In the ever-evolving tapestry of fashion, where bold creativity intertwines with nostalgic tributes, Antía Vieiro emerges as our “One To Watch” designer in our new issue. Her latest oeuvre, the ‘Florita’ collection, is a time capsule that transports us to the 1960s—a decade known for its distinct fashion statements and cultural shifts. Antía’s collection is a heartfelt homage to her grandmother’s era, the craftsmanship she witnessed in a quaint haberdashery, and the intimate connection between apparel and the comforts of home. Masterfully blending past and present, Antía’s designs celebrate vintage aesthetics with a contemporary flair, earning her well-deserved attention in the competitive world of fashion. Join us as we introduce the skilled hands and visionary mind behind ‘Florita’, and delve into the nuances of Antía Vieiro’s artful collection, which pays meticulous tribute to the generation that sewed before her.
Antía, can you tell us more about your heritage and how it influenced the Florita collection?
My family owned a haberdashery where my grandmother worked alongside her sisters and aunt in the late ’50s and early ’60s. “Confecciones Laurita” was the original name of the shop, located in Santiago de Compostela. The name that the company carried was that of my great aunt, the founder of the family business in the post-war era of the 1950s. Alongside selling haberdashery items, they also sold household linens such as nightdresses, slippers, and baby clothes, which they crafted themselves. This world that I’ve described sparked the inspiration for the concept and design of the garments in the collection.
In what ways do you believe your Fine Arts background has contributed to your approach to fashion design?
An awareness of the creative process is crucial in any project, and my training in Fine Arts, which preceded my Master’s in fashion, has made me increasingly conscious of this. With a broad spectrum of visual artistic references, a keen grasp of the colour palette, and proficiency in drawing for print design, these are skills that were enhanced during my Master’s degree but were already partially developed during my Bachelor’s degree.
The ’60s is a distinct era with vibrant fashion statements. What drew you to this period specifically for your collection?
I intended to correlate the relaxed, pyjama-like aesthetic of the ’60s with elements from the home reminiscent of that time, such as the floral prints of bedspreads, crochet curtains, the cretonne of upholstery and haberdashery details like trimming. The baby doll style also came into prominence during this time, featuring matching pyjama tops. Furthermore, the palette of pastel shades that were used in bathroom fixtures of that era plays a significant role in this project.
You’ve incorporated a “Coquette style” and references such as Sofia Coppola in your designs. How do these influences materialize in your collection?
The American filmmaker Sofia Coppola has greatly influenced this collection with her retrospective of vintage aesthetics and romantic, flirtatious settings in two of her films, “The Virgin Suicides” (2000) and “Marie Antoinette” (2006). She has delved into various facets of femininity, exploring the transition from girlhood to womanhood and the thrill and trauma of these changes. Coppola has elegantly challenged the predominantly male world of cinema with a type of dreamy intimacy; her films are sophisticated and romantic.
“The Virgin Suicides” offers a poignant fable about the destiny of a group of sisters, with much of the action set within their home. Here, the romantic nightgowns align with the psychological exploration in poignant settings. Meanwhile, “Marie Antoinette” aesthetically transposes an 18th-century tale to contemporary relevance. With a fancy dress, a grand palace, opulent carriages, and a dominant pastel colour scheme in costume and décor reflecting leisurely moments, the film seems contemporary, reminiscent of perfume commercials and coquettish artworks, an influence echoed in Jacquemus’s Chou Chou collection from autumn 2023.
What is the significance of the name ‘Florita’ for this collection?
Florita is the name of my grandmother, who is the central figure and principal inspiration for the aesthetic and concept of this project.
read the full interview here:
Interview by Marcel Schlutt
Creative direction & Fashion by Antía Vieiro @antiavieiro
Photography & Edition by Sara Gil @saragilmz
Models: Laura Balagones @laubalaa
Yolanda Rodriguez @yoliriri
Hector Velasco @hectorvelascof
Shara Pérez @shaperez122
& Ricardo Rodriguez @rikiii_rd
