When I started working on my first collection I had two main ideas: I wanted to have fun with it and take risks at the same time.
Coming back from placement year I had an overall feeling of rebelliousness against fashion, like a teenager rebelling against his parents.
I decided that the most transgressive thing to do as a young designer in 2013 was to look deeper into womenswear, in order to subvert its symbols. I started researching the most stereotypical images in female representation: from teenage girls in denim miniskirts to old blonde celebrities in huge red carpet evening gowns. I then decided to use fabrics that are constantly present in fashion and immediately associated with a mainstream idea of ‘glamour’ and ‘bad taste’, fabrics which were very far away from my own personal taste. My personal challenge was to reinterpret and use materials such as sequins, gold jersey, snakeskin prints, red tulle, silver net, and ultimately lace in a new and self ironic way. It was like playing with fire, extremely amusing but dangerous. In order to link all these different categories together I built up my own muse, a woman in three different moments: From a delusional teenager (as a parody of womanliness) , to a celebrity undergoing a ‘makeover’ (and therefore experiencing a transition) ending with the final red carpet ‘illusional’ image of a woman almost seen as a ‘goddess’.
I analyzed miniskirts and evening dresses constructions using artist Gordon Matta Clark as an ‘imaginary mentor’. Just like teenagers rip off their jeans, this artist used to cut out gigantic circular holes in abandoned houses in New York during the 70s. I therefore applied his technique to my interpretation of ‘glamorous’ dresses, which were nothing more than squares of fabrics connected through a circular hole, representing my intention to go back to a much more simple construction in dressmaking and a personal rebellion against tailoring.
The color palette followed the ‘plot’ of my collection, changing from black ,denim and gold sequins , to light blue flowers prints , pink wool , and ultimately red tulle/lace. My main goal for the whole year was not to take my collection too seriously. I can certainly say that I can now look at it and have a very loud, and proud, laugh.
For the making of my collection I would like to thank first of all my very precious helpers: Edwin, Ben and Gyo, I wouldn’t have made it without your technical and moral support! I’d also like to give a very special thank you to my sponsors: The amazing designer Jenny Packham and Annalisa Venturelli from Lampo company. I’d like to thank my whole family for their love and support and all of my London friends for being patient enough to listen to all of my creative and existential doubts: Alve, Lois, Samy, Carolina,Tommy, Victoria, Lorenzo and many more. Last but not least, a big thank you to my tutors Howard and Anne Nicole , to my pattern cutter tutor Jane and to all the technicians and their precious hands: Jan, Arley, Carla, Theresa, Sheila, Claudie, Lenka, Joey and Sue