THIS IS WHY I LOVE TRADITIONAL CRAFTS & DESIGN
by Montserrat Alvarez
Hello !
Today I wanted to share with you a little bit of my background so you can understand how I found myself doing HEIMAT ATLANTICA !
As most of you already know, I am quite a novice in the fashion business with a background as Art historian. I also worked 5 years with the Bouroullec brothers, where my focus was to understand the creative process better; I observed that there must always be a place for a kind of disruption, which brings tension to the whole object equilibrium. I think this tension is the key to a good project (which does not necessarily mean a perfect or beautiful one), it brings justness.
As most of you already know, I am quite a novice in the fashion business with a background as Art historian. I also worked 5 years with the Bouroullec brothers, where my focus was to understand the creative process better; I observed that there must always be a place for a kind of disruption, which brings tension to the whole object equilibrium. I think this tension is the key to a good project (which does not necessarily mean a perfect or beautiful one), it brings justness.
My 3 passions have always been traditional crafts, history of fashion and furniture design.
Always driven by an enormous amount of curiosity; I thus have always tried to put together different contexts that seem hard to combine. This is similar to the process of curating an exhibition, where one choses the pieces and draws a scenography and a conceptual line between all of them.
This is what I made with HEIMAT ATLANTICA, I am thus trying to imagine spaces to put together my passions and where ancestral techniques and contemporary ideas come together in order to create objects that possess the energy of evolution.
This is what I made with HEIMAT ATLANTICA, I am thus trying to imagine spaces to put together my passions and where ancestral techniques and contemporary ideas come together in order to create objects that possess the energy of evolution.
Design has for me an important role to play in the destination and understanding of traditional crafts. In this sense, it should be understood as a catalyst, as an element that allows to innovate and experiment in the foreground of a respect for local traditions and will open the doors to a new formal repertoire.
Traditional handcrafts are a treasure, a collection of techniques and aesthetics that we need to approach with respect and from the point of view of culture. In my opinion, fashion must have not only social but also cultural responsibility.
Traditional handcrafts are a treasure, a collection of techniques and aesthetics that we need to approach with respect and from the point of view of culture. In my opinion, fashion must have not only social but also cultural responsibility.
