"I'm Inés Montero /'m Fanny Paredes / I'm Rosa Helena Jimenez / I am Maria Elsy Guzman / am Adriana Gomez / I'm Diana Ortegón" The identity of women artisans involved in the first collection of wardrobe AM clearly it qualifies the direction of a project that became public last night at the gateway of Bogota Fashion Week at the Museum of Chico, north of the city.

With a black pants and a shirt marked "I'm 24-0" that identifies the campaign musician Cesar Lopez an ally of AM and responsible for the music created especially for the experienced director desfile- wardrobe most soap operas Colombian television for twenty years, Diego Guarnizo, and designer Maria Luisa Ortiz, formed in the demanding and Paris Chambre Syndicale de la Haute Couture, which also accumulates two recognized decades in the industry, took to the applause he deserved the first seed sown by AM to the public.(Dressesmall AU)

Rossana Venegas Ortiz and Guarnizo collaborator explains what happened: "with this parade it starts a commercial design platform that hopes to expand later to varied artistic expressions. We dream of developing a puzzle that includes academic content and other experiences. We want to stop seeing craftsmanship in hats and baskets only for your chance to be applied in many other ways is understood. This is taking into account the crafts also as inspiration. "

We talked with the creators of AM about what it means to open this new space to provide alternative outlets for artisans in the country.

Soy: una telenovela para la moda

You two take much of his professional life linked to craftsmanship. Diego did for twenty years as director Costume National Beauty Pageant and Maria Luisa from their participation in Colombia Identity gateways organized by Alicia Mejia, Lina Moreno and Crafts of Colombia. What happened are giving with AM?

Diego Guarnizo (DG): It is true that we support the national craftsman, go beyond putting some flowers on a dress(evening dresses melbourne). This work can not stay on a show and applause. You never know after what happened with artisans and projects in which they are involved. As with hats makers in Sandoná, I ask, "Hey, how you doing? and they answer me they have no orders. " We usually stay in that comfort zone that assumes that artisans have no production capacity and that do not comply. But it is that we have to engage with them to be truly sustainable, that are productive and deliver parts on time. We have to reach them with big projects and thus become responsible.

What is this collection of costume and how you can foresee commercially grow?

DG: For now, we are thinking of exclusive pieces. If a customer arrives requiring hundreds of pieces of reference we are ready to produce them. It must be a project that we can manage from the beginning. After the first encouraging impact we want to achieve with the support we receive, for example, artists like Monsieur Perine, Cesar Lopez, signing film Manolo Cardona, the Mission Impact of RCN Television project, the contribution of Cine Colombia to project short of this project, we open the doors to expand the network. We want to have a successful commercial platform for craftsmanship.

Will not the craftsman is still profitable stay, for example, by fabric on fabric in the neighborhood Los Laches, south of Bogota. We want to change this situation. To start we will go with AM to homes of artisans to perceive their work and their own community's values.

What artisans are involved?

DG: We have three traditional techniques in this first collection. Hats Sandoná (Nariño), applied to tissue chin basketry Tenza (Boyaca) and fabric on fabric Bogota women. There are also two crafts: a woman carving on nugget handle and which invite for small orchids for our parade with this seed. This is a new development. With horsehair discoloring and woven (horses that no longer leave them long lines) we are doing small beads that are sewn on textile bases. From the sketch to the cutting and sewing work closely with the artisans.

Maria Luisa Ortiz (MLO): I love still amazes check artisans demonstrate their craft. During the video shoot we did about his work I found them and I share something important in our lives that are so different: our mothers passed on to us the knowledge and passion for what we do.

The sequence of color reflects something too ...

DG: There is a color palette born alone. It is not an invention or a purpose. This arises because we wanted to tell a story with what accomplice Maria Luisa and I are living in relationship with fashion and crafts. Thus the character of Colombian woman living in the country should support their children emerged. Is the story line that supports the collection of costumes. To this lady called Maria Alcira. It is dedicated to sewing and inspired by their physical environment: white openwork become ringlets; blue sky and gray cement surrounding moves to the bodies of the bibs dresses and shirts.

MLO: This woman is expanding its home as your family grows. The floor of your home is tile and that influences the textile design print in this sequence costume. In this fictional worker happens what many Colombians: the advent of what we call "the black cloud". A very tough circumstance that causes suffering and fear for his life. Hence the need to communicate the real issue through orchids armed themselves from a graphic design in camouflage emerged in the collection.

DG: In our story, Mrs. resolved not leave home until finally pass the "black cloud". Your garden as a metaphor flourishes. That marks the end of the collection in which orchids appear as accessories on garments. Later, the second chapter of SOY must pass in Silvia (Cauca). The third has to do with the negritudes. And continue. This project is something for life.

Have you been a new way to design?

MLO: I made a new interpretation of my style hip-the dress(formal dresses) is bias cut, tapered silhouette skirt 50s, blouses and coats shorts- kaftans in conjunction with costume pieces that has developed Diego for the novels " mother Laura "and" white slave "-corsés, jacket sleeves, collars tray, peasant skirts and hats high in fiber glass green wall. I felt a lot of freedom to work because the workshop Diego has strength and ability to solve technical clothing items requiring a lot of rigor. That allows me to risk more with the proposal that I make silhouettes. With cottons, cloths, -troquelados- spacer, satins and silk chiffones -estampados with orquídeas- we have solved the textile proposal.

How have you thinking create the business model, they have sought an investor?

DG: For now with the support of my partner in Guarnizo-Lizarralde Workshop Art and our own wallets. Once seen our work on the catwalk we take more steps. From fashion shows to sell the pieces one by one by order or participate in multi-brand stores design to entice some entrepreneur weight.

MLO: We started this project from the creative direction and not from the numbers. However, we are aware that respect must be sustainable by the artisans. We need to generate more business for them. We are still in gestation. We know this is difficult but it is key to find new purposes to strengthen our business in fashion.

What is finally is that you are exchanging their knowledge. Maria Luisa, his technical knowledge of design and Diego, his experience in the narrative of the novels for television to develop an original story in which the protagonists are craftsmen.

MLO: We have incredibly fluid. She was used to tell a story with my parades but in this exchange with Diego I received a deeper charge to develop this narrative behind a collection. In addition we have included scenic elements that enrich all wooden benches carved by hand on the catwalk; floor tile is inspired by Southeast Antiochian and craftswomen paraded with professional models.


DG: What happens in AM is this melodramatic story full of details and has spread in Marilú -We hope that more and more people- an interest in understanding our origins.