Pangea Kali Virga is an enthusiastic creator who's work spans many sides of the fashion and art industry. She is a fashion designer, stylist, curator, and producer with high standards and a conceptual spirit. Her aim is to build collaborative networks and moving experiences through her work and all of her projects.


In 2014 Pangea started her line of women's wear, formerly called Present. In 2016 the line clarified and streamlined it's vision and evolved into a line of couture, focused on one of a kind hand-worked textiles and garments. The line fully re-branded in 2017 and is now self-titled after the designer's full name. Pangea Kali Virga produces two collections annually. In 2018 Pangea designed both men and women's collections for Yaly Couture.


With a natural eye for styling, Pangea started her career as a stylist in 2014 and has since produced and styled dozens of shoots with many of them being published in international magazines. Her editorials have been featured in magazines such as Huf, Arsenic, Atlas, and Factice.

Now in Miami, Pangea continues to push her work, collaborating in multiple mediums with artists and musicians alike. Pangea is the Executive Producer and Creative Director for the Miami On Sight fashion show. She can be hired for production, freelance design work, and styling services. Her runway samples are available for purchase upon request.

PUBLISHED IN- Contributor, Tendencia, TrendPrive, Arsenic, Fatice, Elegant, Dark Beauty, Lucy's, Vouge.It, 7 Hues, Vulkan, La Botanica, Teeth, Tendencia, LadyGunn, Ellements,, Phosphenes, Atlas Magazine, En Vie Magazine, Huf, Elegant, Volition, Haute Punch, Toksick, ELuxe, Scorpio Jin, Like A lion, Solis Magazine, Freque Magazine, Cest Moi Magazine, Plenilune, La Palme, Volition, 435, The PItch, LoCal, Grunge n Art, SVGE, Retrograde Craft



I am interested in exploring the relationship between skin and fabric, the individual and nature, and the ego and society, with a specific regard to the liminal tension between the inner self and the body's presentation. I have primarily done this by creating wearable sculptures and garments; I believe in the power of clothing as storyteller and cultural marker, an artform whose elastic boundaries stretch from the highest vanities of our public lives to our quietest intimacies. I have found great comfort and liberation through clothing and fashion, and the work I create is made in hopes of extending those experiences to the viewer and wearer. Recently, my projects have been less concerned with the fashion element of clothing and more preoccupied with finding the boundaries and potentialities of this art form, with a new focus on site-specific or temporal designs, all made from sustainable materials. 


My goal is to create textiles that speak for themselves, are rich in texture and detail, narrative, ornate, and painterly. I see each work as a composition, with a story of its own for people to wear and tell. My ‘Skin I'm In’ series played with the balance of nudism and fashion, examining idiosyncratic features of human skin such as wrinkles and scars by recreating them through techniques ranging from painstaking chiffon wrinkling and laser-cut goat skin appliqués. My ‘Pieces Of Me’ series explored the wide gap between how we see ourselves and how the world at large sees us, a project achieved by creating consciously egoic “self-portrait” garments and allowing others to wear “my identity.” My ‘Cages That Bind Us’ collection explored the constricting effects that society, gender, age, and attitudes towards mental health have on our existence as expressive individuals. I expressed this by way of clothing that featured cage and grid motifs, BDSM elements, and deliberately constricting, conceptual garments that required the wearer to be dressed or undressed by someone else, turning the runway into a narrative arc of oppression, dependency, and finally liberation. 


I have participated in ten runways as designer, curator, or collaborator, stretching the format’s territory to include performance art, sculpture, and corresponding musical compositions. In keeping with the multidisciplinary approach, I will frequently create a painting or collage to correlate and coincide with a garment. In the past, I have designed and executed site -specific designs for performance artists, musicians, and dancers alike and have deep partnerships with photographers, makeup and hair artists, as well as jewelry and shoe designers. My increasing focus is on non-wearable textile art i.e. wall hangings, tapestries, weavings, and room-sized site specific garments.


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