Fashion Symbols with Aynura Maye

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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

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

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.

A’biddikkia – Bold. Bright. Sicilian.

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FASHION BRAND: A’BIDDIKKIA
ONLINE STORE: WWW.ABIDDIKKIA.COM

DESIGNER: GIOVANNA MANDARANO

Hello folks, starting the year light and bright. With a fashion brand. From Sicily. Presenting to you A’biddikkia.

Do you know the luxury fashion house Dolce Gabbana? Ever wondered why the style of this house is so colorful, bold, rich and distinct? A little ‘no secret’ secret – it is inspired by Sicily.

I read somewhere on the Internet that being Sicilian means to be a brand. A brand of style and taste. Who can argue against it? With its glam, iconic style, bold and bright colors that resemble the sun, sea, the nature (those lemons and flowers), Sicilian cart and myriad of other symbols, suggestive lace, handwork and craftsmanship Sicilian fashion is quintessential. Sicilians know how to nail the timeless.

A’biddikkia just like Dolce Gabbana draws its inspiration from Sicily (but costs a fraction of it. It is a good news, isn’t!:)). Born in one of the most beautiful small islands of the Aeolian archipelago, A’biddikkia is not about dresses only. Just like they do in Sicily, it is also so much about accessories, shoes, scarfs, everything else that adds to that spice, glam and iconic style.

Watch the story to see Giovanna’s interpretation of Made in Italy and Sicilian Style. In the meantime, do not forget to head to their site to check out the online store and channel your inner passion with their very Sicilian style:)

www.abiddikkia.com

Paris Fashion Week, Autumn/Winter 2021 – #pfw, #aw21

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The Paris Fashion Week, Autumn/Winter 2021 is over and now it is time for my 10 picks. To tell the truth, it somehow seems to me, although weird at the beginning, the limitations have been played into opportunities by the major fashion folks. Yes, the conventional fashion shows do not exist. The crowd, glitter and liveliness are not there. But these unique times have unleashed imagination. Fashion shows that are turning into fashion films have taken communication of concept to a whole new level. Right, necessity is the mother of invention. And yes, I do still find myself tuning to the film, the message, the feeling with which the film was made. Instead of focusing on the pieces, my mind races to decipher the why. Why have the choice for film, for topic, for background fallen onto that certain choice. I should say, some films are simply amazing.

For the sake of fairness, using my own judgement, I’ll create 10 themes (again of films) and categorize the shows, pardon films based on these themes.

10. Enhanced functionality, or upside-down, inside-out

Beautiful people – Double End
https://www.instagram.com/p/CL_ikuQAqGN/?utm_source=ig_web_copy_link
Rick Owens
Thom Browne
K I M H Ē K I M

9. Romantic, Elegant, Nostalgic

Elie Saab
Andrew GN
Chanel

I think, couple of words are due when it comes to certain maisons. I’ve watched over and over to this film and read carefully every word @Virginieviard has said about her inspiration. Also the song in the beginning – Do you know where you are going to? by Diana Ross. Yes, all is about this film. But also, it’s about she herself – to my humble opinion, which is very normal and natural. Her choice of venue, song and style – everything seemed to me her evolutionary attempts to cast the cocoon shaped around her by her predecessor. I may be wrong, but this was the vibe I was feeling and I loved the ski spirit, the contrast between outer wear and delicate pieces, very French look of models.

Danny Nguyen Couture

8. “Travel is luxury” – adopted from Balmain

Balmain
Loubutin
Miu-Miu

7. Unwearable grounded oooor domesticated

Paco Rabanne
Balmain
Altuzarra
Marine Serre
Nina Ricci
https://www.instagram.com/tv/CMCfHCNDJg1/

6. “Disturbing beauty” – adopted from Dior, but Dior is not in this category.

Yamamoto
Givenchy

A separate post is coming the Givenchy design and designer. Somehow I find it worrisome.

Koche
Kenneth Ize

5. Fo Eva Witty Extravaganza and Party

Schiaparelli
Lanvin
https://www.instagram.com/tv/CMJvbDUI0OE/?utm_source=ig_web_copy_link

4. Leaning on history and legacy to orient for future

Loewe
LV
Giambattista Valli

3. Cathartic

Dries Van Noten
Vivienne Westwood

2. All Consuming Wonderland – Fairy Tales and Cryptic Dances

Dior
Hermès

1. Champs of Sustainability

Chloé
https://www.instagram.com/tv/CL9O4s6CO1Y/
Marine Serre
Hermès

Fashion film, not fashion show any more – #MFW #AW21

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And my ten picks

Now that Milan Fashion Week Fall Winter 2021 is coming to an end, I’ll be consistent with the practices I’m trying to build and work out my 10 picks. To be honest, after so many months of disruption, I feel like there are oceans between me and the frivolous world of fashion.

During this period, with everything going platonically digital, sincerely, I find myself tuned more to the entertainment, theatrical side and immersive experience than to the collection. I wonder if there are people out there who can’t concentrate on old good catwalk like me? Catwalks were what I was looking forward to in the last season, but this sudden change of expectation I discover about myself makes me realize another thing. Maybe, much is said about it. Yet I am sharing my own thoughts as one should do on her own platform.

Apparently, something is happening that will never go away. Fashion design has gone beyond 2D presentation. Even after the pandemic is over (hopefully) and we resume our pretty flat two dimensional life, fashion design and presentation will never be two dimensional. The battle for fleeting attention of the global audience is growing more fierce. On top of product design, the designers now have to do in-depth study and experimentation to find new ways of three dimensional immersive experience. Right, experience is what fashion shows were about. But, there is some major difference – before presentations were constrained to the show venue as a backdrop. Now there is no such constraint. It is liberating in a way. Yet, now they have to create that all consuming, feel-real yet surreal digital backdrop that will not complement the collection and the concept, but enhance it. It seems like fashion shows are becoming short fashion films.

To sum up, I find it paradoxical, in the hey days of the fashion weeks I would kind of get horrified of the spending and vanity surrounded the shows. When there are so many living in dire conditions around the world and many kids lose their lives because of malnutrition, such extravaganza seemed superfluous and unjust to me. Now, with all this vanity existing only in the nonexistent dimension, I kind of find it beautiful and maybe even necessary.

I think, I’ve given enough explanation to declare why I’ve made my selection over total experience rather than collections only. It is true, I find the feminine yet resolute flare of Elisabetta Franchi enchanting. The chic, sharp yet flowing curves of Alberta Ferretti are simply beautiful. Yes, Armani as usual nailed it with fabulous fabrics. I have a feeling that Valentino’s designs, especially net outwear will become composed folk songs of the season. Especially, the tribute to the Piccolo Teatro, which holds so much emotional value for Milan and Italians is commendable. However, I’ll judge with foreign eyes, no emotional value attached, as purely fashion newbie from outside. This way around I’ll pick shows that were more than fashion show, were theatrical and immersive.

All that said, after religiously watching all of the shows, sometimes more than once, I’ve piled my list of ten fairly distributed between new names and established maisons. By the way, I find new designers more apt in this unfolding novelty and observe a more conceptual approach to immersive experience creation. Kudos.

Finally, let’s get into the names:

10. MM6 Maison Margiela

That inside out, upside down, reverse mood – each and every one of us, each and every day.

9. Francesca Liberatore

I do not know why she picked this theme. But her ascetic style made it even more powerful. War has been a deeply wounding experience personally to me about 27 years ago. It shaped my life, destiny and preconditioned many depressive cycles I’ve lived periodically. And it came back last year to my homeland after 27 years. Her collection simply talked to my heart.

8. Del Core

I am just in love with their magnificent images and conceptualism.

7. Vìen

Lately, I’ve been hearing a lot of real life stories about mental health issues of (particularly) teenagers, or the youth going through a prolonged puberty. Some stories are appalling. Rising cases of adolescence suicides, I think, it is high time that fashion starts conversation about it. For this matter, I see this collection very relevant and timely.

6. Act 1

Ok, I’ll be very honest, I can’t be indifferent to these guys. One of the duo is from my homeland. From the way he relates to the traditions (of which I am part of) and the delicate way he dismantles everything into pieces I can recognize his pain. I can feel his personal quest to rebuild himself through the deconstructed lines. And the shows they put out is sometimes blood freezing.

https://www.instagram.com/tv/CLwRjQyo5kE/?utm_source=ig_web_copy_link

5. Human Poetics by Polimoda

Besides being a wonderful initiative, I found this film as a great culture guide to Firenze. The imaging is spectacular.

4. Philipp Plein

Well, simply, I think, it is that immersive fashion experience. My 11 year old didn’t like the film, he called it “cringe”. But I think it is just that “hate whatever mom likes” attitude of a pre-adolescent boy. Well, I liked it. So here it is in the list.

3. Dolce Gabbana

Besides everything else, this duo should be crowned as masters of music choice – that very single thing that I could have my son agree with me. The music of the last season was awesome too.

2. Versace

Maze is the answer to everything. It has so many layers of meaning that we better not even start to question. Well, it is in the DNA of Versace and the show was a magnificent reinterpretation of the Greca pattern. If we exclude the monochrome styles that confused me and I had to remind myself constantly that I am not watching a Fendi show, but a Versace show, it was a sophisticated show put together with high flying models. And those platforms too…. I mean, I hope they just stay inside that fantasy maze and not make their way into the stores. Please, Donatella…

https://www.instagram.com/tv/CMCT7zvDBZy/?utm_source=ig_web_copy_link

1. Moschino

I do not know how many times I’ve gone back to see this show. I mean, laugh and humor is what has kept us going through this period, really. And this show to me was a production of genius mind.

Hit the play for some humor and quality time if you haven’t watched it yet. Do not miss the il gran finale! Lumière! Musique!

https://www.instagram.com/tv/CL2RJEYCGEV/?utm_source=ig_web_copy_link

Featured image: moschino.com

Mother Archetype XI – Teenage Crisis – Libido

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Before wrapping up this series, a pit-stop is due. Not touching upon an important phenomenon would make this whole series incomplete. What we have been talking about in this whole series is really million shades of Libido and its dynamics. Now the question will follow naturally – what Libido is.

These days Libido, almost without exception (and sadly!), is used to refer to sexual drive. This definition in fact owes its roots to the the early years of Sigmund Freud’s psychoanalytical theories. Interestingly, with time he changed his definition of Libido. He described it as life instinct, which is responsible for all sorts of urges and drives we feel, which also includes, obviously the sexual drive. Yet, in general use, Libido, over time, got reduced to the sexual drive.

Featured Image:
Inside the head of a teenager

SCULPTURE: Drunkness of Bacchus and Faun by Michelangelo.
Greek-Roman God Dionysus – symbol of Libido in erotic sense
(a.k.a state of mind, purpose and meaning of teenage years)

“The Dionysiac religion contained orgiastic rites that implied the need for an initiate to abandon himself to his animal nature and thereby experience the full fertilizing power of the Earth Mother. The initiating agent for this rite of passage in the Dionysiac ritual was wine. It was supposed to produce the symbolic lowering of consciousness necessary to introduce the novice into the closely guarded secrets of nature, whose essence was expressed by a symbol of erotic fulfillment.”

Jung, Carl Gustav. Man and His Symbols . Random House Publishing Group. Kindle Edition.

the image is taken from Internet

Libido Is Not (Only) Sex Drive

On the contrary, Jung introduced a broader understanding of Libido. He described it as totality of psychic energy. The laws of energy apply to it as well – it never disappears, always changes its form. As usual, in front of the lucidity of his mind, I do not know if someone can object this definition.

Usually, the widely practiced and generally accepted analytical psychoanalysis schools offer detailed description of the transfer of Libido during the first half of life – namely from mouth to anal to genital organs etc.  But they notably fail to explain the mental processes happen in the second half of life or anything that is not about erotic love. For example, the feeling of Empathy that especially gets upper hand in our mind in the second half of life. Even the love we feel for our own kids and parents. Or our mental set-up not to cease hoping for better, believe in magic, seek guidance of supernatural powers, need for spirituality etc. All these are part of life instincts and equally important urges in certain periods of human life. We know only too well that disregarding these urges may lead to tragic results and broken destinies.

To sum up, Jung, (I think) rightfully, understands Libido not as sexual force solely, but as totality of psychic energy. For him, the unconscious itself is this energy, it is part of nature. It is not a dirtbag for incompatible desires and fears only as regarded in Freudian psychoanalysis. It holds them too, but also is source of life growing germs too. He may have agreed with Freud when it is about the first half of life. He asserts that in the second half this energy gradually retreats from erotic life, diverting itself towards empathy, non-erotic love and spirituality. Not so good news, such transformations of this energy never happens slowly and quietly. They are tumultuous psychic processes and we experience them as existential crisis – namely, the second one would be mid-life crisis.

Libido and Teen Suicides

Specifically, in our Mother Archetype series, what we talked about was mostly the dynamics of Libido during adolescence, or teen years. This is one of the most transformative and most difficult to handle periods we experience as humans. This is a period, I guess both geniuses would agree on it – when Libido moves to the genital area. This is the phase of procreation and as Jung says, time to dive in and fully rejoice the carefully guarded secrets of nature. Put it plainly, walking erection and baby-making in full force. Yet this transformation doesn’t come as a prize. At this period, Libido – the psychic energy, through mental efforts of each individual, should detach itself from the safe zone of the childhood, the mother (the instinctual safe harbor and infantile bond) and channel up to the next phase.  This detachment would mean “breaking off” the shell of family protection to build an individual personality. Mythologically speaking, this process would mean to symbolically die to the previous self and reborn into a new life full of creativity and potential, but with great deal of uncertainty and doubts as well.

How would it feel?

Compare it to losing oneself in an unknown forest at night in some unknown spot on Earth and frantically trying to find the way home. Or waking up to find oneself in the middle of ocean with no land in horizon and all the while learning to swim, trying to stay afloat and finding harbor. Frustration beyond explanation, right? This is a mentally and physically quite destructive process. Rebirth and re-discovery of self should pass thru destruction, rule of thumb! Failing to go through this mental transformation is basically shrinking away from responsibilities of new life and hanging on to what becomes agonizing already. No wonder, currently we hear about so many cases of adolescence suicide, depression, obsessions with immoral behavior (a quick resort to hide from uncertainty), addictions, drugs etc. Lack of conventional wisdom, guidance and consumerism takes this whole process to a whole new painful level.

To round up Jung’s thoughts on it, the individual, who manages successful transformation (and we are talking about a process that lasts for years), would return to make part of the community not as a shadow of someone, but as “citizen” – equal member of the city, motherland, tribe, community whatever one belongs to.

For the myriad forms of transformation in boys and girls, check out the Mother Archetype to find your own type.

The next and last post will be about Incest – why sexual relationship between the same blood relatives is taboo and self-occurring source of guilt and shame. Why are we built in this way? Is Incest a problem or solution?

Mother Archetype I
Mother Archetype II – Son Lover of the Mother Goddess
Mother Archetype III – Don Juanism
Mother Archetype IV – Homosexuality and Impotence
Mother Archetype V – Exaggerated Maternal Instinct
Mother Archetype VI – Home-Wrecker With a Mission
Mother Archetype VII – Shadow Daughter
Mother Archetype VIII – Mom Hater
Mother Archetype IX – Part Human, Part Supernatural
Mother Archetype X – Motherland
Mother Archetype XII – Incest: Problem or Solution?

Mother Archetype IX – Part Human, Part Supernatural

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Jung’s warning was not to limit or reduce the phenomena of mother to human proportions. It would strip off the multilayered meaning and misplace that huge burden on the shoulders of a fragile human being. This archetype is bigger and beyond us. It carries both the wisdom and wicked of the nature and the memory of evolution. It is part of us, but also not us. We project this archetype on anything that nourishes and provides safe nest – such as House, Home, City, Church, Mosque and all other homes of God, land, cave, moon and sometimes even tree. She is the dwelling of spirit.

Basically, she is a forming agent of our identity and sense of belonging. But anything that traps us in our shell is also Mother. In negative aspect, it chains our arms to our old-identities. But it doesn’t end here. Just like nature she represents deep layers of obscurity, darkness and ambiguity, even death. The negative symbols portraying the Mother are depth, darkness, night, death, coffin, sea dragons, monsters etc. All are the characters we over and over see in myths and fairy tales, maybe sometimes in our dreams and definitely in religious texts. The wrath or kindness of this archetype very much depends on our attitude towards it.

Ironically, our professional success, bank account etc. doesn’t concern her. The evolution of our soul is what is in her agenda. The more we fail to realize it, the more hostile this force becomes towards us. Then the more miserable our life becomes. Naturally, sense of meaninglessness and depression follow next. Yet, coming in terms with it may mean major transformation in our mind, behavior and life. Easier to say, in fact this is our fear – letting go old attachments and identities and being born into new unknown skin.

Read other posts of the series:
Mother Archetype I
Mother Archetype II – Son Lover of the Mother Goddess
Mother Archetype III – Don Juanism
Mother Archetype IV – Homosexuality and Impotence
Mother Archetype V – Exaggerated Maternal Instinct
Mother Archetype VI – Home-Wrecker With a Mission
Mother Archetype VII – Shadow Daughter
Mother Archetype VIII – Mom Hater
Mother Archetype X – Motherland
Mother Archetype XI – Teenage Crisis – Libido
Mother Archetype XII – Incest: Problem or Solution?

Photo: Unsplash.com