is something I never take for granted. 2. As an artist, how do you navigate the world and speed of social media? Social media can feel like both a gift and a labyrinth. As a visual artist, it's an incredible platform to share my work directly with an audience. It allows for immediate feedback, storytelling, and connection. But the speed of it and the pressure to be constantly present can be draining. I try to use it intentionally. I treat Instagram almost like a living portfolio, a place where I share not just the polished end product, but also the process, the inspi- ration, and the human side of running a creative business. I've learned to embrace imperfection online, to post even when things aren't perfectly curated. There are moments I take breaks to recalibrate, especially when I feel like I'm creating for the algorithm instead of from within. Balance is key. Social media should amplify the work, not dictate it. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? AI is both complex and exciting. On one hand, the rise of generative tools has made it easier than ever to produce im- agery at scale but it also raises concerns about originality and ownership. As a de- signer whose work is rooted in personal intuition and hand-crafted aesthetics, I believe there's something irreplaceable about the human touch. However, I also see AI as a tool that, when used thoughtfully, can enhance creativity rather than replace it. The threat, if any, lies in the misuse or overreliance on it. But if we view it as a collaborator rather than a competitor, AI can expand rather than shrink our creative potential. 4. How do you stay motivated and in- spired, especially during tough times or when the work feels hard? Creativity isn't a constant stream - it ebbs and flows. During tougher times, I return to nature, which is my greatest and most consistent source of inspiration. A walk, a trip to the sea, even just observing how light hits a leaf - these moments bring me back to the present. Travelling to new places is a big source of inspiration for me. It gives me fresh ideas for new stories I could tell through my patterns. I like to evoke the feeling of a place within my designs. I also find energy in revis- iting past sketchbooks or failed experi- ments; sometimes what didn't work be- fore makes sense later. When motivation dips, I try not to force output. Instead, I switch mediums. Journaling helps me reconnect with the "why" behind my work. In my opinion, art is most inspiring when it is honest. Showing up consistently, even when things feel off, often leads me back to flow. 5. How do you bal- ance your creative instincts with the expectations of your audience or collaborators? That balance is always evolving. At the core of my work is intuition - responding to colours, textures, and feelings in a way that's authentic to me. But I also run a brand, and part of that is understanding my audience and what resonates with them. I try not to see those expectations as limitations but as parameters that can help refine an idea. When collaborating, communication is key. I make space for dialogue and feedback but also protect the heart of the concept. If I feel something becoming too diluted, I take a step back and ask: Does this still feel like me? The most suc- cessful projects are the ones where trust exists on both sides - where I can bring my full creative voice into conversation with what the audience or collaborator needs." 6. How do you approach a new project? Do you have a specific process or routine you follow? Every project begins with a kind of visual wandering. I immerse myself in images - my own photography, art books, natural forms, even old museum catalogs. From there, I build a loose mood board, not just of visuals but of feelings, colours, and textures, often inspired by a specific theme. Then I sketch, paint, and layer im- agery digitally. It's quite a fluid process - I let the materials lead me as much as I try to direct them. I'm deeply influenced by emotional tone, so I often listen to music while working to access a certain mood. Once I have a draft or prototype, I step away from it for a few days, then return with fresh eyes. Iteration is essen- tial. My process is structured enough to provide rhythm but open enough to allow surprise. 7. Can you let us in on some of the future projects, works? Lately, I've been working with stretch fabrics in the production of my swimwear collection - something that's opened up a whole new world of possibilities in both form and function. I'm currently devel- oping a range that spans from elegant, body-skimming formalwear to more relaxed, performance-driven pieces like yoga pants and active tops. The idea is to create garments that not only look beau- tiful but also move with you - clothing that supports the lifestyle of a modern, expressive woman. One of my favourite new pieces in development is a series of printed stretch turbans, designed to be both stylish and comfortable, whilst acting as protective pieces for those experiencing hair-loss. These experiments are letting me explore how my prints behave on dy- namic, flexible materials - and how that can serve different needs, from evening events to daily rituals like stretching or meditating. This line feels like a natural evolution of my brand: bringing art to life in new, tactile ways while staying rooted in comfort, beauty, and self-expression. maltatoday | SUNDAY • 5 OCTOBER 2025 Theatre The Trial of Artemisia staged in Maltese for the first time PAGE 2 Art Reduced to insanity PAGE 3 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A SAZ MIFSUD 7 questions for... Extra round Can you walk me through your design process from concept to final execution, and how you handle feed- back or revisions along the way? The process begins with curios- ity - something I've seen or felt that sparks an idea. I gather visual inspiration - photos I've taken, textures I've recorded, and paint- erly elements I've experimented with. These fragments are then layered together digitally, where I manipulate colour and composition until the image begins to "speak." Once the artwork is ready, I think about its application: is this a scarf, a garment, a bag? That decision shapes the scale, detail, and flow of the print. Saz Mifsud is a Malta-based fashion textile designer known for vivid prints that turn clothing into wearable art. Her work blends photography, painting, and digital design, brought to life on silk scarves, dresses, kaftans, blouses, and swimwear. Inspired by nature, travel, and memory, her collections are expressive yet accessible, stocked in boutiques locally and abroad. MaltaToday is supported by Arts Council Malta