I asked him what he meant and he sent me a reference of an Oaxacan vase and a picture of the Aztec calendar. It confirmed a similar, abstract thought that I had about them: they had this unintentional Mexican essence in their visual language, in their DNA. What about not being factory-made enriches your designs? Can you dive into the intricacy and intention that goes into each handbag?
Each piece is unique; no two are the same. They were born out of days and days at a foundry where the aluminum part is made and at a studio where the leather part is made fine-tuning every detail.
I also made some sort of unspoken vow that whatever I did create, I would do so in Mexico, alongside my people. What does femininity mean to you and how is this a fluid concept, as displayed through your designs? Femininity to me represents beauty, elegance, and poise but simultaneously that which is unknown and cavernous, like female genitals or a venus flytrap.
Your designs are hand-sculpted and forged from recycled aluminum and leather. Can you take us through the sourcing and sculpting journey and why you decided to use these materials, which are more difficult to come across than traditional leather and aluminum? I knew I wanted one component of them to be a lightweight metal that doesn't tarnish, so I decided on aluminum. I asked a Colombian friend and architect that lives in Mexico City if he knew where I could make this bag β at this point, I only had 2D drawings and a bag I had sculpted out of clay.
He told me about this foundry outside of Mexico City. I went and I loved it β shoutout to Manuel. I told him it was important for me to consider the sustainability of the bags. He said he could recycle the aluminum, melt down any unused metal and repurpose it for the bags. Then there was the receptacle component of the bag, which I wanted to be made of scraps or leftover leather from other productions. I went to my friend Sergio that has a large tannery outside of Mexico City to look through their scraps and leftover inventory.
