A tale of volumes that emerge, as if from the earth, with epileptic shapes that bend the material in playful crumpled structures affixed to the dresses with a firm yet evolved simplicity in a natural and in-the-wild baroque. Agave and its ability to spread in sinuous and infectious masses, the photography of Frederick Fontenoy with its snagged, spectral, accelerated metamorphoses, the colors of Vilhelm Hammershoi and the turn of the century Japanese Proustism that sustain the entire collection that seems to live in an intense and all encompassing identification with the natural world made of archaic forms that are surprisingly contemporary.
The “capospalla”, pilot of this collection, evolves from the dressing gown to the jacket and develops into a solid and sculpted coat, an integument that like a hard shell contains a series of stratifications, of fabrics and lengths, that become an imperative and essential dress code.
The volumes, relaxed and comfortable, are entrusted to the fabrics and their ability to auto-determine their development. The material, like in a creationist process, finds its form: shoulders rounded and soft which from the neck, often like a scrolled parchment, circulate uninterrupted to the cuff, sinuous, like the lanceolate leaves of the dracaena on top of a trapezoidal skirt, a trunk, with loop splits doubled internally for contrast, in Bordeaux boiled wool with a bouclé effect and magenta cashmere cloth (also in the hand spun version with dotted salt and pepper wool… grey and green)
Twists and tangles that stick out from linear dresses surmounted by germinating conoidal structures turned outwards like joined hands, open at the small sleeves marked by gentle origami folds.
Vanilla white, turtledove, mustard and gianduia alternate with cerulean azure, blue, cast iron grey, magenta and copper in a balanced and conversational palette of contrasts that also involves the materials and the surfaces: a mustard and sky blue top describes the anatomy of a geometrized Coleopteran; a sleeveless dress completely slipped in lizard green wool crepe that adheres in form to the succulent garden evergreens; pants “a cavaletta”, black on black, made of neoprene and stretch satin or in the cartoon version in Tasmanian wool in front and copper colored vinyl spread on the back, trace a dialogical bridge with the animal kingdom, a dialogue that is galvanized by the use of highly evocative velour cashmere.
The collection reveals an aptitude for immediate constructions, complex in its depth yet easy to understand and to wear, leaving uncovered a heart or a soft and hidden stomach, pluvial, that gathers and merges a whole series of indomitable suggestions, almost primordial, in an inspired modernity, conceptual never surgical. A quasi-literal exoticism, a bestiary of plants and animals written with fabric, evolved into Amazonian baroque-isms that finally settle down, at the zenith of their storytelling, by simply being worn.
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