The topic of personal style has long pervaded fashion as a great pursuit, but few gestures truly capture our individuality quite like customisation. Nowhere is this made more apparent than in the sneaker discourse, where the push of a pin and some handiwork can turn an otherwise ubiquitous pair of kicks into a one-of-one statement. Not only that, but it can also help to revive the beloved stompers we’ve given up on — saving from spending on a new pair and lessening consumption habits when upcycling old and unwanted materials.

While not a new trend, we’ve seen sneaker customisation evolve more recently via a wave of hyperfemininity with female sneakerheads putting their stamp on and personalising traditionally masculine silhouettes. At the forefront of this is Caterina Mongillo (aka Metagirl or @Metagirl.studio) who’s built up a following from her viral and elaborate works of DIY artistry.

Watch the video below as Mongillo brings us into her world, tricking out a pair of Vans Knu Skools with her personal pile of scraps. Then, continue reading for our Q&A in which she discusses her work, and thoughts on customisation and consumption habits.

This story was created in collaboration with Vans. You can explore their latest drop below.

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How do you view customisation as a tool for personal expression in fashion? Is it about standing out, telling a story, or something else?

Of course customisation is a tool for self expression, but on a deeper level it is made to represent us as humans. Everyone is supposed to be unique in the way they think and present themselves. However it’s not always the case these days, due to centuries of societal construct and, now more than ever, capitalism. The promise of capitalism is a lie and we end up all wearing the same thing. So I see customisation as a way to restore who you are as an individual, and democratising self-expression regardless of external circumstances such as financial position or economic and political environment.

In your work, how do you strike a balance between current trends and the timelessness of personal style? Does customisation always transcend trends, or does it respond to them?

It’s always a mix. For sure I get influenced by the zeitgeist, and I see macro trends as a common language that is being spoken by a relatively large group of people at a certain moment in time. But I always follow my heart and intuition when I create, so I don’t wanna break it down too much into theory… Also, while I'm influenced by the moment and what’s going on, it’s only when a trend is at the beginning of its cycle, after that there’s nothing left for me to say or add to it.

What are some examples of pieces you’ve created where customisation radically transformed yours or someone else’s relationship with their clothing or accessories?

I often have followers reaching out to tell me that my customisations have encouraged them to adopt sneakers for the first time. I think my aesthetic, with hyper feminine details and references, helps create a familiarity and recontextualise what sneakers can mean for them.

What role does upcycling play in creating a more ethical way of consuming or playing with fashion, and how does it influence the ethos behind Metagirl Studio?

Upcycling should always be integrated when possible, but let’s be real that it’s also not always possible. It depends on what you aim to achieve with your vision, but whether it’s your whole identity or not, it’s important to use scraps and find ways to reuse the resources that we already have. There’s this [mindset] that when something is imperfect or has to be fixed you immediately have to go out and buy something new. I’ve always advocated for holding onto things because maybe even in 5 or 10 years it’ll be useful — it’s not necessarily the best for your home storage-situation […] Metagirl used to be called “One Pineapple One Love” back in the day and it was heavily focused on upcycling, as it was the most accessible option for me at the time. I was seeing so much unused potential in front of me that I could turn into something new. Whereas now I have a specific idea in mind of what I want to achieve and sometimes what’s in front of me is not always serving that idea, but I remember my roots and what I really wanted to stand for back in the day.

Can you talk about how upcycling and giving a second life to old products challenge the fashion industry’s “throwaway culture” and our own desires to quickly adopt trends?

It challenges not just the fashion industry, but every consumerist industry. The act of using secondhand [clothing] and giving a second life to materials no longer used challenges the mindset to always produce something new. However, I don’t think it fixes the mentality of people to always desire newness... you can still consume a lot even if it’s secondhand. So I think there is some good in the practice, but it needs to be monitored. The first step is not always to produce something new and the second step is to acknowledge the intrinsic value of things and appreciate the value they bring to your life — to not constantly feel the need to chase trends.

That’s one part of my answer, the other is that the number of creators upcycling online are inspiring people, which translates into their homes and what they have in front of them. Now there’s actually a movement of people who know they can do something with what they have and that they don’t have to throw their stuff away. So through inspiration, fashion norms are knocked down and people feel more empowered about their own abilities and inspired to do it themselves.

Are there any particular materials or objects that you've found especially meaningful or challenging to customise?

Honestly, all of them. The nature of my craft is to always try something new and to learn by trial and error — I’m always figuring it out.

A person decorates a black sneaker with embellishments, surrounded by crafting tools like scissors and a chessboard on a carpeted floor.

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Your collaboration with Vans stood out as a blend of art, streetwear, and individualism. Can you share the vision behind this partnership and how it relates to your philosophy on customisation?

My philosophy is always to celebrate hyperfemininity. The partnership with Vans is the perfect vehicle to express that, by creating a juxtaposition between my aesthetic and storytelling, and traditionally masculine skate silhouettes.

There’s often a distinction made between craft and art, with “craft” sometimes perceived as less prestigious — usually due to its association with the “feminine”. How do you approach this divide in your work?

I simply don’t, I do my thing and I let the right people get attracted to it.

And do you see customisation as art, craft, or something else entirely?

I don’t really know who decides what is art and what isn’t… I don’t like to define these terms myself, but feel they can only be defined by the observer’s own perspective.

A hand with a blue nail polish fastens a decorated strap onto a black shoe, showing intricate details of the design and buckle.

“ ...Imagine if there were no artists, no creators, no women sewing? The world would be so grey.”

- Metagirl

Do you feel the patriarchal perception of craft as “feminine” impacts the way your work is received in the broader art or fashion world? If so, how do you push back against this narrative?

I don’t think about it and I don’t really care if my work is perceived that way. I know where I’m going, and I’ve decided to ignore the opinion of people who vibrate on a completely different level than me. On the other hand, despite how exclusive it may look from the outside, there is space for everyone in the fashion world and there is always going to be someone supporting you. It’s just a matter of finding your people.

What role does community play in your creative process, especially when it comes to the DIY and customisation movements? How does the input from your followers or customers inspire your work?

People are the main source of inspiration for me and I feel a sense of responsibility to keep doing this for those watching. I’m very interactive with my followers and keep my DM’s open — I’ve met so many like-minded people who I never could’ve met in real life. It’s not easy when you work by yourself and don’t have anyone around to help you stay productive, but I feel gratitude for my audience which keeps me inspired and drives my work forward… I’m not sure if I’m getting too philosophical here, but art and creating beauty is what makes life worth living — imagine if there were no artists, no creators, no women sewing? The world would be so grey, but seeing something beautiful and visually pleasing brings some positivity to peoples lives. I can see the visuals I create having a fleeting, momentary positive impact in someone’s life the same way as when I see a beautiful object.

“...You’re not gonna find your personal style if you still don’t accept yourself.”

- Metagirl

As the future of fashion and style is leaning more toward personalised expression — more and more within the mainstream — what do you think are the golden rules when it comes to finding (and expressing) yourself through style?

Through experimenting and listening to yourself. In the past I would always judge myself for liking what others didn’t like. Now when I have that feeling, I just know that it’s me, and I don’t judge myself anymore, I embrace it. It really comes down to being comfortable with who you are, you’re not gonna find your personal style if you still don’t accept yourself. But also, nobody has it figured out.

How do you hope Metagirl Studio will influence the next generation of creators and consumers in terms of crafting a more personal, ethical, and expressive fashion future?

I just hope that people realise they have the power to create things with their hands and their imagination.