THE WRITTEN COLLECTION!
These two key words are so important at this time of FASTFASHIONIMPLOSION, when there is too much of everything and the ONEDESIRABLEPIECE can carry so much content and originality with it.
Craftsmanship and technology are key because craftsmanship is evolving in a 3.0 dimension thanks to technology (technological developments are extremely fast in this digital age).
With this crazy Mix of orderly chaos, I try to bring back the desirability of the PIECETOOWN, the desire to buy it at all costs as happened in the '60s and 70s, when ORIGINALDRESSING really originated.
That's why my clothes MUST and WANT to be devoid of time references, or else they are a blend of different TIMEPERIODS that influence one another to create FORWARDLOOKING Frankensteins, whether it's a jacket, a bomber, a coat, trousers, shirts, knits or a T-shirt.
My work begins with research into materials, threads, and processing techniques, because it's vital to know and understand how to make new WOVENMATERIALS. My work also involves learning about manufacturing processes and methods so that I can create new inlays of materials and colours, textured surfaces, three-dimensional jacquards, overprinted patterns, ornamental embroidery, machine pullers.
That's why it's so important to work with specialist technicians, so that we can find new creative elaborations, runs tests that might seem impossible at the start, take chances and perhaps achieve unexpected new DISCOVERIES.
That's why the WORDTIME becomes a key word for those working on STYLEMAKING. The Thought Process, Work and the conviction of achieving results (after all the hard work) is the only modus operandi for a real EXPLORATIONOFTHENEW.
To arrive at a new style idea (and this is what we aspire to!), it's essential to work constantly on content, so you have to find and study machinery for the technical constructions of an artisantime and bring them into the moderntime.
This is the way to bring back the importance of manual skills to the PRESENTDAY, which tends to focus only on faster and faster industrialisation, completely ignoring content because the end goal is to have HOMOGENISED product at the right price.
In my collection, you understand my modus operandi, which is completely different from homogenisation. Every piece that I design and make is packed with content, textures and fabrics specially constructed for THATPIECE, plus details that make it unique and, in my view, desirable.
I firmly believe that the key to getting out of the FASTFASHIONCRISIS lies in making small COLLECTIONS made up of DESIRABLEPIECES, where the QUALITY of a piece is much more important than the quantity you produce.
I work hard on my COLLECTIONS because I'm convinced that not everyone is going to like what I come up with. A collection to be OBSERVEDANDUNDERSTOOD, that attempts to open up new ways of MODERNISATION.
It's a mistake to think that you should try to please everyone, especially when we're talking about unconventional ideas or projects that break down style barriers and propose a new style.
A COLLECTION must always be coherent with its designer, it must express good taste and must respond to a PRECISETASTE for Elegance, Refinement, Style, Quality and, as I like to say, … a R E A S O N E D A E S T H E T I C S E N S E.