Grief and Growth: Exploring the Alchemy of Kombucha Leather

Shajia Meraj’s thesis at Karachi University, Pakistan, was a groundbreaking exploration of kombucha “leather” (dried cellulose SCOBYs) in the context of sustainable textile design. Rather than viewing this material merely as an industrial substitute for animal leather, Meraj’s research, conducted over 11 months in 2025, treats it as a living, time-based medium that responds to its environment and the care it receives. This project balances technical material experimentation and mastery with a profound conceptual inquiry into grief, memory, and circularity.

Shajia was first inspired by a TED Talk by prominent Italian fashion designer Marina Spadafora, which introduced her to the possibility of using kombucha leather for garments.

What drew her to the material was its accessibility; it can be grown using simple ingredients: water, sugar, tea, and starter. Choosing to work outside a traditional laboratory, she transformed a spare room into a domestic studio, using household fermentation tools and shallow trays to harvest the cellulose.

Executing this project in Pakistan presented significant hurdles. Not only was kombucha unfamiliar to her academic advisors, but the local climate also posed constant threats to the material. During the monsoon season, high humidity caused mold growth, while drier months rendered the leather brittle and paper-like. Shajia spent eleven months in a trial-and-error process, eventually determining that a thickness of half an inch was ideal for drying without the material becoming too fragile. She was supported by Shahzaib Arif of ProB the only kombucha brand in Pakistan, which provided the starter necessary to maintain her continuous brewing process.

The heart of Shajia’s work lies in the parallels between kombucha leather and the experience of grief.

Kombucha leather grows slowly over time, and every sheet is unique, imperfect, and evolving. I think that mirrors how grief works. Grief does not happen all at once; it unfolds gradually, and the memories and emotions surface in cycles. Likewise, the circular nature of kombucha leather growth very much reflects the circular life cycle of grief and memory. These two things fit together very nicely, because both processes involve patience, layering, and ever-changing memory.

To ground this concept, she incorporated photographs taken by her late father, who passed away 16 years ago when she was a young girl, into her material outcomes.

Her artistic installations include:

The Memory-Twisting Lamp: A sculptural piece where light interacts with translucent leather and her father’s photographs to emphasize the fragility and impermanence of memory.

Every image is embedded and sandwiched between two layers of kombucha leather, holding the photograph in place like a preserved moment in time. These slides represent how memories exist as fragments, separate yet connected.

The Circular Installation: A gradient of 200 dyed circles moving from deep red to warm yellow, representing the evolution of grief from intense loss to a state of acceptance.

The circular forms reference the cyclical nature of grief, how it returns, overlaps, and continues rather than ending. Deeper reds at the center represent emotional intensity and loss, while the warmer ambers and yellows moving outward suggest memory, warmth, and moments of acceptance.

The Mosaic Portrait: A large-scale tribute composed of thousands of small photographs taken by her father, layered with organic kombucha squares to create a cohesive image that reflects how we perceive the essence of a person through fragments.

The kombucha leather adds an organic, textured quality that mirrors the slow, layered nature of memory, making the piece both a visual tribute and a reflection on how we perceive and preserve the essence of a person, through both the whole and the sum of its parts.

Despite initial skepticism from her peers and faculty, Shajia successfully defended her thesis and earned an A-. While she also produced functional items, such as a hand-sewn cardholder, her primary focus remained on the material’s emotional potential. Now a graduate, she’s interested in collaborating with other researchers to push the boundaries of what sustainable textiles can represent. She can be reached at merajshajia56@gmail.com.

Shajia discusses her project in this exclusive interview.

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