Destinies and prospects of pleasure; the development of the aesthetic cannon. I always wonder whether fashion as an expression can be an instrument for the interpretation of our desires and fears without renouncing seduction, aesthetics and the sensorial pleasure that have always been inherent in it or whether, on the contrary, this “guilty beauty” has no other option than to “dissolve in the bitter impotence of form”.
I believe that destiny is inherent in human nature. And I believe that this makes up our personality and gives us indications regarding the boundaries of our behaviour. Our destiny and future can be written in our characters. Should a strong character impose its authority on improvisation and, therefore, on the whimsical twists and turns of destiny or, on the contrary, must we accept that we are lacking in character and should give way to the thousand and one possibilities of destiny?
I am one of many naive people who believe in the absurd aim of trying, in a more or less daring way, to defy luck and to impose our authority on the development of our own destiny. I do not know whether, at this stage, it would be possible to find a balance which would allow us to leave a margin for maneuver open between character and destiny. What part of the future depends on chance and what part depends on our character?
Colour twists ranging from combinations of nude, camel, red and burgundy. Looks inserted into a unique range of malachite blue, emerald green and purple, gradually leading to other groups of colour ranges which, little by little, incorporate new colours and finally create a multicoloured palette in a puzzle of pieces that join together but do not mix.
This entire numerical progression of colours ends in a single print which is based on the spin painting we did in our childhoods, where everyone added the colours and destiny, in the form of a centrifugal turn, finally ended the painting.
Photos courtesy of Cibeles Madrid Fashion Week