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Giovanni Grillotti

December 23 2010

Giovanni Grillotti’s story could be confused with that of so many designers who have studied, specialised, travelled abroad, and frequented the best fashion schools, if it weren’t for one detail: the innate creativity, which makes him a natural talent. When you add to this the desire to work hard, the result is a very respectable résumé; the collaborations are multiple and important names with whom Grillotti has worked in the last few years. Now he has his own line which has already attracted attention. The architectural structure of his designs combined with innovative elements transforms garments apparently classic in style into true and proper works of art – halfway between the past and the future, they are little gems from the couturier. If on one hand, the designer shows the Italian sartorial tradition; on the other is his desire to experiment and harmoniously mix past and future, playing with lines and different shapes, with classic textiles and technology simultaneously, creating garments which tell a story in modern and current taste. We meet the designer...

How did you arrive at your own line?

G.G Rather than arriving at my own line, let’s say that it was my line that chose me! After years of working through the ranks, with very important people, I arrived at a crossroads: take a risk and express myself, to continue to express or better to interpret what others were feeling. The turning point came from my friends, now partners, Antonio and Roberta Murr, they were my platform.

What were the most important moments of your formative years?

G.G Definitely the years spent in the old tailors’ with the needle in my hand, becoming familiar with the mannequins, understanding every single step that leads to the three-dimensional creation of what it is your designing.

Tell me, what inspired the collection?

G.G The coordinates which make up my collection start from the shadow of a bird-of-paradise flower projected onto the wall. The synthesis of the shadow emphasises the geometry within the flower, and like origami I enjoyed translating the futuristic shames of the flower onto the mannequin, moulding them with the sinuosity of the female form.

What is your target reference point?

G.G My woman is definitely a cultured woman, because behind every garment there is a story and she can only appreciate what I do if she understands its meaning. From a more statistical point of view, she’s 30 upwards, a difficult boundary to define. The maturing woman gets more and more interesting.

In the meantime, you’ve had some evident displays of appreciation, for example being asked to take part in Vogue Talents. How important are these meetings with the press and industry experts?

G.G The press and the media’s verification play a very important role in the growth of a young designer, the publication of a name is definitely feeds those who are curious, those who want to know more.

In your opinion, are young people assisted by the Italian fashion system?

G.G I ask myself this question all day, every day. It’s not easy to be a young Italian talent in Italy, help only comes from above. As for me, I only heard lots of words but didn’t know the facts. I’ll give you an example: many people apparently interested in my work ask the same question, if I’m showing at Milan Fashion Week; when I respond that I’m not, their interest wanes. Is it so difficult to understand that for a young designer who finances himself, it’s impossible to show in Milan? Don’t people know how much it costs to create a collection of quality? If there were really help for us young people, I wouldn’t have to explain this.

Do you have plans for the future?

G.G To continue. And believe me – that’s enough of a challenge!

Stefano Guerrini©modemonline