Tablecloths, napkins, curtains, sheets and blankets, everything goes when designing

In addition to having been pioneer in settle in Palermo When he began to transform into a fashion neighborhood in the early 2000s, DAM is the store – currently in online format and in sporadic sales meetings – that became worship for those who follow it, For more than two decades.

Also Carola Bessassothe designer and founder of the firm, is referring to the time of talking about the UPCyClingthe resource that consists in developing garments that as the basis have other existing ones, now resignified for a new use.

That mode later became expansive to other fabrics that do not even go out to look because they are part of the daily scenario of all homes, even in different countries.

“From the beginning I worked with those materials, but I was not encouraged to put them on sale at the premises”, Besasso acknowledges, who just dared to give visibility to those pieces during the pandemic. What was the first one? A bag that a hand -woven kitchen gentera was applied in the chest.. That was the kick to start make designs with other textiles from the house; Repeators, sheets, aprons, the so -called grid and floor rag, included.

The benefit? According to its author, this way of doing is mostly emotional, because it is unfailingly linked to the people who already donate to those who receive the remake. “The virtuous circle is finished when someone chooses that garment and lengthens life with their own history,” he synthesizes.

This process is not part of the pollution system generated by the fashion industry. At the same time, there is something else that has to do with the brand’s narrative and that the audience that chooses it connects with the story.

“I always tell them where that garment comes from and all the love that the route entails,” Point out. In contrast to a present where everything is globalized and standardized, for Besasso there are more and more people who run from the mass consumption paradigm.

Friends from very girls, lAs designers Leonor Barreiro and Lourdes Chicco Ruiz were always attracted to the blankets, both for the prints, as for the colors, the textures and for the protection they provide. In those elements they found the material to develop coats made based on these products. The aesthetic issue added an affective component, since, in addition, they are related to the home, memories, attachment and inspiration objects.

“They wake us up something playful,” They indicate about those articles from which they play to find the shape that goes to each body. How do they do it? First they bend and unfold the blanket until they make the decision to cut it, then they sew it by hand with extreme care because it is materials that, although they can have robust appearance, are still very delicate.

In turn, the garments have neither accessories or avios. They can be pieces that the clients have at home and take them to be developed by the designers. Another possibility is to participate in the workshop “I brought your blanket, together we make your Lindor”, for which you do not need to have previous knowledge, on the contrary, there they teach them to cut and the sewing points and seam necessary to put together the clothes.

Also They bet on the tendency to release patterns so that customers learn to do them, something like a fashion creative commons. “We share the main model for those who want, you can download it and make your own Lindor”they express. “In order to democratize access and promote sustainable alternatives,” they add.

What audience do they point to? “They are garments without gender”, They clarify. “Reversible, with cuts and sizes that come in some way determined by the textile with which we are working,” they add. This means that There are no pre -established sizes and they are basic clothing. Some are interested in singularity and design, others because they want to recover some fabric from yesteryear, there are also those that foster the “do it yourself.”

Brand new graduates of the clothing career of clothing and textile by the Faculty of Architecture, Design and Urbanism of the UBA, They announced their idea within the framework of the exhibition “Transiting uncertainty” that this year presented the chair directed by Andrea Saltzman in Proa21.

Thus, Florencia Alvian and Julieta Licandro Meta, Sub 30 designers, Orieundas de Río Negro and Buenos Aires, respectively, They achieved a trip to the past from the archives of their ancestors. That was his main source of interest With focus on the desktop, the anecdotes and the role of the grandmothers of both.

“Our biggest challenge was to capture this feeling of tenderness and sweetness in a family of garments that dialogue with each other,” they recognize. These were designed to form a portrait that can tell a story. “Almost like fantasy costumes that we invent for our memories”, They indicate.

What was the creative process to penetrate clothing? They worked quite spontaneously and the emphasis was on the essay and error until they finally found the way they wanted to give it. To do this They had to imagine the universe where they were going to allocate the clothes they were designing; What would that table be like, who were going to sit around them, what the smells and flavors would be, and at the same time, how the tablecloth fabric was going to fall and how the kitchen apron is adjusted. Those were some of the questions that were raised at the beginning, until they achieved a method to develop typologies.

How do you think fashion will be in the coming years? “We believe to be building that future And we hope that this project is inspired for many, as other works were for us, ”they recognize. “Nothing is thrown”, They insist, and when resuming that expression they value something that for their grandmothers was a norm. “We can create infinite and beautiful worlds with rags, tablecloths and discard,” they confirm.

Graduate of the clothing and textile design career from the University of Buenos Aires, Juliana García Bello already has been working in the world of fashion with experience in international catwalks for more than a decade and with simple line garments, handmade and genderless use. And at least five years ago he chose to start developing clothing with tablecloths, napkins and other home textiles.

That decision was deepened during the time he lived in Arnhem, the Netherlands, coinciding with the moment in which she was awarded in Hong Kong for her sustainable designs. Now, for a few months, it has been back in Rio Grande, Tierra del Fuego, its place of origin.

What does it represent to work with domestic materials? “A deep connection with everyday and familiar,” he says. Something that crystallizes in products that contain memory. For her, giving her a new life through UPCyCling is an act of sustainability and also a tribute to those objects that were part of daily life.

He understands it as a way of honoring what already exists and exploring creativity from the near. “To transform the ordinary into something extraordinary, unique and loaded with meaning,” he explains. When he began, this way of doing was still novel, but over time, the change became significant and the awareness of the environmental impact that fashion has grew exponentially.

“What was previously a niche, is now becoming a global trend,” Analyzes and adds: “I am proud to have been part of that movement from the beginning.”

Any garment to highlight? A vest that is still part of the IDA Foundation Archive, created in collaboration with its grandmother Dora. To do it, he reused shirts from his neighbors and a padding. This garment also accounts for the family relationship maintained along 3,000 kilometers away with his family, from La Plata to Tierra del Fuego.