Paper is for drawing, wrapping, wiping, absorbing, sketching, crumpling, covering, tearing, soaking up, writing, throwing away.  

Paper can be a material for clothing ︎︎︎ 

︎ longstanding cultural histories throughout Asia and the West,

︎ a tool to think about and critique disposability and fashion. 

This practice assumes that paper can be used for clothing, and explores all the things that the material can offer a design at the intersections of history, aesthetics, and function. 

DNJ PAPER is a collaborative research project and fashion brand. Designers Daphne Mohajer va Pesaran and Jake Nakashima-Edwards use handmade Japanese paper (washi), made from the bark of the Paper Mulberry tree (Broussonetia Papyrifera), in traditional and nontraditional ways of making paper clothing in response to pressing social, aesthetic, and conceptual questions emerging from contemporary fashion practice.

Our pieces are never “finished” and will change over time.

Daphne Mohajer va Pesaran (PhD)



@daphne_mvp & @_paper_clothes_

Designer, lecturer. I am the Program Manager of the bachelor of Textiles (Design) and lecture in fashion design and research in The School of Fashion and Textiles at RMIT University in Melbourne, Australia. I spent ten years living and working in Tokyo, where I learned about many traditional crafts practices. I like collaborating and am interested in what materials and relationships can emerge in communities of human and nonhuman people. In my research and design practice I work with handmade Japanese paper and garments/products made from paper. I also work in storytelling and documentation in various formats including film, drawing, text, audio, etc. and am currently undertaking research fellowships for the British Museum and the Australian Museum to research the use of paper for clothing in Japan and the Pacific Islands.
Jake Nakashima-Edwards



Designer. I am a recent graduate of the Fashion Design program at RMIT University, based in Naarm (Melbourne), Australia. I am interested in how fashion intersects with politics, capital, and the environment. My current practice is centred around washi paper as a textile, and the connections this material has with people, culture, and nature.

Everything we sell is designed and/or made in our studio in Naarm (Melbourne, Australia). We acknowldege that the land on which we work and learn was never ceded from it’s traditional custodians, the Woi wurrung and Boon wurrung language groups of the Eastern Kulin Nations.


Stationary/Stationery: A Paper Clothes Making Workshop ︎︎︎ Mpavilion (With artist Beatrice Wharldall)

“Against Durability: A Wardrobe Made of Paper” ︎︎︎ IFFTI Conference

Finalist, Fashion Design Category ︎︎︎ Victorian Premier Design Awards

Artisans-in-residence ︎︎︎ STHBNK by Beulah


Coat of Theseus ︎︎︎ Future Prototyping Exhibition

Kamiko Bomber” ︎︎︎ Contemporary Fashion Practices

For you ︎︎︎ Paper Clothes Resources:

Atopos Collection
Kamiko, Washi, Takuhonshi: Making paper clothing in Japan
Kamiko: Growing Paper Clothes in Rural Japan
Awagami Paper Factory
Shifu: A Traditional Paper Textile of Japan
Why is Japan Still so Attached to Paper?
V&A 60s Paper Dresses
COSMIC WONDER kamiko/kamikoromo
Perfect Paper Cloth from Kurotani
Alexa Hatanaka
MOMIGAMI by Donald Farnsworth

Logo design by Rowan Mcnaught︎