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| All Images Courtesy of Roberto Ramírez |
I apologize for the burden of this interview:
There is no problem.
Can you tell me ... What was the inspiration for making the collection presented at the Auge Boga publishing house?
We had a meeting where we talked about powerful women, heroines and situations like that. We covered themes such as what was considered a powerful woman worldwide, based on comics and what is the power of women in real life. So, I realized that the female figure is the dominant element. I told myself: “the strength that they express in the photo has to coordinate well, it must be something very simple, I don’t have to load it because they are not [wearing] costumes, but I have to try that the simplicity allows to express the character of the model.”
Now, speaking of the field of your career What has been your biggest influence?
My greatest influence has a lot to do with the romanticism of the Lebanese. I'm not at all interested in the fantasy that was showcased in the 80s. I am so classic in my projects, that, although in the business aspect I approach the customer with a traditional outlook, as an artist I try to be very classic. I only take inspiration, I do not intend to make a copy of what I see, sometimes just simply observing the detail of a well-placed flare in a dress opens the doors to look back and think what I can do with this inspiration.
I find that fact quite interesting, I also follow Lebanese artists and it is rare to hear that you have that kind of influence. Tell me, what are the most unexpected places or things where you have received inspiration?
I have received inspiration from a footprint that is in front of my business, which is a traffic footprint. It was the guideline for what I did with Estilo Moda at the origami level. I mixed it with something I saw my mother craft. I also discovered a 1959 magazine, in the house of a relative, and started reading about Balenciaga. I started to observe the fashion and I thought to myself - I have a spectacular catalog but I will not do the same, but will take out elements-. Then it turns out that I began to analyze the first ladies of foreign nations, like the European royalty, and then, I realized that everything is based on the 50s. Then I said to myself, that's a good subject, in fact, it was the previous theme I used for Estilo Moda.
When I made a fashion show that Auge Boga programmed, I presented a collection with dark skinned girls that was spectacular, which took place in Honduras Maya Hotel. I wanted to highlight the glamour that they express in the simplicity of their traditional costume. I said, I'm going to dress them in an off-white style with gold elements, and therefore, I achieved many silhouettes. I even made a closure with a pregnant woman, which I thought was very nice since I believe that every woman can express with beauty at all times.
Can you tell us a little about your creative process?
When I'm with a client I try to interview him/her to bring out their personality, if it's fantasy, if it's romantic, if it's trendy, things like that. I ask for a lot of freedom, although in the end it is difficult, I try to apply my touch in the garments. [The process] really starts from making a sketch, an outline of what I'm going to create. I am one of the people who knows the whole process; from buying the material, making the cuts, making, carving - I am inside the whole creative process to such a degree that I could say that I apply my touch to each dress that comes out of my atelier.
What is the best part of being a designer?
When they let us be creative. When a client comes and says, "I want this, and that" and you come up with something, which is a copy, it frustrates you. While when we have a creative mind, the proposals to take some photos that match our criteria and the catwalk allows us to have the freedom we should always have. Unfortunately, we are in an industry where the client has understood that we are the option to copy, to the point of satisfaction. This forces us many times, because otherwise our business does not work. But for that we have the catwalk, that is our relief.
What do you consider to be the project that you take most pride of or that you believe that has been more successful?
It is not a specific catwalk or dressing someone in particular. It is the satisfaction of the client, for example, a satisfied bride, a girl at her graduation – I consider that to be my strength - it is that "thank you" that the client gives you when she knows that you have taken good care of her. Sure, the applause on a catwalk is great, the amount of Facebook likes is awesome, but really the biggest recognition, is the recommendation that the client gives.
What a nice way to think, now tell me What does fashion mean to you?
I have a sense that fashion is defined as something that repeats itself. Rather, I associate fashion with style, because you could reflect a new style and set the tone for fashion.
How do you measure the success in this industry?
We have been telling ourselves, for about ten years, that Honduras is starting out. I say we are evolving. It is difficult since we do not have a strong textile industry, but, we have good creatives, the existing monopoly has been dissolved and the doors have been opened. The problem is that we always focus on the same thing. We have to give opportunities for a new set values, open our minds to try to expose our product internationally, or get them to value us as national artists - which is an emphasis I have and I really ask for it.
In what way do you consider that art has evolved over the years?
As for art, I think we are rather a bit low, compared to what happened in the past. It is enough just to look at the great masters of art. The technology has gained a lot of territory, and I think that this generation is a little low on the level of art. However, in matters of fashion, everything is written. We are not inventing new techniques, but we are basing on what we have seen, mixing and creating new details. I noticed that when I lock myself in four walls to see what I'm going to create, after a while I log in and I'm seeing it on Google. So, it's a bit difficult to say that we are at a strong level. I think though, that there are many people with great abilities.
What advice or recommendation would you give to a person who is starting out in the world of fashion design?
Starting in the world of design, it's all about passion. You cannot do it only thinking about business, because you will get bored, it is a little complicated. I think that if you are going to be a fashion designer you have to learn the whole process to be able to handle your workers. Not everything is marketing, not everything is seeing what an application pulls or what trends have come out by the world’s [fashion] institutes. One must know how to face problems, therefore, learning to be a technician is very important before putting on the title of designer.
That is a very good advice. What do you think has been your biggest challenge throughout your career?
I think that day by day, together with the client, one tries to overcome techniques or be curious. However, I have this struggle of not wanting to be just like the norm in Honduras. Although I am classic and everything, I look for my clothes to be identified, to be technical. I love knowing that I have skills at the level of draping and dyeing on fabrics. In fact, I have managed to investigate now changes in the shades of fabrics that I have not seen in other workshops and this is identifying me. Apart from giving me exclusivity, it gives me that touch of art that I want to express.
What do you consider to be the future of fashion design in Honduras? How do you think it will be? What do you think the trends will be?
Starting with the technical part, great opportunities have been opened, beginning at the middle level there is a public bachelor’s degree in three areas of the country. These people are strongly equipped, I went to the workshops and I saw that they are taking advantage of them. There is one [opportunity] at college level. There are great teachers like Mr. Pedro Alarcón who is teaching again and doing very well. Through this, he is opening great opportunities for people to really learn what is the art of haute couture. He has a focus towards that.
So, I think focus of the fashion industry is that it should never be turned off. Not everything is about the spectacle, but it must focus a lot on what a business is. You do not live by the applause, although it’s an important element, you should always take into account the satisfaction of the client.
Do you think that globalization and the rise of digital media has had an influence on the world of design?
I think it has been the great evolution we have had. One thing that I always noticed was that I started with technology. I didn’t work with catalogs, we already had social networks in the medium. So, the acceleration that occurred with this was really fantastic. Today you are producing, you are transmitting, you make known the great skill you have. Suddenly if it is in marketing, you know which the best offers are. Things like that. I think we're going to evolve a little bit more. For example, the tutorials, many things are being taken through the internet in the medium of education. So, I think the evolution is already very strong, but this is just the beginning, we do not know what's coming.
Finally, what are your goals for this year?
Oh my!, with what has just happened at the political level in our country, I have been very cautious in taking care of those details. In the first place, I feel like getting to study something. I think I'm bored with the same thing and I need to open my mind a little. I'm not clear, but I have to do something related to my passion - fashion. I do not know if it's fashion design, interior design or communication, but I really want to do it. In the level of business, I want to transform the business system a bit. Transform it to a more practical point. Suddenly create some form of direct selling. Be more expository, always follow the catwalks and optimize my social networks, since I've been somewhat off on that.
I cautiously observed the workshop one last time, from which a mannequin stands out, made with a technique that in my opinion is woven from long pieces of wood. I left satisfied, since I had a captivating conversation with Roberto Ramírez.
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Interview in Partnership with: www.GrupoKultur.com
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