Laudatory risqué or gratuitously loathsome? Soulfully slow-cooked fashion or soul-lessly parched? The new wave of China-inspired brands and products is cause for oldschool Sinophiles to turn a whiter shade of pale. And for the world of fashion faddism to spike a fever. GARRASTUDIO, shrouded in the mystique of China’s performance culture, is one brand that enchants.
Inside a rapidly saturating fashion (production) market, tempers flare high among fans eager to see the hottest new presence on the trending scene, from Weibo KOLs to runway. Being Temper Magazine — this is one fine specimen of cheesy irony — we at times admittedly sigh at the sight of yet another disappointing China Fashion dust eating attempt at innovation. Resulting in “been there done that” aggravation.
GARRASTUDIO proves a much appreciated antidote to fashion boredom. The drop‐dead elaborately styled accessories brand coolly evokes hallowed imagery of that archetypical Chinese performance culture — in non-culturally appropriating manner. It’s that new wave done oldschool right.
Temper takes five with its founder: Spanish architect, artist and performer Rosana Galián.
Take 1. Back to Basics: Who is GARRASTUDIO?
Galián: GARRASTUDIO is the name under which I, Spanish architect, artist and performer Rosana Galián, have signed my new creative project combining handicrafts and digital thinking.
Spanish production in the past years has been led by fast fashion manufacturing (i.e. Made In China). I thought it would be a playful contradiction to invert the producer — consumer relationship.
The idea turned into a full-fledged business project one year ago when I decided to use my seven years of work experience as a digital creator in the fields of art and architecture to explore the realm of product design.
Aside from directing GARRA Studio, I am also the co-founder of the creative Fru*Fru group.
GARRASTUDIO studies different cultures, civilizations and ancient architectures and draws upon ornamental shapes which are re-thought in contemporary languages.
Take 2. Asian Inspiration — why China in particular?
Galián: As an architect, I have always been fascinated by Chinese ornaments and how they display both mythologies and popular teachings. Nevertheless, I decided to really dive into this amazing culture because “generating a production 100 percent made in Spain inspired by China” provokes an interesting discourse. Our very first project subsequently resulted in… CHI-01: A collection of acrylic jewels inspired by Chinese ornaments.
Spanish production in the past years has been led by fast fashion manufacturing (i.e. Made In China). I thought it would be a lovely contradiction to invert the producer –consumer relationship.
The research about the relationship between Asia and Europe actually began two years ago when the Fru*Fru group for the first time ever exhibited its “EurAsic Bath” project at the Victoria & Albert Museum in London.
“Eurasic Bath” showcased a dystopia across the Eurasian continent and brought new notions of globalization to our CHI-01 collection.
I am fully aware, though, that nowadays cultural appropriation is one highly sensitive issue and in this respect, GARRA does try to be transparent — and respectful.
Take 3. The Art Of Design: Where does it start?
Galián: The creative process of GARRASTUDIO is a complex one, continuously crossing paths with other disciplines. Narratives, illustrations, video art and music altogether build a cultural cloud around every piece of jewelry before it is even born.
We think that global protocols of consumption have changed. Digital natives now follow the rules of instant consumption and look for an experiential value in the product. In that sense, the GARRASTUDIO pieces try to somehow fulfill an artistic experience, a manifesto of sorts.
Consequently, we share all the digital documents of the creative process with our customers and the archive we keep is as important as the finished product itself.
Take 4. Artisanal VS Digital: Accessories?
Galián: GARRASTUDIO works with digital thought, but also has its artisanal ways. This duality of digital-handicraft is repeated throughout the designs and their manufacturing processes.
We do follow in the footsteps of traditional logic and design a classically architectural ornament, yet we use digital tools and technical software (computer-aided design or CAD) to map out the finalized blueprint.
In that very same way, we use computer-aided manufacturing or CAM to obtain each piece — but we still must and do assemble and paste together the pieces one by one, all by hand.
Take 5. The New Made In China: Your two 元?
Galián: I may not be a fortune-teller, but I do have my personal intuitions and wishful “thinklings”. I’d like to think that fashion and design at large are in fact political tools.
When you look at arts and crafts as part of the political toolbox, gender and technology could become the protagonists of the future.
We are living in crazy, yet very necessary revolutionary times set in this topical context centering on both fashion and design. The objects surrounding us must become part of the overall transformation we’re headed for.
Chinese design is slowly but surely starting to show its provocative power and prowl in the abovementioned respects and I think this will keep it going strong in years to come.
GARRASTUDIO and Fru*Fru Froom prove to be both Va Va Voom as well as thought-provoking. Duality in both fashion and performance culture can include both vexation and inspiration.
In the case of GARRASTUDIO designs, the combination of China’s characteristic and contemporary culture proves a rare revelation.
Do you like what you see? You wanna PDF me? [bws_pdfprint]
Featured image: Beijing Opera YINGXI mask. Image courtesy of Tatiana Poggi (IG: @tatianapoggi)
Contact GARRASTUDIO via:
Phone: +34 650550341
Images come courtesy of GARRASTUDIO
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