Two rising actresses who serve as ambassadors for major luxury brands recently chose to wear dresses crafted entirely from repurposed fabric remnants by emerging Brooklyn designer Giovanna Flores, challenging conventional red carpet fashion norms.

Last month, Ayo Edebiri, a Chanel ambassador, appeared at the Drama League Awards in a striking dress composed of mismatched pre-cut fabric scraps, including gingham, polka dots, and a strawberry-seed print. Flores sourced the components from a thrift store in upstate New York, where she discovered remnants from an unfinished project. “It seemed like someone gave up on their project, then donated the fabric,” Flores said, noting that she filled in missing sections to complete the dress. The ensemble attracted mixed reactions, with one fashion commentator likening it to a “laundry apron.”

Two weeks later, Dior ambassador Greta Lee shared a photo on Instagram showcasing a mustard-gold velvet dress by Flores, worn during her London press tour for “Toy Story 5.” Flores had acquired ten boxes of velvet panels that were deemed defective because they had been stretched incorrectly. She integrated these discarded pieces with sweatpants and shirts to create the unique garment.

Flores’s work embodies a handcrafted, low-fidelity aesthetic that starkly contrasts with the highly commercialized luxury industry, marked by underproduction and limited distribution. Since launching her fashion line in 2015, Flores has maintained a commitment to one-of-a-kind pieces, often crafted from fabric sourced at rag houses, thrift stores, or donation sites. She operates out of a modest studio near the Brooklyn Navy Yard, personally sewing and draping every garment without the use of patterns or mass production.

Her sister Janelle joined her in branching into stationery with the recent launch of Flores Paper, a line of spiral notepads made from deadstock materials from their father’s Los Angeles print shop. These sculptural notepads have gained traction among niche indie print circles, appearing on the social media feeds of illustrators and art editors alike.

Flores’s designs have caught the attention of other style influencers as well. Actress Chloë Sevigny, known for her distinctive fashion sensibilities, has embraced Flores’s upcycled pieces, wearing them publicly and in interviews. “There was a Holly Hobbie/hippie/preppy kind of overriding thing that really appealed to me,” Sevigny said of the aesthetic.

Flores’s trajectory combines formal training and industry experience with a deep-rooted inclination toward creative reuse. After studying fashion design at Pratt Institute and interning with designers ranging from Marc Jacobs to Narciso Rodriguez, she has maintained the independent ethos instilled by mentors like Susan Cianciolo, whose work blends art and fashion with a handmade touch.

Industry designers have noted the unique appeal of Flores’s approach. Shane Gabier, who co-led the label Creatures of the Wind, praised her graduate collection as “weirdly stunning,” invoking the vibrant energy of New York’s 1990s fashion scene. Similarly, Chris Peters, now senior design director of runway at Tory Burch, collaborated with her on an upcycled project using historical textiles. “She came back with this very sexy dress,” Peters recalled.

Rooted in a childhood surrounded by the printing trade and creative play with discarded materials, Flores’s work resists mainstream fashion’s fast-paced consumerism. Her garments and paper goods emphasize a tactile, thoughtful process that resonates with a select but growing audience, including stylists for high-profile celebrities and collectors seeking authenticity beyond luxury labels.