Evangelina Bomparola 95
026
TFD_libro.indb 95 26/11/09 15:01:30
Fashion designer,
journalist, historian,
mother, and a gure of
Argentinean society,
Evangelina Bomparola
is a complete and
intriguing woman. She
is a person who takes
pleasure and amusement
from clothes along with
the feelings she seeks to
transmit to others. This
doctrine is behind the
way she runs her fashion
house. Starting in 2002
with private work, she
later opened a showroom
and now has a boutique
in the Recoleta district
of Buenos Aires.
She is an advocate
of the casual chic that
began in the 90s in Paris,
and her label presents
a street look combined
with luxury. Her made-
to-measure clothes
service advises clients
on everything they need,
and teaches them how
to enhance their gures
to the best effect. For
Eva, “having a dress
made on your own body,
with darts in the right
places to atter you, is
the greatest expression
of luxury.”
Evangelina Bomparola
www.evangelinabomparola.com
TFD_libro.indb 95
26/11/09 11:38:50
TFD_libro.indb 96
26/11/09 15:01:34
251 INSPIRATION. There can be one
trigger or many. My travels are my most
important source of inspiration; although
inspiration can also come from an art
exhibition or movies.
252 M
USES. I have two people in mind
when I design. The rst is my usual client;
the second is the one I want to conquer. I
draw them; I put them on the notice board
in the studio; I put names on both of them
and get my team together to put together
a pro le of their habits: what each of them
like to do, what they do when they go out
at night, what kind of body they have, and
what they like to show.
253 D
EVELOPING A COLLECTION. To
transfer the concept of the collection to
each of the pieces, I choose details that
symbolize the theme of each season. A
recurring element in my collections is
ruffles, and I have a different way of using
them on each occasion that is in line with
the chosen look.
254 M
ATERIALS. I have two groups
of fabrics I work with in each collection.
One of them is a xture: silks, wools,
and cashmeres varying in their weave
depending on each season. The second
group is changeable: they’re the prints,
brocades, and Jacquards. I choose them
from the French, English, and Italian
collections I look out for on my trips to
Europe.
255
M
ANNEQUIN. My mannequin was
custom made for me at a special
workshop in Buenos Aires. We start
with a size 8, then we move on to 10,
12, 14. Once the style is approved, we
try the garment on a person to see it
in movement. Sometimes I take the
samples and I use them for a while to
see how functional they are.
96 1,000 Ideas by 100 Fashion Designers
TFD_libro.indb 96 26/11/09 11:38:50
Evangelina Bomparola 97
TFD_libro.indb 97
26/11/09 15:01:42
256 YOUR RIGHT ARM? There are ve of
us. I rely on each one in her area. When we
put together a collection, we get together
and each one gives her opinion–from the
product manager and her assistant through
to the sales manager and the head of
administration.
257 S
TYLE. We work with high quality
material, like natural silks in all varieties,
and pure cottons. Crafting is evident in
all of the details de ning each garment:
hand-rolling, embroidery, nal seams.
Exclusivity is linked to tradition. My
clothes are designed to go with and enhance
the personality of the wearer. This is what I
consider to be the synthesis of elegance.
258 C
OMMUNICATION. Publicity is
entrusted to a press agency, and I watch
over every detail. For our big moment
during the shows, we make sure of their
diffusion in the most important media. We
are very selective about whom we invite,
about the press release we give, and the
type of media.
259 C
HALLENGE. We no longer just have
to excel ourselves every six months now.
Our demand means we now have to do mid-
season collections. People get tired of seeing
the same thing on a hanger all season and
need something different all the time. This
is why we make updates to each collection
and we do a resort collection especially
designed for summer in Punta del Este.
260 E
VOLUTION. There is only one style;
it doesn’t change. It’s my identity. I do
try to keep with the times, to take up the
challenge of being very up-to-date with
everything going on in the arts, music,
cinema, and theater. This gives me a much
more current view of design and lifestyle.
It helps me to not let my label age.
TFD_libro.indb 97
26/11/09 11:38:50
TFD_libro.indb 98
26/11/09 15:01:48
261 INSPIRATION. I experience each
collection as a new chapter of one and
the same story that unfolds with the
changing seasons, and which I tell with
varying degrees of awareness. The more
I move forward, the more I take liberties
with regard to a process that is schematic
and linear. I learn to leave more room
to chance–to chance encounters, to
paradoxical associations, to clashes.
262 D
EVELOPING A COLLECTION. I put
a lot of thought into pieces that make
up the collection by basing my ideas on
the structure of the body, on anatomy.
In my work with pleating, draping, and
cutting, I interpret what should be soft or
hard joints, curves, and folds. Collection
after collection, you get to know yourself,
to decipher your own creative identity.
Things take shape naturally.
263 C
OLORS. I look for in-betweens,
half-colors, soft colors, and ones that
are difficult to put a name to. And I’m a
white addict! The way I see it, color, or
lack of color, is secondary to shape. I love
that color can let you show off shape and
material rst; that the rst thing your eyes
notice is the construction.
264 T
RADITIONAL MANUFACTURING VS.
EXPERIMENTATION. I like to try out new
things; I love cutting-edge styles and
modernity, even after time has passed
and left its mark. I love changing and
romantic extravagance. I love things that
question and disconcert; and I also like
the incongruity they represent. Finally,
and unfortunately, today’s generations of
know-how, crafts, and heritage have been
marginalized.
265 B
RAND VA L U E S . Buying a designer
piece is a personal way of “consuming”
fashion–an alternative back road
compared to the fashion superhighway.
However, I feel like a sponge soaking up
the spirit of the times! So, what I offer is a
choice that is both unique and rooted in our
current collective existence.
98 1,000 Ideas by 100 Fashion Designers
TFD_libro.indb 98
26/11/09 11:38:50
Eymèle Burgaud 99
TFD_libro.indb 99 26/11/09 15:01:56
267 STYLE. In my own modest ways, I
try to design a daily choreography for the
woman who wants to wear my clothes, a
sort of poetic language.
268 P
HILOSOPHY. For me, fashion
design is a never-ending movement
backwards and forwards between the range
of intangible and eeting feelings picked
up on a street corner and the designer’s
individual sensitivity.
269 G
OOD HABITS. What I nd
invaluable is to know yourself well. After
that comes the task of identifying your own
way of working.
270 S
ALES. A ready-to-wear collection
sells well if the clothes are both unique
and wearable. There is a huge amount of
work to be done in order to sell what you
make with regard to the kind of clientele,
marketing, and publicity you have.
266
C
OMMUNICATION STRATEGY. Buyers and clients are
guests coming to discover a world of design. So
you have to open the door to them; to give them
the keys, so to speak. I try to create a connection,
a kind of link between my world–my way of seeing
things–and the sensitivity others feel. Relations
with the press are at the heart of this strategy.
Having a press office in Paris enables me to show
my work to journalists.
TFD_libro.indb 99 26/11/09 11:38:51
..................Content has been hidden....................
You can't read the all page of ebook, please click here login for view all page.