I come from Campania, near Naples, but around the age of eighteen I left my homeland to study fashion at the IUAV in Venice. During my second year I flew even further north for an internship at Haider Ackermann. I fell in love with northern Europe, where I returned after graduation for another internship, of a different kind, at the ModeMuseum in Antwerp. Here I had the opportunity to confront a different idea of design, more related to exhibitions, fashion film and how clothes inhabit spaces. During the same period I also had the opportunity to participate as a stylist assistant in a project with Showstudio. Despite the distance from home, I often feel the need to go back to the base, not only for affection, but because my research is extremely connected to a physical archive of countercultural ephemera, such as zines, vinyls and other paper materials, which I keep in the hometown. In my work, graphics play an extremely important role in the textile surfaces of the garments. Conveying themes, messages and symbols visually is, for me, a need and an ongoing exercise. The focus is on making a page, a piece of counter art, wearable. I find the possibility of three-dimensionalising a page, creating ‘readable garments’, extremely interesting.
THE CONCEPT OF YOUR COLLECTION?
Cabbage is a collection made entirely from pieces of second-hand clothing, scraps and remnants recovered from the warehouses of textile companies. Each garment is made by manipulating these scraps, some of which are defective, broken or torn. I decided to work in the opposite way, starting from the material and shapes of these scraps, rather than from a sketch or moodboard. The garments are made on a mannequin, without using any kind of pattern but instinctively following the folds and drapes of the fabrics at my disposal. This way of working has given me great freedom, as I am not constrained by a concept, moodboard or design restriction.
The common thread between the outfits was created automatically by the similarity of surfaces and structures, and because I applied the same production methods to several garments (such as cut and restitch, which gives a “spongy” effect to the garments). The “characters” in the collection were born during the process, as was the narrative, linked to a medieval universe with macabre overtones. The graphics were influenced by some fanzines from my archive, which I photocopied and used as scraps, modelling them together with the fabrics on the mannequin. After photocopying they were translated into fabric by transfer paper or jet printing. The constant use of a paper matrix to develop the prints gives a ‘photocopy aesthetic’ to the garments, creating a (text)ile connection between the clothes and the paper. In addition, one of the garments was made in collaboration with the Slovenian artist Jaka Vatovec, whose pointed, cyclostyled graphics are taken from his latest fanzine Eggshells.
https://farma282.com/wp-content/uploads/2021/08/Campo-delle-Fatw_copertina.jpg902600Filippo Disperatihttps://farma282.com/wp-content/uploads/2018/06/farma282_lucidity-pills_small-1.gifFilippo Disperati2021-08-11 11:21:492021-08-11 11:58:07Capo delle fate Studio
https://farma282.com/wp-content/uploads/2018/04/Dante-Leo-Capasso_thumb.jpg902600Filippoadminhttps://farma282.com/wp-content/uploads/2018/06/farma282_lucidity-pills_small-1.gifFilippoadmin2018-05-13 19:04:422020-03-04 12:10:26Dante Leo Capasso