For this new edition of the most commented dress every January 1 in our country,
Cristina Pedroche and Josie
, in charge of the
creative direction of the styling
, have not only chosen an epatante dress: they
have chosen a museum piece
. The
dress
that the presenter has worn to give the
bells in Antena 3
and start
2022
is
a piece from the spring-summer 1991 collection of Manuel Piña
, the late designer who marked the Movida Madrileña and whose figure is honored in the
Manuel Piña de Manzanares Museum
(Ciudad Real)
. However, first we must talk about the obvious:
the style reminds of a dragonfly and even a beetle, symbol of the disappeared brand of La Mancha.
"This is a look that revolves around a museum piece," Josie exclusively comments to Yo Dona
. "
This dress from the past (Manuel Piña spring-summer 1991) seeks to return to the present
and form you with a contemporary look typical of 2022, and for this it dialogues with a
winged cape from
BUJ Studio
and the steel accessories from
Manuel Albarrán
.
It is a look Tribute to Manuel Piña, a top-
rated honorary tribute to one of the most powerful fashion creators of
the eighties generation, whose work we have seen hidden behind many designs created by more contemporary brands that have made it appealing again without crediting it. ", keep going.
Cristina Pedroche wears a design from the Manuel Piña Museum for Campanadas 2022 under the creative direction of Josie. Juan Borgognoni
In this sense, the Museum carries out an unavoidable conservation and dissemination task, which is now enhanced thanks to this event.
"For the Manuel Piña de Manzanares Museum it is a very exciting project and a very important boost for the dissemination of the figure of Manuel Piña
, which is what we work for", tells Yo Dona
Julián Nieva, Mayor of Manzanares
. "It is obvious that an event like this, with such an incredible audience,
is the best showcase and speaker that we could have to make it known to the general public
, for which Manuel Piña, who died 27 years ago, is a great unknown. Although not stop being a festive moment,
Cristina Pedroche has managed to ensure that her broadcast of the bells, through fashion, always has a message.
This year, in addition, it has become a tribute to one of the greats of Spanish fashion ".
Juan Borgognoni
"There is a very personal component in all this
because of the origins that unite me with the self-taught genius of La Mancha, whom I had the honor of meeting when I was a child ...", Josie explains. "It has been an immense luck to be
able to claim his figure in a prime audience event whose exposure has been growing during six years of working with Cristina Pedroche
. I could not miss the opportunity to
disseminate fashion for this maximum audience
, which surely has not been realizing the importance of this creator in general and in 2022 in particular, since designers from all over the planet are beginning to review silhouettes very similar to those that Manuel Piña cultivated during his career ".
The choice of this piece and the theme underlying it, which is none other than the
metamorphosis of insects
, represents a
qualitative leap for Pedroche and his team
, who stand not only as a metaphor for a long-awaited general transformation, but also with
disseminators of a fashion far from the big urban centers.
Culture happens on the margins.
"All those responsible for this action
have updated the inspiration in the metamorphosis
of insects and we have followed his original sketch [by Manuel Piña] so that a kind of post-
pandemic firefly brings us light and hope
through Cristina Pedroche, with her energy unique, "develops Josie.
"There is past, present and future in a look that I am convinced will not leave anyone indifferent."
And precisely for that reason, these are all the details of Cristina Pedroche's look.
Cristina Pedroche's dress
"The Manuel Piña was made in 1990 and belongs to the Manzanares Museum, where it will return to be exhibited in 2022 with this
New
Year's
trouseau
that invites you to visit museums like this one, those that
escape the cultural circuit of the great capitals
", says Josie for Yo Dona.
The technical coordinates are as exceptional as the fact that in a "prime-time event with fanciful features" a
"tourist-cultural call" is made
(as Josie comments).
The first thing to consider?
The material.
Juan Borgognoni
The dress is piece I.0116 from the La Mancha museum
, a
transparent design made of openwork and metallic taffeta
;
a choice made by the designer in 1990 to illustrate the metamorphosis of insects,
their rebirth after leaving their chrysalis
.
In addition, the garment is finished with
metal rivets
that create a beetle shell, the logo of a now-defunct brand.
An image that symbolizes the
necessary transformation in these uncertain times
and that, in addition, is finished off by the cape made by BUJ Studio and the accessories by Manuel Albarrán.
Original sketch of the design by Manuel Piña.
The cape of Cristina Pedroche's look
The second most outstanding piece of the night was carried out by
BUJ Studio, a brand specialized in experimental fashion and 3D designs
launched
by fashion designer and architect Raquel Buj.
The theme was clear: metamorphosis. The challenge, too: that the cape dialogues with the piece by Manuel Piña and sublimates it.
"The works of Manuel Piña are fascinating and they are very contemporary to me," Buj tells Yo Dona.
"We have dialogued with the work of Manuel Piña in many aspects, both material and conceptual.
Experimentation with new materials and Manuel Piña's artistic vision of fashion are fascinating to me and are the basis of our work. In my studio we experiment with all kinds of materials, in many cases rescued from other disciplines, we work with
artisanal and technological techniques
to generate new materialities that are more sensitive to others and to the environment ", says the designer.
Cristina Pedroche in a dress by Manuel Piña, a winged cape by BUJ Studio and accessories by Manuel Albarrán. Juan Borgognoni
"The Manuel Piña dress that Cristina wears in the bells is made with
a very interesting material, a kind of transparent mesh with metallic and iridescent tones whose volumes are inspired by the skin of an insect,
" he continues. "For the design of the cape that covers the dress, we
reused some materials from our studio that would dialogue with the iridescent material of the dress.
We mixed it with various techniques and materials to give an
organic and changing texture
inspired by the reference of the insect in the dress of Manuel Piña. We have learned a lot from the work of Manuel Piña, working at the same time, in the same line of study, building
new, more sensitive skin for the coat.
". Once the conceptual requirements have been completed, it is time to attend to the technicians.
580 hours of work
through (250 hours for 3D pencil, 150 hours of heat manipulation, 150 of materials manipulation, confection and 30 hours of laser cutting).
"The structure to hold the wings together and to the body of the cape was an interesting challenge
,
" says
Buj. "On the one hand,
the wings could not be very heavy so that they would not fall under their own weight, but, at the same time, they had to be self-supporting.
We looked at the interesting design of the
dragonfly and butterfly wings, light and resistant
. We digitally drew its shape and its internal structure of veins that we laser cut into various materials. Even with the optimized wing design, attaching them to the layer was not easy.
Through intense work with the 3d printing pen and various filaments
We were able to generate a very resistant structure that joins each other and to the layer.
In addition, this technique helped us to give the layer a very organic and changing texture that seems to be made directly by an insect. "
Among the materials used are
transparent PETG and PLA and TPU 3D printing filaments
in different shades, as well as water-soluble sheets.
The accessories of Cristina Pedroche's look
One of the great novelties of this year has been to be able to see the presenter with a
helmet
that completely covered her hair. "We have seen a different Cristina Pedroche:
without hair, with a steel helmet, with a silhouette that she had never worn, a futuristic footwear with a front peak that she had never used
", Josie comments for Yo Dona about styling. Some accessories that, as you will already know, have been
made by
Manuel Albarrán
,
a designer who has collaborated with numerous names in international fashion and entertainment.
"Being part of a project with Manuel Piña is something that I would never have imagined since he was one of my references when I was studying fashion design
" Albarrán tells Yo Dona
"I remember perfectly that dress on the Cibeles catwalk,
those images that They remain engraved on you. So when I saw it again it was a
flashback
, so
integrating my metal accessories into the project and in particular with Manuel Piña's dress has been very satisfactory and fluid,
since I feel a bond with him. in my apprenticeship and my first years in the world of fashion. "
Juan Borgognoni
The helmet, one of the most striking accessories, is made from
brass
, a design that has been
worked by hand with a hammer on a flat metal plate
to achieve the shape that adapts perfectly to Pedroche's head. Subsequently, the piece
has been polished and finished with a chrome plating
to obtain a smooth finish that follows the thematic line marked for the night.
However, the main challenge for Albarrán has been the shoes since, as the designer confesses, he does not have as much experience with them. "
The first prototype I made fit perfectly with the concept of the project; the complication was the execution of the project, which took me a little more time,
to make it as comfortable as possible, within the complexity of the design when wearing such a long point in the front and taking into account the own weight of the metal ".
To bring them to life,
the structure of the design was built through a stainless steel sheet, cut and polished
to obtain the flattest surfaces, in a process similar to that used in the helmet. Once the structure was finished,
the pieces that make up the design were assembled through a riveting system
, always joining them from the inside to the outside so as not to compromise the aesthetics of the result.
"They are very futuristic metal accessories,"
says Albarrán, who maintains that his projection in Spain has been "quite slight" since, unlike other markets, his product "does not have much outlet here."
But precisely for that reason "participating in this wonderful project for me is
a great recognition at the national level and a gateway to new projects
now that, due to current globalization, you can reach the whole world with the same image."
According to the criteria of The Trust Project
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