Linda Loppa intervista: Caterina Ciuffoletti

1.Dear Caterina, first I want to congratulate you on the collection.

Thank you, and thanks to Polimoda for the support and for making this possible.

2.Can you explain how your research for the collection began and what kind of mood you were in?

Well it all started from an Idea I had from quite a long time actually, developing a subjective analysis of the contemporary society through the early Nietzsche’s philosophy, pulling out what I felt about me as a “generation y” representative in this society, dealing with the high ideals, the lack of perspective, the not-youth-not-quite-adults living through the crisis, the urge of an answer, of a message of high hope. So I visualized the synthesis of it all in the re-evaluation of values, as in the Nietzsche’s philosophy, and I started to work with late ‘800 anatomic tables as the root of the primal essence of what it’s human and the cause of the Dionysian essence. On the other side as the Apollonian antithesis I built a very strong ensemble of the hard heavy aesthetic of the medieval Christian iconography and the shady void of the contemporary religious excess.As a result of this struggle between the Apollonian and the Dionysian spirit I achieved the perfect Iconic Human being, who had defeated the fear itself and has accepted his humanity, his power and his decay; the man wearing the skull of the trinity is just like an ancient Greek warriors wearing his enemies arms and standards as sign of value.

3.Your images are very aesthetic and your drawings very sharp, your inspiration is quite intriguing, can you explain what kind of forms you wanted to achieve?

What I wanted to achieve was exactly the image of this strong iconic new-man, and I am surprised of how the transposition of the theoretic idea into the aesthetic form came out naturally. And what came out from this artistic approach to the design happened to be a strong innovative shape that kept clear through the aesthetic this sublimated ideal I started from. And this is just what I think the artistic process consists in.

4.I feel you could continue working on this collection… it seems that there is more potential and that this is only a start. Would you agree?

Building this collection for me meant also re-thinking about reality, about life, about myself as an individual, it involved many changes. It isn’t just a lifeless mass of cloth. I feel that with this collection I’ve set the bases for my future as a designer and as an artist as well, and of course the idea behind the shapes is constantly evolving and it can also be translated in different new shapes.

5.What is for you the strongest piece of the collection?

The cutout organza dress, it is the archetypal of the research and also is a beautiful piece.

6.How did you felt seeing the silhouette in the Roberto Cavalli window?

I felt very happy actually, the display was beautiful and the golden background was just perfect for the dress. It was a very strong image.

7.What is your dream for the future?

I would like to start a project by myself as a designer, but right now I feel like I have to gain some more experience.

8.What is your perception of the changes in the Fashion System today?

As a young designer all I can say is that I want to be the change in the fashion system.

9.Where would you like to work and for which designer?

Anyone who has an open vision of the contemporary social panorama as Hussein Chalayan.

10.Is the skull an object that will remain with you and inspire you in your future career?

Of course it will, it represent a starting point, and I think I’ll always keep a sort of a fetish for it, I can’t wait to see how it will develop!

Linda Loppa