The Fashion Folk S01 ep5 : Romeo Gigli, Gigli Fashion, [Milian]

Interview with Romeo Gigli

When a designer becomes really important, in every profession not just in fashion, after 3,4,5, years ,people working in the same area absorb this energy, and this energy influences their point of view. Of course after 4, 5, 6, years, people are searching to discover a new source of creative energy.

 

19.48
KM: Ten years ago you told me that you were an architect, went travelling and
happened upon a shop in New York …

19.54
Yes, Yes it was that. They asked me to do a mans collection and I said ‘why
not – I’ll try’ and after that step by step, I liked the work.

20.13
The first approach was to work on materials, fabrics and colour. I was really
excited to work with materials, feeling their texture, understanding their shape,
discovering materials which seduced me.

20.37
Dresses must be sculptured, floating and different, to be contemporary. So in
the last collection you can see examples of this philosophy. You can also see
my use of typical man’s fabric cut with laser and transformed, these are
examples of the innovation in my collection.

21.09
Every time I create I am thinking about the past, our culture, the culture of the
world and I am trying to translate all that in a new era – that is my spirit.

21.30
When I am thinking of my collection I am thinking about men or women,
travelling around the world because I always travel. I don’t want to be
recognized where I am from. I want to be a part of the world.

21.50
When you are looking at a newspaper or fashion magazine I think everybody
wants to see something that may suit them, not just a trend of today I have to
be like this and tomorrow like that.

22.19
A few years ago it was different because we have from the designer a different
proposal. Today everything is under a strong filter. When the proposal of the
designer arrives in the magazine or the shop, they look all the same.

22.43
I remember 10 years ago it was the moment of the Japanese and they came
from Japan and they were not French. After a few seasons, it was my moment
and I am an Italian, after that the English came and every time Paris
recognised the creative people and awarded them their right position. Milano is
different because the point of view is commercial every time.

Jewellery Theatre Carravaggio

23.16
If somebody doing something really different, it is a little bit difficult today, but I
am sure that the people in Paris, all the press people they can recognise that.
It is very strange because the approach of the press is different in Milano than
in Paris. I don’t know why, but in Milano they are looking just about commercial
point of view, whereas in Paris the press look for the most creative collection.

23.58
Every time when I am doing a collection it is like to make a movie, I have to
build a story for the women and for the show. It is every time exploring that is
the most important thing. I am really curious you know, I cannot stop myself, I
cannot stop my mind. So every time when I am trying to do a new collection I
have to dream about something and that is the most important step.

24.25
KD – Where does the dream come from? How do you find your dream?

24.28
The dreams come from emotion, just from emotions, from books, people, and
landscapes.

24.56
When a designer becomes really important, in every profession not just in
fashion, after 3,4,5, years, people working in the same area absorb this
energy, and this energy influences their point of view. Of course after 4, 5, 6,
years, people are searching to discover a new source of creative energy.

 

Jewellery Theatre Carravaggio

25.35
KD – Alexander McQueen worked for you. What was he like working for you?
Could you imagine he would be one of the big boys of the fashion business
today? Did you ever think that when you first met him?

25.47
Yes, because he was really crazy and he has this really crazy point of view
which helps his creativity.

26.04
I work closely with my team in my studio and I try to communicate to
everybody what is my process. What I am thinking and why I am doing. It is
like a community. I explain to everybody, I am doing this because I want to do
that and that is my process. And you can recognise from the people who are
working with you who is the first one who immediately understands what I am
doing and who is lazy.

26.56
I try to discover the femininity of the woman with my collection and what I
particularly enjoy about my work is when I see women try my clothes. I see on
their faces happiness because they rediscover their beauty and femininity.


Jewellery Theatre Elements

27.26
My definition of art is ‘freedom’. You cannot be an artist if you are not free; art
is a new vision every time.

27.46
Now accessories have a strange definition. They are status symbols. To carry
this bag or to wear these shoes or to have this kind of jewels at this moment
for a lot of women is really important. You introduce yourself with your dress.
That is the first impact. For me, if someone owns a really expensive bag or
really expensive shoes which you can recognise, this is status, not style.

Jewellery Theatre Fairytales

28.27
Style is the essence of your life. You keep for every emotion fragments with
your own point of view and your vision. This is how you build your style.

28.54
KD – What is it about Italian designers what makes Italian designers different
though?

28.59
I think it is not only a point of view and style but an absolute quality of style.

OFFICIAL WEBSITE: Romeo Gigli, Gigli Fashion, Milian