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Co.Ro. Jewels – Wearable Architecture

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Brand: Co.Ro. Jewels
Site: www.corojewels.com
Designers: Costanza de Cecco and Giulia Giannini

First I discovered Co.Ro. Jewels a while ago at a sales event in Rome. They didn’t know me.  But I remembered them since then – both of the co-founders – Costanza and Giulia. Their jewellery was one of the few designs that remined with me long after that event. Isn’t it what we call authencity? Or individuality and personality – the major traits of Made in Italy? The shapes of their jewellery had soul and character. They stood out.

Recently, a friend of mine reminded me them and I thought it was time to feature Co.Ro. for AQA Series. Discovering Costanza and Giulia as persons was another delight. Being work partners with a childhood buddie for lifetime is not easy, especially when there are finances involved. This design duo has managed to make it work, survive dark period of covid and have plans of expansion for future. They have created their own small and unique world inside a tastefully designed boutique in one of the very “roman” streets of Rome. Actually, they gave quite some interesting tips for success as designer entreprenurs. Keep reading to find out.

Check out their site, prices are surprisingly affordable too.

Enjoy

Discover authentic creatives at AQA Series

For me success is moving slowly but steadily. Throwing away bucket of borrowed money is very easy. We chose a different path. Such gradual and steady progress also gave us time and opportunity to understand and define us who we are, evolve while we grew, and understand who we want to be. All in all, becoming designer entrepreneur is not something one is born into. One needs to grow into it.

– Costanza

How did it all start?

Costanza: We got to know each other at lyceum when we both were 14 years old. Back then we weren’t sure what we wanted to do but we were sure we’d do it together. We shared passion and vision for creativity. In the beginning we tried our hands in different things. At 18 years old, I along with university studies, attended a course on jewellery design at the Accademia di Costume e Moda. It was an intense year when I did both studies, but that is how it all started.

You mean you already had an idea to start your own jewellery brand?

Giulia: Not really. There was a lot of experimenting, making things for friends. I liked to work with wax, Costanza did a course on jewellery design. But we’d keep talking and sharing what we learned, we were together all the time, during the university and after the university.

First self-confidence. Believing in what we did comes first. Secondly, choosing our own path over someone else’s. Even when mistakes happen, it is our own mistake, not an error due to other’s opinions. Also, being able to trust gut feeling. Maybe it doesn’t apply to all business decisions, but allowing yourself to trust in gut feeling shouldn’t be taken lightly.

– Giulia

What did you study?

Giulia: I studied architecture. Costanza did too. We both studied architecture.

You both come with background in architecture. Now it is clear why the brand is about portable architecture. How did you arrive to a decision to start your own brand?

Costanza: While we were studying architecture we started to take courses to learn technical skills like modelling wax etc. It all started as a passion while we studied, our friends, schoolmates would buy from us, or they’d ask for something specific. For us in the beginning it was pastime activity, more of a hobby. It wasn’t a business; I mean, it wasn’t born as a business. It was the success of the idea that took us on this path to create our own brand. In this while, we were studying architecture at La Sapienza.

When did you decide to create your own brand?

Giulia: In 2012 we started to work for one of big jewellery brands for two years. Things seemed to always happen by design. There was a person who asked us to be assistant designer. We accepted the offer, and had an exposure to the operational part of the business. It was a brand that was in market, made collections, took part in fairs etc. This experience encouraged us to pave our own path.

How difficult it was to start and put a business on a roll?

Costanza: As we did everything gradually, step by step, the difficulty wasn’t unbearable. It surely takes a lot of determination, passion, willingness, and time. But for us such gradual growth was fundamental. In the beginning there are a lot of frustrations obviously. But we never thought about abandoning it. It wasn’t a choice. Also, we didn’t have an investor behind, whatever we earned we invested in this work. We believed in our idea.

How difficult it is to run a business as a woman?

Costanza: More than anything it is about credibility. Somehow woman is taken less seriously. The expectation is to have someone behind to support you. People trusted in us, started to work with us and our work took off. Yet two men would have been taken more seriously. Especially when it comes to financial issues. Honestly, we didn’t go to banks for financing, we never test our feet in that water. Also back in time we were very young, about 25 years old. It also explains the scepticism. All in all, ours was a positive experience.

Giulia: There is another side here, we mostly work with artisans, spend time with them. With time one builds trust. At times being woman may even have helped as working with women adds a bit of sympathy to the whole work as well.

Isn’t starting and going without financing difficult?

Giulia: In the beginning this was side hustle, we’d saved some money before starting.

Costanza: For me success is moving slowly but steadily. Throwing away bucket of borrowed money is very easy. We chose a different path. Such gradual and steady progress also gave us time and opportunity to understand and define us who we are, evolve while we grew, and understand who we want to be. All in all, becoming designer entrepreneur is not something one is born into. One needs to grow into it. That’s why I think this steady and gradual progress was fundamental, also to understand our client base etc. Making mistake is very easy, burning money is very easy.

So what is the greatest lesson of this journey?

Giulia: First self-confidence. Believing in what we did comes first. Secondly, choosing our own path over someone else’s. Even when mistakes happen, it is our own mistakes, not errors due to other’s opinions. Also, being able to trust gut feeling. Maybe it doesn’t apply to all business decisions, but allowing yourself to trust in gut feeling shouldn’t be taken lightly.

How do you handle the business part?

Costanza: I find business part difficult, yet we have a lot synergy in design process.

Giulia: in the beginning it was “Arabic”, but gradually one starts to make sense of it. I should tell I have started to like it.

Do you always interpret architectural constructions?

Costanza: Idea of inspiration maybe not always be architectural. But always there should be some suggestion to interpret. Designs always are interpretation of some inspiration. What matters is to interpret skilfully. The more skilfully interpreted, the less recognizable it becomes. Our purpose is not to re-create already existing, but to re-elaborate, re-contemplate.

How do you adjust to client’s taste, market trend?

Giulia: I wouldn’t say we follow market trend. Also our workflow is not about being up to market tendencies. Our work is not organized around collections for each season. There are old, fail-proof designs that we keep producing them. Trend is ephemeral.

Let’s talk about the work process.

It takes at least a month to produce a piece and there are designs that we keep reproducing them. The longest part normally is the design part where we work closely to arrive to a content that we both are happy with. In this process trusting each other’s taste is important and we do trust. Our tastes are similar in some ways and different but complimentary in some other ways. While Costanza is more on precise, orderly, classical side, and I am more on the side of unconformity. But it is complementary. It is easy to get into conflict and fight when working in duo, especially when finances is involved. When we can’t agree on something, none of us try to be the righteous one, but be considerate of the other’s opinion. One also needs to be conscious that the conversation is about an idea inside someone’s head, until it gets realized, it is hard to say how it will look or be. The final product is something that represents a bit of both of us. Being in duo is a winning format for us.

Your client?

Our target is diverse, from young women up, the women that are attracted to geometrical shapes. Or just passing by the store, they get fascinated by the display. More than all we observe our products are preferred accessory for architects, it is something they can identify with.

So, you started with a workshop before, not a storefront. When it was that you decided to own your store?

Costanza: In the beginning yes, we were in a workshop in Monti (an upscale neighbourhood in Rome famous for artisanal work). It was a small place of ours where we spent most of our time creating. We used to sell either online or produced for events to get our name up there. When we both turned 30, we graduated from university, and left our work. That turn of age is time when one feels like it is time for a change. With that energy to change something, we went out to take one step further and this place was the first one we saw. There were a series of coincidences between the owner and us. We took it as a sign and went with it. The street is a beautiful one, a real roman street with many goldsmith around with whom we’ve been working since the beginning, The layout of the place let us have our workshop separated from the store front. For us it was perfect.

What is made in Italy?

Costanza: It is something that retells traditions. It is not about merely being produced in some certain place, it is about intrinsic and intangible value that it carries, the culture, the history that it represents. In Italy wherever you go you discover a long history, passion, life and contribution of those who lived. So it is more about that emotional aspect rather than just a product being made in a certain country. The passion with which everything is made, in any given sector.

Whatever region one goes, the common denominator is the dedication to excel in what they do. They just know how to do and do it well. For us it is a pride to be able to contribute and continue this tradition.

Discover authentic creatives at AQA Series

Invisible Shades of Success. Artist Designer Fidan (Ilqar) Abdullazade

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And her journey to build herself in Italy – what it takes an outsider artist to settle down in the cradle of art.

The guest of Galosce Zhiguli for this month is Fidan Ilqar. I didn’t know her before and it was a pleasant surprise to discover her in Italy. She is one of those unusual people who has two sides to her – laid back creative soul and stubborn, result oriented mind.

At some point in her life she made a decision that so many don’t find courage to make and linger stuck in one place for years. At the blooming moment of her career in her hometown Baku she has decided to leave everything behind to build herself in Italy, the cradle of art and creativity. Was it easy? Absolutely no. Was it worth it? Absolutely, yes! Now she is glad to have resisted long enough to arrive in a place where she is already thinking to realize her dream project. A creative intiative that would bring people together from Italy and Azerbaijan. She just gave a hint to it, not much information, we have to follow her to see what she is up to.

Our talk also gave an interesting insight into what it takes for creative people to build themselves outside of their own culture from resilience, adaptability, openness to grow to the strength to handle the pain of growth – not an easy feat.

Enjoy. Do not forget to check out her portfolio on Behance.

Click this link to read Azerbaijani version of the article here

When one goes thru this process, one realizes that being excluded is very real in a culture and country where one does not belong. One really tests the boundaries of one’s will.

– Fidan

Fidan, how did you make the decision to leave your life behind and move to Italy to build yourself?

Back in 2008, after graduating from my bachelor degree I went to Florence for master’s degree at Florence Design Academy. Then I returned home upon gradution and started to work as a freelancer and also in different creative agencies. It was in my last workplace thru which I had to visit Milan in 2013 and there something clicked, my love for Italy decided everything for me for the coming years – second master’s degree at IED (Istituto Europeo di Design) and eventually building myself in Milan. I found the projects that we did during my studies at IED with the industry and business quite attarctive, so next I was interested in professional experience. Back then, at the end of my studies my university found an internship for me at a construction engineering company that was designing Kirazli-Halkali subway line in Istanbul. I was in charge of interior design of the station. I didn’t extend my contract when my time was up as I was interested in more artistic work that required more creativity.

Did you find what you were looking for?

By the time my internship was over I had realized that I needed to learn Italian language well to be able to integrate and open new doors. So all my focus was on learning the language and the culture. In fact, the miracle happened afterwards. As I started to connect with Italians and local people, doors started to open up for me and offers started to flow in. That is how I started to work as free lance designer and artist.

What were your studies excatly?

I did my bachelor degree on industrial design at Baku Academy of Fine Arts. But in general, I’d describe my profession as artist designer. I did both of my master studies in Florence and Milan in interior design. But my work is not limited to those only. By nature I am a creative person, since early years of my life I’ve participated in artistic contests in the country and in the larger region and always went home with recognition, often holder of the first place. When I say artistic contests, I do not mean painting only, also photography.

I have a feeling that free lance work is what you prefer.

Well, I am a creative person and to create I need my own space, my own atmosphere. I’ll confess something – the internship that IED has found for me would have been a door to success for many. But not for me. I couldn’t see it as success. And the reason is that there was little space for creativity. It was mostly engineering work based on strict schedule. This was the only reason why I didn’t want to renew my contract.

How did you manage to survive and thrive in a foreign country as an incomer without a stable job in such a competitive sector that you are in?

I truly believe in what I am going to say. Everybody who decides to build her or his carrer outside of her or his home country, in a foreign country goes thru a deep transformation. It is a depressive process. One either makes it or doesn’t make it. I came to Italy to study once and returned back. Second time I didn’t want to repeat it. I was determined to make it happen here, so that dreadful transformation process was inevitable. The test wasn’t easy at all. In fact, the contrary is true. I endured a moral and emotional test, pain of transformation and growth. When one goes thru this process, one realizes that being excluded is very real in a culture and country where one does not belong. One really tests the boundaries of one’s will. That is what I did. Yet I promised to do my best so that when I fail, I know that I’ve given my best and I’ve tried my best. The first barrier was the cultural one. I had to learn the language and undertand the culture to be able to mingle in. I was determined to test my will. That is how it all started. In fact, miracle happened after I learned Italian. I was able to integrate and mingle with local people. Eventually, I managed to build contacts with galleries and even collaborate with them. That was the moment when success started to smile at me. I had promised myself to do my best, to test the boundaries of my own will. I just didn’t want to regret later for not trying.

All in all, I should say it wasn’t easy, not at all. I tested my mental and emotional boundaries on this path. But along the way I got to know people and made connections that changed my life. Now I’ve built a certain circle and certain life.

Tell us about your paintings?

Well I’ve started to paint since childhood, colors have always been part of my life, source of my fascination. With years I realized that  it is how I express myself, it is my way of communicating with the world. When I was small I used to paint still life, put out installations etc. I have participated at contests and have always gone home with recognition. Currently, I work on a series called Woman. This is what I find close to my heart now, thru this series I try to transmit many qualities woman carry – tender, sensual, strong, caring so many qualities behind her soft looks. As for the technique, I use different techniques. My preferred technique used to be oil on canvas, but now I opt for mixed technique. At the moment, I am collaborating with different galleries in Italy.

I should say, it hasn’t been an easy journey. Only after learning Italian this window started to open up. Building connections in that world makes the difference. It is a constant work. The last collaboration was with Fuori Salone with the Woman Series of mine in 2018 Design week of exhibition “Giardino dei visionari”.

How did you handle the first months of the pandemy? I mean the period of lockdown?

To be honest, it wasn’t that bad. Like everybody else, together with my Itlaian roommate we closed ourselves in. That time I used to work for Gucci. I worked more than I did before, but I wasn’t bored. I didn’t feel how the time passed.

Tell us more about your work at Gucci.

It wasn’t easy to get a job at Gucci. Only a year after I submitted my job application they contacted me. Even though my background was in interior design, they had offered me a job in graphic design. That is how I started working there. What was new for me at Gucci was the attention they paid to each detail. Maybe in stores these details are not even noticed, but we spent a month or two on each small detail. Sometimes I think we underestimate details. Sometimes it is the details that keep a certain product in market for years. The department I worked at was responsible for accessories design, colors etc. It was an invaluable experience. But now I’d like to start a project of my own.

I am curious what sort of plan do you have in mind – will it be in Italy or in Azerbaijan?

I’d rather not give out much information beforehand. But it will include art, painting, creativity, will be something between Italy and Azerbaijan. The objective of the project will be to bring two cultures – Azerbaijani and Italian culture together. I truly believe in power of exchange and integration of ideas, cultures. In that case both sides learn, not just one side. We will learn from Italians, also they will learn something from us, at least they will be informed about this part of the world.

What would be your advice to Azerbaijani youth who wants to follow dreams?

Education is important. Knowing how to use application is not enough. Design is not that simple. It is good to know techinical parts of work, but not enough. Talent is important. To me, equally imprtant is to always try to expand one’s horizon. Curiosity, traveling, learning new things are important. I had a teacher who used to say do not sit at home to come up with an idea. Once you walk out of your door you’ll see that idea has been thought and realized many years ago. Stay hungry to learn, do not try to create great things, try to modify a small detail of something. That will be newness. That’s why always learning from others, exchange and interaction are important.

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“Made in İtaly” – what does it mean to you and how we can benefit from this know-how?

The first word that comes to my mind is Quality. Quality and durability. We, only thru interaction and exchange of youth, can find ways to benefit from this experience. I’d say we have very talented youth and qualified professionals, people with great craftsmanship and great ideas. I mean, the potential is there, it just needs to be rediscovered, retrained and exposed.

Click to read Azerbaijani version of the article

Uğurun görünməyən tonları. Rəssam dizayner Fidan (İlqar) Abdullazadə

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Qaloş Jiquli seriyasının bu ay qonağı Fidan İlqardır. Fidanı mənim kimi əvvəllər tanımayanlar bu müsahibədən sonra onu unutmayacaq. Çünki Fidan həyatının bir məqamında çoxlarımızın vermək istədyi, lakin cürət edib verə bilmədiyi bir qərarı verib. Bakıda işinin və karyerasının ən çiçəklənən zamanında peşəkarlığını İtaliyada növbəti səviyyəyə yüksəltmək qərarına gəlib. Bu yol nə qədər dumanlı və çiskinli olursa olsun, qərarından donməyəcəyinə söz verib. Asan olub? Qətiyyən. Amma yaradıcılığın beşiyi olan ölkədə öz imzasını atmaq üçün illərlə çalışan Fidan artıq iki ölkənin mədəniyyətini bir araya gətirəcək layihə başlamağı düşünür. Fidanı tanımaq mənə çox xoş sürpriz oldu, məncə sizin üçün də belə olacaq.

Fidanla işi, həyatı, keçdiyi sınaqlar, rəssamlıq, dizaynerlik, İtaliya təcrübəsindən faydalanmağın yolları barədə söhbət etdik. Ümidvaram, Fidanın cəsarətli qərarı, inadkarlığı və əldə etdiyi uğurlar öz arzusunun ardınca getmək istəyən gənclərimizi cürətləndirəcəkdir.

Fidanın dizayn portfeli ilə behance şəbəkəsində tanış ola bilərsiniz.

Məqaləni ingilis dilində buradan oxumaq mümkündür.

İnteryer dizayn təkcə proqramdan istifadə etməyi bilmək deyil. Təhsil vacibdir. Ancaq deyərdim dünya görüşü də eyni ilə vacibdir. 

– Fidan

Fidan, necə oldu İtaliyaya gəldiniz və burada peşəkar kimi yetişməyə qərar verdiniz?

Bakıda bakalavr təhsilini başa vurandan sonra 2008-ci ildə ildə Florensiya Dizayn Akademiyasına qəbul olunub, orada magistr təhsili almışam. Təhsilimi bitirəndən sonra Bakıya qayıtdım və dizayner kimi həm sərbəst, həm də fərqli şirkətlərdə çalışdım. Son şirkətdə çalışanda Milana səfər etməli olduq və orada olanda yenidən təhsil almaq qərarı verdim. İED (Avropa Dizayn İnstitutu) institutuna daxil oldum və ikinci magistr təhsilimi aldım. Artıq 2013-cü il idi. Əslində təhsil aldıqdan sonra Milanda iş təcrübəsi qazanmaqda da maraqlı idim. Magistr təhsili zamanı böyük şirkətlərlə əməkşdaşlıq layihələri üzərində işləmişik. Birbaşa biznes və sənaye dünyası ilə bağlı olan layihələr üzərində işləmək maraqlı idi. Universiteti bitirəndən sonra universitet özü məni memar inşaat mühəndis şirkətində staja göndərdi. Həmin şirkət o vaxtlar İstanbulda Kirazlı-Halkalı metro xəttinin tərtibi ilə məşğul idi. Xəttin interyer dizaynını mən verirdim. Ancaq vaxtım bitəndən sonra müqaviləmi uzatmamaq qərarına gəldim. Çünki, daha yaradıcı işlə məşğul olmaq istəyridim.

Tapa bildiniz?

Stajı bitirəndən sonra arzuladığım işlərdə çalışmaq üçün italiyan dilini yaxşı bilməli olduğumu anlamışdım. Ona görə çox qızğın şəkildə italiyan dilimi mükəmməlləşdirmək üçün çalışdım. Bununla da həyatım çox müxtəlif və müsbət istiqamətə dəyişdi. İtaliyanlarla ünsiyyət qurmağa və əlaqələr yaratmağa başladım. Tezliklə, fərqli şirkətlərdən təkliflər gəlməyə başladı və beləcə yolum açıldı. Sərbəst dizayner, rəssam kimi işləməyə başladım.

Universitetdə hansı ixitsas üzrə təhsil alırdınız?

Bakıda Rəssamlıq Akademiyasında bakalavr təhsilimi sənaye dizaynı üzrə almışam. İxtisasım ümumiyyətlə dizayner rəssamdır. Həm Florensiya Dizayn Akademiyasında, həm də İED institutunun Milan filialında isə hər iki magistr dərəcəmi interyer dizayn üzrə etmişəm. Amma fəaliyyət dairəm təkcə bununla məhdudlaşmır. Müxtəlif yaradıcı işlərlə məşğul oluram. Hələ gənc yaşlarımdan rəssamlıq müsabiqələrində iştirak etmişəm, sərgilərə qoşulmuşam və demək olar ki, həmişə uğurlu nəticələr əldə etmişəm. Hətta bəzi fotoqrafiya sərgilərinə fotoqraf kimi qatılmışam və çox vaxt da qoşulduğum yarışmaların qalibi olmuşam.

Siz deyəsən daha çox sərbəst dizayner kimi işləməyi üstün tutursunuz.

Bəli, mən yaradıcı işlə məşğulam, ruhən yaradıcı insanam. Mənə yaradıcılığımı ifadə etmək üçün mühit lazımdır, öz məkanım olmalıdır. Məsələn, universiteti bitirdikdən sonra universitet vasitəsi ilə tapılmış iş əslində böyük nəaliyyət idi. Lakin, mən o cür baxa bilmirdim. İşimin mühandisliklə sıx bağlı olması mənim ruhumu sıxırdı. Yaradıcı iş üçün tələb az idi. Daha çox qrafik üzərində qurulmuş iş idi.

Bir əcnəbi olaraq başqa ölkədə sığortalı iş yeri olmadan, bu cür rəqabətli sahədə müstəqil dizayner kimi çalışmağı necə bacardınız?

Məncə, xarici ölkəyə köçən insanların hamısı bir depressiv transformasiya dövrü keçir. O dövrü insan aşmağı bacarır, yaxud bacara bilmir. Bir dəfə gəldim İtaliyaya oxudum qayıtdım və növbəti dəfə onu etmək istəmədim. Açığı çox çətinliklərdən keçdim, mənəvi və düşüncə sınağım ağır oldu. Öz ölkəndən kənarda olanda, immiqrant hesab olunaraq kənarda qalmaq çox realdır. Ancaq fikirləşdim ki, əlimdən gələni edim. Alınmasa, heç olmasa bilərəm ki, cəhd etdim. Gücümü və bacarığımı sınamaq qərarına gəldim. Beləliklə, dil öyrənməyə başladım. Artıq anlamışdım ki, dili öyrənməyincə, yerli mədəniyyəti anlamayınca mümkün olmayacaq. Özümə söz verdim ki, inteqrasiya edim və sona qədər gedim, bilim ki, bunu sona qədər etdim. Dili öyrənəndən sonra bir çox qapılar açıldı. Qalereyalar ilə tanış oldum, hətta əməkdaşlıq etməyə başladım və çox uğurlu alındı. Ümumiyyətlə deyim ki, asan olmayıb. Heç asan olmayıb, iradəmin sərhədlərini sınayacaq qədər getmişəm. Amma bu prosesdə çox adamlar tanıdım, tanışlarım artdı. İndi artıq müəyyən bir ətrafım var.

Rəssamlıqla hələ də məşğul olursunuz.

Rəsmlə uşaqlıqdan məşğulam. Lap kiçik yaşlarımdan rənglər həyatımın bir hissəsi olub,  həmişə məni cəzb edib. Böyüdükcə anlamışam ki, bu mənim ruh halımdır, özümü bu yolla ifadə edirəm. Lap kiçik yaşlarımdan həm ölkə daxilində, həm də qonşu ölkələr arasında keçirilən yarışlarda, konkurslarda işitrak etmişəm. Çox vaxt da ilk yerləri qazanmışam.  Əvvəllər yağlı boyadan daha çox istifadə edirdim. İndi isə daha çox qarışıq texnikaya üstünlük verirəm. Son zamanlar bir seriya üzərində işləyirəm. Seriya Qadın adlanır. Qadınların adətən üzdən görünməyən müxtəlif ruhi və mənəvi keyfiyyətlərini göstərməyə çalışıram. Bu seriyanı yaratmaq üçün qarışıq texnikadan istifadə edirəm və sərgiləmək üçün hazırda İtaliyanın müxtəlif qalereyaları ilə əməkdaşlıq edirəm.

Lakin təkcə rəssamlıqla məşğul deyiləm, illərlə bədii quraşdırmalar, fotoqrafiya və s. kimi incəsənət sahələri ilə məşğul olmuşam, yenə sərgilərə qoşulmuşam, yarışlarda iştirak etmişəm. Deyim ki, bu yarışlardan bol diplomlar qazanmışam.

Pandemiyanın ilk illərində karantin dövrünü necə idarə etdiniz?

Səmimi desəm, o qədər pis keçmədi. Hamı kimi mən də İtaliyan otaq yoldaşımla qapımızı bağlayıb oturduq evdə. Amma həmin müddətdə Gucci üçün çalışırdım. Əslində, həmin müddət digər vaxtlarda olduğundan çox işləyirdim. Heç xəbərim olmadı vaxt necə keçdi, çox işləyirdim amma maraqlı idi.

Guccidə iş təcrübənizdən danışın

Ora işə girmək asan olmayıb. Davamlı Gucci və Gucci kimi böyük şirkətlərə iş üçün müraciət edirdim. Sənədləri göndərəndən hətta bir il keçmişdi ki, iki fərqli departamentindən müsahibəyə çağırdılar. Mən artıq illər idi ki, interyer dizayn üzrə çalışırdım. Ancaq meni qrafik dizayn şöbəsinə təklif etdilər. Beləcə işə başladım.

Guccidə mənə yeni olan hər detal üçün ayrılan diqqət idi. Nəhayətdə bu detallar çox gözə çarpmır, amma bu detalların üzərində biz bir-iki ay işləyirdik. Son məhsul bəlkə də sadə görünür, amma arxasında çox iş durur. Çünki kiçik detallar bir məhsulun illərlə bazarda qalmasının səbəbi ola bilər. O üzdən detallara xüsusi diqqət yetirilirdi. Mən işlədyim şöbə qrafik işləri, rəng və detalların dizaynı ilə məşğul olurdu. Çox maraqlı təcrübə idi.

Sizin portfeldə Kristal Zalı və s. kimi Bakıda tanınmış məkanların dizaynlarını görmüşəm. Onları İtaliyaya gəlməzdən əvvəl işləmisiniz?

Bəli. Milana ikinci magistr təhsili almağa getməzdən əvvəl Kristal Zalın dizaynı ilə məşğul olan şirkətdə dizayner kimi çalışırdım, həmin dövrdə tək orda yox, həmçinin o ərazidə həyata keçirilən tikintilərin dizaynında az olsa da rolum olub – Bayraq Meydanı, o ətrafda olan muzeylər, restoranlar və s. – hardasa 10 il əvvəl o ərazi boş idi – bizim ofisin dizaynerləri orada işləyirdi. Həmin zamanlar mən qrafik dizayner kimi işlədiyim şirkət həmin ərazinin inkişafına cəlb olunmuşdu. Çox maraqlı dövr idi mənim üçün, çox gözəl işlər gördük. Amma elə o vaxtlar idi ki, Milana getməli oldum və hiss etdim ki, artıq Milanda qalıb özümü inkişaf etdirmək istəyirəm, bir daha təhsil almaq qərarına gəldim. Amma artıq öz işimi qurmaq istəyirəm.

Maraqlıdır, nə kimi layihə var fikrinizdə, İtaliyada olacaq ya Azərbaycanda?

İşi qurmazdan əvvəl ətraflı məlumat vermək istəmirəm, amma rəssamlıq daxil,  yaradıcı bir işlə məşğul olmaq istəyirəm. Həm İtaliya, həm də Azərbaycanla işləmək niyyətim var. Bu iki ölkənin mədəniyyətini bir araya gətirəcək bir incəsənət layihəsi üzərində işləyirəm. Əsas məncə mədəniyyətlərin ünsiyyətidir, onda hər iki tərəf öyrənir. O demək deyil ki, azərbaycanlılarla italiyanlar arasında birgə layihə olanda təkcə azərbaycanlılar öyrənəcək. Bir çox məlumatlar italiyanlar üçün yeni olacaq, ən azı dünya görüşləri bizim zonaya genişlənəcək.

Azərbaycanda öz arzusunun ardınca getmək istəyən gənclərə məsləhətiniz nə olardı?

Təhsil vacibdir. İnteryer dizayn təkcə proqramdan istifadə etməyi bilmək deyil. Bu qədər bəsit deyil dizaynerlik. İşin texniki tərəfini bilmək yaxşıdır, ancaq təhsil bazasını güclü etmək vacibdir. İstedad vacibdir.

Ancaq deyərdim dünya görüşü də eyni ilə vacibdir. Bir yerdə qalmasınlar. Gözü və düşüncəsi açıq olsunlar. Görüb götürməyə açıq olsunlar. Bir müəllimim vardı, deyirdi, davamlı maraqlanın, öyrənin, görəcəksiniz ki, sizin ağlınıza gələn fikirlər başqalarının ağlına illər əvvəl gəlib və yaradıb. Siz artıq mövcud olanın nəsə bir hissəsini, detalını dəyişin və o yenilik olacaq. Ona görə açıq fikirli olmaq, davamlı başqalarından öyrənmək, fikir mübadiləsi aparmaq çox vacibdir.

“Made in İtaly” sizin üçün nə deməkdir və bu təcrübədən biz necə yararlana bilərik?

Ağlıma ilk gələn söz keyfiyyətdir. Keyfiyyətli və uzun ömürlü iş gəlir fikrimə. Bu təcrübədən yararlanmağın yollarını qaynayıb qarşımaq, gənclərin bu təcrübəni öyrənməsi yolu ilə tapmaq olar. Gənclərin qarşılıqlı mübadiləsinə ciddi fikir vermək lazımdır. Deyərdim ki, bizim çox istedadlı gənclərimiz var, çox dəyərli mütəxəssislərimiz, yaxşı əl qabiliyyəti, ideyaları olan insanlarımız var. Yəni ki, potensialımız var, sadəcə üzə çıxarılması, təlimlənməsi və tanınması lazımdır.

Məqaləni ingilis dilində buradan oxuya bilərsiniz

Antonio Martino Couture – Enduring Voice of Authencity

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Couture: Antonio Martino
Site: www.antoniomartinocouture.com
Fashion Stylist: Antonio Martino

Hello folks,

It feels so great to be back with a new discovery in Rome. Those who follow me on social media may have read how hard March has been for me to pull myself together after the war broke out in Ukraine. Watching human tragedy unfold in front of our eyes is inexplicably painful. Thru the suffering one realizes that there is not much power in the hands of individuals like us except making conscious choices every day. Sometimes it feels like the most sensible choice is just to put blinders on, focus on work that creates beauty to stay sane – which I do – with friends that I am blessed to have who also helped me discover Antonio. Time and again, I find this blog to be a cozy nest for me to retreat in times of confusion and despapir.

At a time when the world seems to be swept by mass physhosis, it was so refreshing to discover Antonio. In the environment of homogenized thoughts and actions, it really felt good to talk in depth with someone who had a different take on things and courage to talk openly. Not all the conversation is published here:-)

As usual, I am sharing my impression of him in a phrase – he is the voice of authencity and enduring quality not tainted by marketing slogans and fads. His architectural creations are here to stay, not to dazzle eyes with ephemeral glow and fade away.

Do not miss his description of his clientele:-) Some powerful stuff 🙂 If you feel like you are one of the types he describes, then Antonio is the fashion guru for you.

I found his prices surprisingly affordable too. Check it out for yourselves.

Discover authentic creatives at AQA Series

What is fashion for Antonio?

Fashion for me is life itself. It is a bit of like breathing. I don’t remember my life when fashion wasn’t part of it. Maybe I was around 3 years old when I started to help my mother to do things with needle. My mother used to do embroidery work and my aunt was somehow involved in fashion. In some way I’ve been with fashion from early on. Yet, sincerely, really never inside the fashion world.

Tell us about your studies.

At 14 years old I moved to Rome from Salerno, my hometown to study fashion at a lyceum. It was a feat to convince my parents. I came with my brother. In Rome, we were lucky to meet a woman from Napoli who really mothered us, hosted us and I grew up with her here. After graduation I was supposed to study either in Milan or Rome. But it was hard on my parents to maintain the expenses for both my brother and me. So I attended a small school to learn the technical skills for garment building. With that it took off. In the beginning I didn’t do design, started with technical work.

Maybe someone you looked up to or now you think is your idol?

With years one grows and changes. At the moment Armani is the one who I’d like to be. He is a type that has managed to follow his passion, build an empire and built it intelligently. I believe one also needs to have a stroke of luck. Besides he has a taste and style that is timeless. Now he is over 80 but still there, still in the front line, still working. To me, he is the king.

How was Antonio Martino Couture born?

It was a curious journey – a choice born out of circumstances. In the world of fashion connections are important. First hand recommendation goes a long way. I understand that. Let’s say if I am looking for a seamstress, instead of losing weeks, maybe months for headhunting, shortlisting and interviewing people that I do not know, I go ask around and hire among from recommended candidates. It simplifies the process. So being inside the fashion world makes a big difference. My family or circle didn’t have ties with the fashion world.

There was a time, when I wanted very much and tried hard to work for one of the established houses. But as I said, this was a choice born out of circumstances. Eventually, in 2008, with my then partner we founded Antonio Martino Couture. Since then, now about 14 years, I am heading my own Couture. The early years were very intense, we used to do everything ourselves in an obsolete factory that was outside of Rome. But it had a lot of fabrics, so many other supplies that we needed. Weeks would blend into months – each week starting Sunday evening with us leaving Rome to the factory and coming back home Friday evening. Yet, I am grateful for those early years and to my then partner, thanks to whom the Couture took off.

Do your collections follow the regular fashion calendar?

https://www.instagram.com/p/CMB3FXPjDeV/

Following fashion calendar requires a different set of infrastructure and series of arrangements. I opt for capsule collections obviously, in line with seasons – but planned to create events. I opt for creativity – small collections of fantasy than regular size collections adhered to fashion calendar.

To express my art, creativity is more important to me and this arrangement now allows me to do what I want to do. Let’s say, my objective is not to sell one more jacket, one more coat. The collections serve as pinnacle of creativity, quality and fantasy for me. Timelessness and durability are what I strive for. If I see someone still carry my creation after 10 years, that is my utmost satisfaction – just thinking that I’ve created something that after 10 years still hasn’t gone out of fashion, didn’t die in seasonal changes, and is not worn out, the quality is there – I feel I’ve accomplished something.

Besides, curious cuts that never go out of fashion are fundamental in my mind. For example, neck of a shirt that I designed had seven different ways to wear. So every time it feels like new to wear the same garment just by arranging the neck differently. It is also fun to have that covert touch. In 2017 a new line was born, which is called Urban Park which is more ready to wear mixed with high fashion.

What about now, which path you follow now?

Now I design to excite, to create splash.

So, no mainstream for you?

A big NO. I try to follow the trend in general. Let’s say, if bombers are in trend, I do bombers – but I do it my own way. To put clearly, I do not like to associate myself with somebody else. I never create something that one could say – oh, this is similar to Balenciaga, Dior etc. I make my own and create my own path. My style should be recognizable and speak for itself. But what we see often times is flattened taste and products. In this homogenized noise having my own voice is important for me. But do everybody see what I’ve created? I am not sure – that calls for massive marketing campaigns and investments.

Which is more important in this homogenized world – quality or marketing?

Unfortunately, marketing. Marketing rules. Today fashion is about concept – let’s say pieces are not remembered for their quality, but collections are remembered for the ambience and set up in which they are presented. Garments matter less. This is sad. People instead of looking fashion as a way to define own individuality, look at it as the means to blend in and flow.

What is quality for you?

The quality is very important. All in all, it is not only about quality of fabric. Everyone can get good quality, expensive fabrics and make a dress. There is nothing wrong about it. For me, quality is about research. Quality is about making something beautiful out of something that doesn’t cost much. From little ideas, small discoveries beautiful things can be born.

For example, in one of my collections, I created an oversize, exaggerated trench. The material was a blue net used as construction material inside houses, over the walls. I used it voluminously matching it with leather to create that trench. The final product is impossible to miss, it is exaggerated, voluminous, yet the base cost is pennies. The originality of idea matters. If one is void of ideas, the easy path is to follow the ideas of others and the trend of time.

What is the most common challenge that single creatives face in Italy?

All the designers want to get noticed. This is a form of art, an artistic expression. In the homogenized world the most difficult task is to remain true to oneself. The society likes to frame its members. If something is considered cool at certain period, everybody is expected to follow that path. But no. I do not want to join. I want to follow my own path.

Then who is your client base?

I wouldn’t define my clientele based on age. Yet my designs are not for teenagers. I work for more independent women, mature women. Woman that is self-conscious of her style and her power. A woman that wants to stand out, not blend in. A woman that appreciates quality, curious details, longevity of garments.

Your advice to your students?

I am very strict and demanding to them with a sharp eye to detect the tendency to copy. I guess they see me as their enemy for that. My advice to my students is to always stay informed, yet true to oneself. Learn inside out – not only theoretically, but also practically – hands on to understand how to construct a garment. Practice, practice and practice. Success may come unexpectedly, at the moment you expect it least. And if you are not ready for that moment, it goes away instantly just the way it came in. Always strive to build slowly, steadily, something to last. If after 50 years you are remembered even with just one creation, that is already something.

What is Made in Italy for you?

We Italians, regardless many things, are very lucky to be surrounded with so much beauty that we sometimes forget. Everyone refers to his/her products as Made in Italy because it sells. To me, Made in Italy is more about passion and creativity. Let’s take craftsmanship – it is easy to find it also in France, in China, elsewhere. The true Made in Italy is about a passion that is more carnal passion, sensorial passion – one lives it as if it flows thru, a radical phenomenon that one belongs to.

You know, it Italian we say – cucinare e cucire – the same passion applied to different things – cucinare – to cook, cucire – to sew – always you add your secret ingredient with so much love and affection. We are built like this. I come from south. For us everything happens in the kitchen – conversations, socializing, laughs and discussions – mother always cooks in the kitchen and the life revolves in kitchen. To be together at home – for us in south [Italy] – it feels like warmth of the sun. For us life is colorful, flavourful – everything is carnal, not mechanical, not conceptual. For me that is Made in Italy.

Discover authentic creatives at AQA Series

Transition, Sustainability and (re)Definition of Luxury in Making

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With aspiring fashion designer Leyla Babayeva on fashion as a bigger social phenomenon than vanity blowout and more

Hello, folks! Galosh Jiguli series is here again – with probably the youngest talent. Meet Leyla Babayeva, junior fashion designer who has been among 20 students at Marangoni Institute selected by Tod’s Academy for its “Re-generation” project. Skilled in painting, another passion of hers, she expresses her artistic side through her designs. A true believer of sustainability as the (re)definition of luxury and hard-working designer towards her goals, she seems to grow comfortable with returning home arms full of awards on sustainability projects – let it be the bottle top challenge in London or reinterpretation of Tod’s DNA in Italy to embrace sustainability. For the latter project, she was mentored by the legendary Tonne Goodman, the sustainability director of Vogue and the stylist for the recent photoshoot of the First Lady Dr.Jill Biden for the cover of Vogue. What a delight for an enthusiastic novice designer whose career is ahead. We talked in depth about Tod’s Re-generation project, evolving definition of luxury and more.

Enjoy

Leyla’s portfolio on Behance

Read the Azerbaijani version here

Leyla, please tell us more about Tod’s Re-generation project.

We are talking about a collaboration project between Tod’s Academy and Marangoni Institute. The project is called Re-generation. This is one of those surprises that you do not expect coming, and you do not know what will come next. It was October last year. One day we came to school to learn that Tod’s has picked 20 students of Marangoni for a special collaboration project. The selection was made by Tod’s itself. This was the second collaboration of the Tod’s Academy with a fashion school. The first one had been with the Central Saint Martin’s University in London, but due to the pandemic related lockdowns, it had entirely been carried out virtually. It was the first time that Tod’s collaborated with an Italian fashion school, and we were lucky enough to have opportunity to move. We were relocated to the Tod’s headquarters in Marche, where also Tod’s Academy operates.

Back to our topic, we were given a week to present our capsule collection with a task to reinterpret Tod’s DNA embracing sustainability. A week is a very short period to reinterpret a brand DNA, above all, to come up with a concept. But you know, we had to deliver. In the end, we managed even to do shootings with the communication students and prepare communication strategy.

Which task was the most difficult one in that week?

Coming up with a concept. There is always a substantial amount of research behind deciding the concept. Once the decision is made, preparation of the moodboard follows. In this case, drawings took only two days, and I had some time left. So, I worked on creating renderings and even prepared one prototype. My concept was inspired by cowboy theme in Western all’Italiana movie. I wanted to create something that Tod’s hadn’t done before. Cowboy theme had already been in the mainstream fashion for a couple of years, but it hadn’t made into Tod’s. Also, another objective was to deliver the message about how Italians maintain and reinterpret their identity when they have to mingle with other cultures. I called my collection “Ride out to the old sundown”. Preserving its heritage is essential for Tod’s, so we had to both reinterpret and preserve.

How did you reinterpret Tod’s DNA in a cowboy style?

First, the gommino. The rubber with “pebbles” that runs thru the sole under the shoe to the heel. It has a signature shape. First, I reinterpreted the shape. Then, re-worked Tod’s name on gommino, which was received positively, including by the director of Marangoni. The logo of the brand has two lions on the sides, I reinterpreted their place of use. The idea was to design a more youthful look that was both classical and sporty. I’d like to emphasize again, the concept, theme selection is paramount to any design. One needs to keep in mind that eventually this concept will be translated into tangible products. Normally, the university gives us a month to decide the theme. Sometimes, couple of months after picking a theme, one realizes that it doesn’t work out and the initial idea needs to be revisited. It is a delicate work and a very important phase in fashion design.

Is like predicting the spirit of time?

Yes, exactly. Speaking of time, one of the objectives for this project was embracing sustainability. We had to reinterpret the DNA of the brand with sustainable materials while preserving its heritage.

Very much like Made in Italy, right? I don’t think this transition period is easy on brands like Tod’s, whose core products are leather goods.

Yes, preserving heritage and identity is important for them. Tod’s core products are leather bags and shoes. The leather collection in the headquarter or call it archive, is simply amazing. I haven’t seen anything of that sort. In this transition period it is not easy to find quality alternatives to leather and this transition is a serious issue for them. Needless to say, faux leather is out of discussion and identifying the right material requires research. My choice fell on mushroom leather and piñatex. It is hard to find these new type of leather materials in Italy, so I had to order them from Spain.

So besides changing the taste, this transition seems to eventually disrupt the supply chain. What other alternatives were used by other students? Did they do selection among the collections?

All students worked on a variety of materials that could be alternative to leather. No selection took place. We are a group of 20 and we proceed with the same group. The jury members at my presentation were Walter Chiapponi, Tod’s creative director, Vogue’s long time fashion director, stylist and current director for sustainability Tonne Goodman, and Vogue Italia’s head of Vogue Talents, CNMI international fashion ambassador Sara Maino. My mentor happened to be Tonne Goodman.

What is coming next for these 20 collections?

It is a secret for us too. We do not know what is going to happen until a week before. We do not have any information yet.

How did you come to study fashion design and what are your future plans?

I love painting since childhood and was good at painting. I loved fashion very much too. After high school, I wasn’t sure which one to pursue. I am grateful to my parents for encouraging me to go after my dreams of being a fashion designer. Actually, I started at the London campus of Marangoni then moved to the Milan campus. It was not an easy decision to make between the Central Saint Martin’s and Marangoni either, eventually I my preference swinged towards Marangoni. But I see difference in two schools of Marangoni. While in London the study is more conceptual and experimental, disconnected from the commercial aspect, in Italy it is a lot about practicality, structure, preserving traditions with commercial end in mind. Having exposure to these two ways of education is really helpful in many ways.

Soon I will graduate from Marangoni, Milan campus. My dissertation is at the end of February. If I decide to do Master’s degree, I’d do it on fashion business. Being a fashion designer is not enough to start a brand. It seems easy, but it is not an easy task. Prior experience would be very helpful.

I am currently interning at the Alessandro Vigilante. This is a new namesake brand. A small company but a robust one. We already participated in Milan Fashion Week, dressed two participants of this year’s San Remo festival. I prepared the sketches of those outfits. In parallel, Alessandro Vigilante is the creative director of the Attico brand. Prior to that, he used to work as a celebrity designer for Gucci, Dolce Gabbana, and Philosophy. So, he is already a well-connected fashion insider. What I like about this place is being part of the whole process. Normally, in big brands, I believe there is division of tasks, so one doesn’t get to see the whole picture of how a brand runs. Starting from March, I will start working as a junior fashion designer at Rossignol, luxury outer wear French brand.

What was your collection for the dissertation?

The collection we prepared for the last year could also be our dissertation. But I found it boring to present the same collection. That’s why I made a fashion film. The topic I chose was about social classes and how appearance and looks shape other’s perception and behavior. I’ve conducted a survey on this. In Baku, Milan and even on LinkedIn I found people from the sector and interviewed them. The result was interesting. Not much has changed since the times when only upper class could wear toga in ancient Rome and the red toga belonged only to the emperor. Today, there are no costumes obviously, but the class behavior is still there. Just like in the past, middle class looks up and imitates the upper class. Take Hermès or Louis Vuitton, the fashion houses that are tightly associated with the high end living and fast fashion brands like Zara constantly imitate them. Departing from this idea, I move on to understand what luxury means in our days – logomania, sustainability or invisible luxury. My conclusion is sustainability and craftsmanship.

How can Azerbaijan benefit from the know-how of Made in Italy in your area? Also, what advice would you give to the younger generation from your lessons learned?

There is a lot of talent in my area. In general, I think, Azerbaijani youth is very talented in handwork, especially in painting. I’d say a lot of work needed to put in for fashion. Taking a short course is not enough, fashion design is not only about sewing dresses. People, especially, the youth love fashion in Baku, they are into fashion. It would just take serious, academic education and experience to nurture new breed of good designers. The same goes to other professions in the sector, such as buyers. It is a very serious profession. We already have couple of established designers working internationally – initiating a dialogue with them would be beneficial, arranging seminars with them would bring valuable insight. Fashion design is not as simple as it sounds.

That is, a fashion designer must understand social tendencies and be able to predict what sort of changes in taste these tendencies will bring along?

Yes, the designer must be able to predict changes in tastes, be able to interpret social tendencies. Also, content is important for organizing fashion events. It is important to have a communication strategy. Regardless, I believe that offering academic level education would be very helpful. We have a rich crafts culture in carpet making, ceramics etc. That could be a good way to integrate or get inspired from. As for the advice to the younger generation, I would say that there is always criticism in the fashion sector. Listen to the criticism, but don’t take it to your heart. Follow your own passion and plans.

Read the Azerbaijani version here

Moda dizayneri kimdir?  Dərzi, sosioloq ya dəb rəssamı?

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Tod’s brendi üçün kapsul kolleksiya hazırlayan gənc moda dizaynerimiz Leyla Babayeva ilə söhbət

Qaloş Jiquli seriyası sizə isti xəbərlə gəlir. Yəqin ki, həm də ən gənc qonağı ilə – yetişməkdə olan moda dizaynerimiz Leyla Babayeva ilə tanış olun. Leyla lüks İtaliyan ayaqqabları ilə məşhur olan Tod’s brendinin Regenerasiya layihəsi (Re-generation) üçün seçilmiş 20 tələbədən biridir. Layihə hələ tam başa çatmayıb, səbirsizliklə sonunu gözləyirik. Hazırda Maranqoni Moda Dizaynı İnstitutunun Milan filialında təhsilini başa vurmaqdadır. Moda sektoruna gəlməsəymiş, ya ADA Universitetində diplomatiya oxuyacaqmış, yaxud da Rəssamlıq Akademiyasına müraciət edəcəkmiş. Çünki, lap uşaqlıqdan rəssamlıqla məşğul olub və xeyli mükafat və sertifikatlar qazanıb. Lakin valiydenlərinin də dəstəyini gördükdən sonra peşəkar moda dizayneri olmaq arzusunu reallaşdırmaq qərarına gəlib. Rəssamlıq bacarığı indiki işində hava su kimi lazımdır. Çox yaxşı da söhbət tərəfdaşıdır və uzun-uzadı söhbət etmişik. Ürəyi bu işdədir və tanınmış dizayner kimi yetişəcəyi hiss olunur. Məqsədyönlüdür və çalışqandır. Söhbətimiz zamanı maraqlı məsləhətlər verib. Buyurun oxuyun, siz də fikirlərinizi bildirin.

Leylanın dizayn portfeli ilə behance şəbəkəsində tanış ola bilərsiniz.

Tod’s markasını yenidən interpretasiyası üçün Leylanın hazırladığı kolleksiya barədə tam məlumatı Tod’s Akademiyasının saytından oxuya bilərsiniz.

Məqaləni ingilis dilində buradan oxuya bilərsiniz

Leyla, bu son layihə barədə danışın zəhmət olmasa.

Söhbət Tod’s brendinin Regenerasiya (Re-generation) layihəsindən gedir. Bu, artıq faəliyyətinin ikinci ilinə qədəm qoymuş Tod’s Akademiyasının Maranqoni Moda Dizaynı İnstitutu ilə əməkdaşlıq layihəsidir. Əslində mənim gözləmədiyim hadisələrdən oldu. Ötən ilin oktyabr ayı idi. Bir gün dərsə gələndə bizə məlumat verdilər ki, Tod’s Akademiyası Maranqoni institutundan 20 tələbə seçib. Bu tələbələrdən on nəfəri Milan kampusundan, digər on nəfəri isə Florensiya kampusundan idi. Seçim prosesində Maranqoni universiteti iştirak etməmişdir. Tod’s Akademiyası özü tələbələrin portfellərini təhlil edərək seçim etmişdir. Mən Milan kampusundan seçilən on tələbənin arasında idim və bizi nə gözlədiyi barədə heç kimin məlumatı yox idi. ­Tezliklə bizə layihə barədə təqdimat edildi və yeni kolleksiya yaratmaq üçün bir həftə zaman verdilər. Əslində bir həftə bir kolleksiya yaratmaq üçün çox az zamandır, kolleksiyanın mövzusunu seçmək, moodboard (ilham lövhəsi) hazırlamaq və s. vaxt aparan işlərdir. Vaxtın darlığı üzündən iş çətin idi, ancaq çatdırmalı idik. Hətta moda idarəetməsi üzrə təhsil alan tələbələrlə birlikdə peşəkar çəkilişlər edib kommunikasiya strategiyası da hazırladıq. İlk dəfə idi ki, İtaliyan brendi olan Tod’s bir İtaliyan moda məktəbi ilə əməkdaşlıq edirdi. Bundan əvvəlki əməkdaşlığı isə Londonda yerləşən Central Saint Martins Universiteti ilə olmuşdur. Lakin, pandemiya səbəbindən ilk layihə tam olaraq virtual həyata keçirilmişdir. Xoşbəxtlikdən bu il hərəkət imkanı vardı və bizi Tod’s brendinin Marke əyalətində yerləşən baş qərargahına apardılar. Tod’s Akademiyası da orda yerləşirdi.

Həmin bir həftə ərzində ən çətin iş nə oldu?

Konseptin seçilməsi. Ümumiyyətlə, moda dizaynı zamanı konseptin seçilməsi işin ən çətin hissəsidir. Konsept seçimini etdikdən və moodboard hazırlayandan sonra eszikləri iki günə tamamladım. Konsept seçimim və moodboard üçün ilham mənbəyim Western all’Italiana (İtaliyansayağı qərbli) filmi oldu. Kapsul kolleksiyanın adı Ride out to the old sundown idi. Çünki bu filmi italiyanlar çəkmişdilər və kovboy (cowboy) mövzulu film idi. Məqsədim italiyanların digər mədəniyyətlərlə qarışdığında öz kimliyini nə cür saxladıqlarını göstərmək idi. Bundan əlavə, kovboy stili artıq bir neçə ildir ki, dəbə qayıdıb, demək olar ki, bütün markaların kapsul kolleksiya da olsa kovboy stilində məhsulları var, ancaq Tod’s hələ bu mövzuya müraciət etməmişdi. İstəyirdim Tod’s indiyə qədər etmədiyi bir şey edim. Tod’s üçün öz irsini saxlamaq vacibdir. Bu səbəbdən, onun ənənələrini bu yeni stildə interpretasiya etməli idim.

Kovboy stilində nəyi fərqli interpretasiya etdiniz?

Tod’s ayaqqabılarının altında işlənən material “qommino” adlanır. Mən kolleksiyamda qomminonun formasını yenidən işlədim. Bundan əlavə, Tod’s adını balaca qommino ilə işləmişdim və bu Maranqoninin direktoru daxil, çox müsbət qarşılanmışdı. Bu markanın loqosu şirdir və ənənəvi yerləşdirildiyi yerlər var. Onun yerləşdiyi yeri dəyişmişdim, ayaqqabıda başqa yerə yerləşdimişdim. Daha gənc ruhlu, həm klassik, həm də idman tərzini bir araya gətirən interpretasiya üzərində çalışmışdım. Yenə qeyd etmək istəyirəm ki, bütün bu proses üçün konsept seçimi vacibdir. Bu seçimi etmək mənə asan olmadı. Mövzu seçiminin arxasında həmişə araşdırma durur. Məsələn, universitetdə konsept seçimi üçün bizə bir ay zaman verirlər. Hərdən elə olur ki, adam mövzunu seçir, amma iki ay sonra anlayrısan ki, nəsə uyğun gəlmir yaxud alınmır. Həm də nəzərdə saxlamaq lazımdır ki, bu konsept sonda fiziki məhsulda öz ifadəsini tapacaq. Ona görə konsept seçimi moda dizaynında məncə ən mühüm mərhələdir.

Konsepti doğru seçmək zamanın nəbzini tutmaq kimidir...

Bəli eynən. Zaman demişkən, bu layihələr üçün tələblərdən biri də ekoloji dayanaqlı materialların istifadəsi idi (sustainability). Tod’s üçün innovasiya və yaradıcılıq vacib olsa da, irsin qorunması və davam etdirilməsi vacib amillərdir.

Eynən Made in İtaly anlayışı kimi, doğrudur? Amma Tod’s kimi dəri üzərində qurulmuş brendlər üçün məncə bu keçid dövrü asan dövr deyil.

Bəli, ənənəni saxlamaq onlar üçün vacibdir. Tod’s markasının əsas məhsulları dəri sumka və ayaqqabıdır. Məsələn, bu brendin baş qərargahında mənim ən çox yadımda qalan məkan dəri arxivi idi. İnanilmaz geniş çeşidli arxiv idi. Hazırkı keçid dövründə dəri qədər keyfiyyətli alternativlər tapmaq elə də asan deyil və bu keçid onlar üçün ciddi mövzudur. Təbii ki, yalançı dəri istifadəsi məsləhətli deyil, keyfiyyəti müştərinin gözləntisini doğrultmur. Doğru material seçimi də araşdırma tələb edirdi. Sonda seçimim hazırda istifadəyə gəlməyə başlayan göbələk dərisi və ananas yarpağının liflərindən alınan pinyateks adlanan alternativ dəri oldu. Bu dəriləri İtaliyada tapmaq elə asan deyil, İspaniyadan sifariş etdim.

Çox maraqlı məqamdır, bu keçid dövru təkcə zövqlərdə baş verən dəyişikliklə yekunlaşmayacaq, həm də təhcizat zəncirinin konyukturasını dəyişəcək. Bəs digər tələbələr hansı alternativ materiallardan istifadə etmişdilər, bu ilk mərhələrnin sonunda kolleksiyalar arasında seçim edildi?

Bütün tələbələr dəriyə alternativ ola biləcək müxtəlif materiallar üzərində işləmişdir. Xeyir, kolleksiyalar arasında seçim edilmir. Bu ilin Tod’s Akademiyası üçün 20 tələbə seçilib və sona qədər 20 tələbə və tələbələrin yaratdığı 20 kolleksiya ilə davam edirik. Mənim kolleksiyamın təqdimatında münsiflər heyətinin tərkibi Tod’s markasının kreativ direktoru Ualter Çiapponi, Vogue jurnalının uzun illər moda bölməsinin direktoru olmuş, stilist və hazırda ekoloji dayanıqlıq üzrə yazarı Tonne Goodman və Vogue İtaliya jurnalının “Vogue istedadlar” layihəsinin rəhbəri, İtaliya Moda Palatasının moda səfiri Sara Mainodan ibarət idi. Mentorum isə əfsanəvi Tonne Goodman oldu. [red.Bir çox dünya məşhurlarının stilisiti olmaqla yanaşı, Tonne Goodman ABŞ-ın Birinci Xanımı Cill Baydenin Vogue jurnalının üz qabığı üçün son çəkilişlərinin stilisiti olmuşdur.]

Bu 20 kolleksiya üçün növbəti mərhələ nə olacaq?

Bu bizim üçün də sirrdir. Məlumatı ən tez bir həftə əvvəl bilirik. Hələ ki, heç bir məlumatımız yoxdur.

Gələcək planlarınız?

Fevralın sonu dissertasiyanı müdafiə etdikdən sonra Maranqonini bitirəcəm. Magistratura təhsili alsam, yəqin ki, moda biznesinin idarə edilməsi üzrə təhsil alaram. Bir markanın yaradılması üçün təkcə dizayner olmaq kifayət deyil, asan görünür, amma heç də asan iş deyil. Əvvəl təcrübə toplamaq istəyərdim.

Hazırda Alessandro Vigilante markasında təcrübə keçirəm. Bu yeni brenddir, yaradıcısı öz adı altında yaradıb və işini çox uğurlu qurub. Artıq Milan Moda Həftəsində iştirak etdi, bu ilin San Remo festivalının iki iştirakçısını biz geyindirdik. Həmin kostyumların eskizini mən hazırlamışdım. Alessandro Vigilante öz markasından əlavə Attico markasının da yaradıcı direktorudur. Bundan əvvəl isə Gucci, Dolce Gabana, Philosophy kimi brendlərdə məşhurların dizayneri kimi çalışıb. Artıq əvvəlki təcrübəsindən irəli gələrək moda sisteminin içindədir. Eyni zamanda kiçir şirkətdir deyə hər işi bir yerdə eləyirik, çox şey öyrənirəm və fikirləşirəm ki, bu mənim üçün uyğun yerdir. Böyük brendlərdə adətən iş bölgüsü olur və markanın tam işini anlamaq çətin olur.

1 martdan Rossignol brendində kiçik moda dizayneri kimi işə başlayacağam. Bu lüks üst geyimləri üzrə ixtisaslaşmış fransız markasıdır.

Bəs dissertasiya üçün hazırladığınız kolleksiya var?

Son il üçün hazırladığımız kolleksiya həm də bizim dissertasiya işimiz ola bilərdi. Lakin eyni kolleksiyanı təqdim etmək mənə darıxdırıcı gəlirdi. Ona görə dissertasiya üçün moda filmi hazırladım. Seçdiyim mövzu sosial təbəqələşmə və təbəqələr arasındakı fərqlərə aid idi. Filmi hazırlamaq üçün yayda Bakıda olanda Port Baku Mallda, Milanda və hətta Linkedİn sosial platformasında bu sektora aid insanlarla tanış olub sorğu apardım. Sorğunun məqsədi geyim və görüntünün insanların rəftarına təsirini araşdırmaq və anlamaq idi. Sorğumun nəticəsi maraqlı idi. Bu dövrlərdə təbəqələr arasında fərqlərin əriməsi haqqında çox iddialar səsləndirilir. Lakin apardığım sorğunun nəticələri əksini göstərirdi. Bəli, qədimdə bu göstəricilər daha aydın idi – məsələn, qədim Romada yalnız yuxarı təbəqə Toqa üst geyimi geyinə bilərdi və qırmızı Toqa yalnız imperatora məxsus idi. Günümüzdə təbəqələr arasında geyim qaydaları bu qədər sərt olmasa da, keçmiş zamanlarda olduğu kimi sosial təbəqəni bəlli edən göstəricilərdən biridir və eynən keçmiş zamanlarda olduğu kimi, orta təbəqə yuxarı təbəqəni imitasiya edir. Məsələn, Hermes, Louis Viutton yuxarı təbəqənin brendləridir və Zara kimi sürətli moda (“fast fashion”) markaları davamlı bu moda evlərinin imitasiyası ilə məşğuldur. Filmdə bu fikrin davamı olaraq lüks nə deməkdir sualına cavab tapmağa çalışmışam.

Azərbaycanda sizin sahənizdə Made in İtaly tərcübəsindən necə yararlanmaq olar? Gənc nəslə öz təcrübənizdən irəli gələn tövsiyyəniz nə olardı?

Bu sahə üzrə çox istedadlı gənclər var. Xüsusən rəsm sahəsində, məncə, gənclərimiz çox istedadlıdır. Fikrimcə, moda üzərində daha çox çalışılmalıdır, yəni iki-üç aylıq kurs keçmək kifayət deyil, daha dərindən öyrənmək lazımdır. Bu sahə üzrə dörd illik universitet olsa, akademik təhsil olsa məncə yaxşı mütəxəssislərimiz yetişər. Bakıda gənclər dəbi çox sevirlər, ancaq məncə moda dizayneri anlayışını çox sadə qəbul edirlər. Moda dizayneri olmaq təkcə atelye açmaq demək deyil, yalnız dərzilik deyil. Yəni bu qədər sadə anlayış deyil. Eyni fikirlər məncə moda sektoruna aid digər peşələrə, məsələn bayer peşəsinə də aiddir.

Yəni, moda dizayneri sosial cərəyanları anlamalı və bu cərəyanların cəmiyyətin zövqündə yaradacağı dəyişiklikləri proqnoz etməyi bacarmalıdır?

Bəli, zövqlərdə baş verəcək dəyişikliyi əvvəldən proqnoz etməyi bacarmalıdır, sosial tendensiyaları interpretasiya etməyi bacarmalıdır. Moda tədbirlərinin təşkilinə konseptual yanaşmaq vacibdir. Kommunikasiya strategiyasının olması mühümdür. Amma bununla yanaşı, inanıram ki, akademik səviyyədə təhsil mövcud olsa, uğurlu alınar. Dialoq yaratmaq maraqlı fikir olardı. Artıq beynəlxalq səviyyədə uğur qazanmış bir neçə moda dizaynerimiz var, onların iştirakı ilə seminarlar və s. təşkil etmək müsbət nəticələr verər. Bizdə əl işləri çox mükəmməldir, məsələn keramika, xalçaçılıq işləri çox gözəldir. Bu ənənəmizdən faydalana bilərik. Gənc nəslə tövsiyyəmə gəldikdə isə, deyərdim ki, moda sektorunda tənqid həmişə var. Bu tənqidləri dinləyin, amma çox fikir verməyin, öz fikir və arzularınızın ardınca gedin.

Məqaləni ingilis dilində buradan oxuya bilərsiniz

Rossella Ugolini – Dance of Shapes

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JEWELLERY BRAND: ROSSELLA UGOLINI
ONLINE STORE: www.rossellaugolini.com
GOLDSMITH, JEWELLERY DESIGNER: Rosella Ugolini

Hello folks, now coming to you with a jewellery artisan Rossella Ugolini from Rome. Do you believe in a first impression? I do. My first impression of Rossella was ‘gracefulness’. As I got to know her more, visited her atelier, watched her create jewellery, I was convinced of my first impression. Gracefulness it was!

Talking with her about her beloved city of Rome, handcarft, precision, interpretation of forms etc. is a delight. Leaving here our talk with her for you to have a glimpse into the work of an artisan goldsmith and jewellery designer. She has an advice on how to wear jewellery, don’t miss it, keep reading. Don’t forget to check out her site for her great pieces.

When did you discover your passion for jewellery?

First, I discovered my passion for manual work with small objects. My father was an engineer mechanic. He used to fix things at home and would make me unthread the electrical wires with a strange twister. I found it very entertaining as I could bend and give shape to these tiny and shiny electrical copper wires. Then I was a little girl, about ten years old. For me it was a game. That is how I discovered my passion for manual work.

It was during the high school years of an artistic high school that I realized jewellery was the closest thing to my manual skills. It involved working with small and colorful details. I finished the high school little earlier at about sixteen and a half so I used this chance to go to goldsmith workshops to learn. Gradually started to buy my own equipment while I was studying at the Academy of Fine Arts. I used to study, work at home in the evenings and keep learning from goldsmiths in their laboratories at every chance I had. Still in my mind there is that vivid image of me sitting next to them in silence and watch them working. They smoked heavily. Sometimes they would talk to me and explain things. That is how, I slowly started to make my own jewellery too.

I consider myself a very lucky person. I’ve managed to do what I like to do and I do what I like every day with all the problems that exist at work. I think those who work in craftswork are satisfied people anyway. So if anyone has such passion, I would encourage to pursue it even as a side job as it will bring immense amount of joy.

Where do you draw your inspirations from?

Surely, from the city of Rome. I grew up here surrounded by the Baroque architecture, beautiful forms, and the colors of Rome. Translating my thoughts, emotions into form is what it is about. Movement of dance is a form. When I already have a form in my mind I transform it onto material. That’s why many of my collections have names, for example, the collection of Castle. When I travelled to Puglia, I visited the Castel del Monte. It was a magnificent octagonal castle, an overwhelming structure. It had spelled me so much that I started to study its plan, the colors, its surroundings and thus the Castle collection was born.

This is as a natural process, as if a stroke of lightening, or an image, constantly happening in my mind. I see something that I like or inspires me, the next thing I know is it gets interpreted into a jewel.

Explain us the process of creating a jewellery.

The first step is drawing a sketch. Normally, that sketch is what corresponds to the original idea the most, it is more immediate. Then I elaborate the drawing with precision to the exact size. Jewellery should be comfortable and wearable, the parameters are important. Equally important is the technique – how to shape a ring that sits comfortably or form an earring that is not too heavy. These are technical parts of the process.

How long does it take to make a jewellery, let’s say a ring?

It’s difficult to say. If I’m happy with my idea and drawing, it takes at least two weeks. A lot depends on whether it is a one-piece item or there are several pieces to be assembled. The last step is setting the stone, and this is a whole another process.

What materials do you use?

I like working with gold. It is flexible, ductile and shapes come out beautifully. Also silver. With silver I make collections that are more contemporary. Because it is possible to bronze it and give a more rock look. Bronze and copper are not my preferred metals, they are difficult to work with. However, the material is secondary. Its choice depends from the preciousness of what I make.

Who wears Rossella Ugolini?

Rossella Ugolini’s woman is a woman who surely chooses the jewellery for herself. She is a woman of attitude, role and character. She already has traditional jewellery and wants something different, personalized and unique. We may design the jewellery together just for that person, so it is unique.

The age of the woman?

I have two categories of women for whom I design. The women in their 40s, who have already built their career and can afford themselves. But also, there is a young audience of 18-20 years now, who enjoy personalized jewellery. In general, this category will pick the most minimal, simple pieces from my collections. They keep coming back, they follow me on social media, ask for more maybe for fiends, or bring me their family stones to create a jewellery. Of course, also there are men who buy jewellery either for themselves let’s say cufflinks or jewellery for their partners.

Your advice to women on how to wear jewellery?

Each woman has her own face type, her own style and taste. In my opinion, you have to follow your own style, not fashion. If you wear a sweater, you don’t have to wear a jacket to put a pin on, you can also put the pin on a sweater. You have to follow your style and your feelings.

What is craftsmanship for you?

I’d say these days a lot of work is done in cad and on computer. All these are great alternatives to the manual work. Yet not my preferences. I feel that when I give a jewellery a shape manually, I embed part of my soul in it. It is not just another cold jewellery; it has a soul. Imagine the soul has entered into the object to take a shape. When one looks this way, very intriguing shapes can be born, especially if the shapes are circular. In manual work we use metal as well as wax to give shape. With wax that is worked both hot and cold it is possible to do more sensational moulding.

What is the most important quality of an artisan goldsmith?

The first thing that comes to mind is precision. But I’d say no. In my opinion, a goldsmith must have the quality of creating shapes that are particular, uncommon. This is precisely the quality of an artisan goldsmith – interpreting the form. One should be good at creating shapes that are singular, recognizable, particular, and harmonious. In craftsmanship small details are what make all the difference.

I think this is also the case with Made in Italy?

Yes, for me everything must be Made in Italy. That makes the difference. Even the boxes. For me Made in Italy is an ideal. It is a bit like renaissance. In the Renaissance workshops numerous artisans used to work together on the same project to make it as beautiful as possible. We all have the same goal.

From bank counter to the stage of La Scala. The journey of 10 years.

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­When I first talked to him, I had a feeling that we had known each other for years. With his laid back air, relaxed manners and whimsical comments soon I forgot that we were new acquaintances and let my guards off. I guess I had made one or more out of place jokes that I wish I hadn’t. When I started this series, apparently he was one of the first people I contacted and we did the interview from distance. I discovered a modest and hard-working personality beyond that carefree and playful layer that was hard to see through when we met in person. During the interview, over and over I noticed him avoid talking about his accomplishments, instead focus on what he needed to do (perhaps, the secret of his success is this mindset). Folks, the guest of the Galosh, Zhiguli series for the month of January is Azer Zada, the first Azerbaijani graduate of the La Scala Academy in Milan, Honored Artist of Azerbaijan, who left everything at the age of 19 to pursue his dream to become a professional opera singer.

Check out his site at www.azerzada.com

Read here the original interview in Azerbaijani

Azer, when we met last it was the summer of 2021 at the Arena di Verona, the 150th anniversary of the Aida Opera. You performed Radames under the direction of already living legend conductor Riccardo Muti. I remember I was so consumed during the whole play trying not to miss a word coming from Radames. I was just proud of you. No doubt, there is a lot of sweat and blood behind this success. How did you get invited to such a prestigious event? What did it mean for your career?

When I received this offer, I was over the clouds. He is such an influential conductor that every musician, every opera singer would want to work with him. It’s great to work with him. I will be performing with him again in mid-December [of 2021], I’m very much looking forward to it. Muti first heard me when I was performing in Aida in Ravenna. He wasn’t conducting but came to the rehearsals and listened to us. Our first acquaintance started there. Then I was invited to a concert in Ravenna and performed with him. Afterwards he invited me to the Arena di Verona. Of course, this was a very important moment for my career and I am grateful to him for this.

Performing on a huge amphitheatre as famous as it is sounds very exciting, yet somehow nerve racking too. All eyes are on you. Everyone else aside, you have your own expectations from yourself.

Of course, the adrenaline is very high. Immense amount of responsibility too. Especially, if it is season’s opening concert at the Arena. All the eyes are on you. There is also a reality. You are a foreigner, but you should not sound like a foreigner. I actually spend a lot of time on it and I must say I really enjoy this work, the rehearsal process itself. But on the day of the play there is a lot of adrenaline and nervousness. Maybe that’s why I picked this career. Good sleep before the performance is also important for me.

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Let’s to go back to the beginning. How did it all start?

I was born into a family of musicians, there was always music in our house, especially classical music. That’s why I grew up surrounded by music, musicians and artists. But I didn’t practice it until very late, at least professionally even though I had a desire for music since childhood. Regardless, I think when I started, I already started with something. The music was everywhere, I had developed an ear for it, involuntarily accumulated knowledge. One day I made this radical decision to quit my job and follow my passion. Then I was 19 years old working in a bank. Thus everything started. I am grateful to honored artist professor Huseyn Aliyev for the guidance in that early period. When I am in Baku we meet, he checks my voice. He is my first teacher, will always remain so and our relations mean a lot to me. As I said, I started at the age of 19 and before turning 21 I left for Italy. First I studied in Osimo, took some master classes. Since 2014 I live in Milan and I am a graduate of La Scala Academy.

So, you didn’t sing until you were 19 years old. One day you said “That is it, singing is my call!” Is that how did it happen? How did people react? Your family?

Yes, I started when I was 19, didn’t perform before that. At first, the reaction was not very good, even from my father [distinguished musician himself]. Because he didn’t know my voice and capacity. But upon hearing he gave his consent and his blessings. I am grateful to him for that.

It sounds like a story from an inspirational storybook – at the age of 19, one day you leave everything behind to pursue your dream of being a professional tenor. Shortly after you even leave your family behind. Wasn’t it hard?

Of course it was. I miss my family. 28th [January] is 70th anniversary of my father. I can’t be with him on this day because of work. There are new debuts, I need to rehearse. My family understands me, and I am grateful for that. I miss him, my family, my hometown and my country very much.

Why Italy?

You know that Italy is home to opera. I started in Osimo, took master classes in Italy and Spain. Then I decided to try myself at La Scala Academy in Milan. Admission exams were very difficult which shouldn’t be surprise as it is one of the best schools out there in the field. My student years were also wonderful here. During those years I always felt the support of our state. This of course, is encouraging. I have been living in Milan since 2014.

When did you feel that your career took off?

Frankly I don’t focus on advancing my career. Rather I work on improving my voice and performance. Of course I try to keep an eye over the general picture but the main focus is on my voice.

How do you work on the quality of your voice?

Speaking in general, our voice is our instrument, and it is individual for everybody. A performer, especially, an opera singer must know his tone, voice and understand which repertoire is good for his voice. It is not an easy task. Things can change with time – ageing, bodily changes, all sorts of changes affect vocal cords. It is a very delicate instrument. For us, protecting this instrument is very important too.

Where was your first performance and did you later return to the same stage in the lead role?

My first performance was at the Opera and Ballet Theater [Baku, Azerbaija], it was a small role in Carmen. I will perform there again in May again in Carmen. This time I will be in the lead role. Of course this is a moment of pride. My first major role there was in the opera L’elisir d’amore, in the role of Nemorino. In March this year I will perform that role again there. I am very excited.

Any plans about joining contests? Also is there a stage where you’re eyeing to perform?

My biggest dream is to do what I love. I think competitions and contests would probably be more suitable for younger people, I am already 31 years old. As for the stage I have been on many stages, including many concerts at La Scala, Bolshoi Theather, Arena. Have performed a duet from Othello, performed in Tosca. I would like to perform at the Metropolitan Opera in New York. I hope it will happen too. I think the most important thing is to focus on self-growth.

You’ve performed a lot of roles but you mentioned Othello and Tosca. Is there a reason?

I perform Tosca a lot in Italy, Russia, France and other countries, in the role of Cavaradossi. As for Othello, I think it takes years of experience to convey the psychological state of this character, the turbulent state of his soul. It is not about comprehension or understanding, I think it requires life experience. This opera has a very complex libretto. I hope that in the next ten years I will feel ready for this role.

Let’s switch the focus onto Azerbaijan. You receive invitations to perform. In what ways, always in your area of profession, you think the country may benefit from Italian art and music, Made in Italy know-how?

I receive many invitations and lately have performed there quite often. Playing at my home country is fulfilling. My last performance was in Aida there. While I was there, I gave a master class to young performers. I think, supporting them through information is important. Being informed makes difference when one performs. Intelligence is palpable.

Is there a specific project in mind that you’d like to realize?

I think a lot of work can be done, a lot of projects, ideas. In my opinion, we need to think about the quality first. If there is no quality, the end result may seem uninteresting. Especially when it comes to opera and classical music. You can open an opera studio or inaugurate an academy, these are all great initiatives. But the most important thing is quality. This is my idea – focus on the quality first.

Do these two cultures have similar operas? Have you ever considered synthesizing an opera from both sides?

Frankly I think these two cultures do not have similar operas and this is normal. However, the music of Fikret Amirov’s Sevil opera and Koroglu opera, especially Sevil opera is close to European music and can be easily performed on European stage. I think it would generate interest in any part of the world. Because the theme is very relevant, and the music is very beautiful. In general, our music is very beautiful and rich. It would be great to bring this music to the world stage.

What is your lessons learnt that you’d advise to Azerbaijani youths who want to pursue their dreams like you?

I think first comes the mental state. I’d say just feel calm. A lot depends on our mental state. Success comes when we manage to direct our energy in the right direction. It is very important to work on personal growth. Thinking too highly of one’s own skills stalls growth. One should be hungry to know more and grow. Also it is important to have a good grip of one’s own reality. Being honest with ourselves is essential. When a person is sincere with himself and admits to that he does not know that is where learning begins.

Read here the original interview in Azerbaijani.