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For: Josefina Figueras
Jesus del Pozo
Jesus del Pozo
Jesus del Pozo
Jesus del Pozo
Jesus del Pozo
Jesus del Pozo
In his more than 30 years of profession Jesus del Pozo has lived with intensity through all the ups and downs of the Spanish fashion. It was a key element of the "action of Madrid", it has been in the beginning of the Footbridge Cibeles and has been the first President of the Creators' Association of the Fashion of Spain. In the last years his fashion has given a more commercial draft without losing his identity signs: a miscellany of lyricism and refinement, with a touch of oriental esthetics. In his last collection it has been praised by a sophisticated and slightly mysterious woman.
How did his trajectory start inside the fashion?
I started by a few completely different ways, studying Industrial Engineering and left it to study Interior architecture. I was noticing that the man's clothes - we are speaking of the year 74 - were tremendously boring and that's why it was doing the whole clothes to me to measurement: the shirts, the suits. The people often were asking me: where have they done this to you? Ó: Where have you bought them to yourself? Then I decided to open a shop that was offering exactly the type of clothes that I was doing. It did not have major aspiration to have a shop that was doing nice clothes. Later it was like a snowball like which it was enlarged.

When did his first collection present? 
In February, 76 I presented my first collection for the Chamber of the Spanish Fashion and they decided later to present my man's collection in Paris. There I saw that it was successful inside a type of the very special, very elitist people, that controversy was arising and all this gave me forces to keep on fighting.

And since it happened to do woman's clothes? 
Although it was selling man's clothes there were entering the shop many women to buy to him my designs, then there came a moment in which it had many specific orders for women and I decided to leave the man's clothes and to do it for them.

In spite of his long years in the office …: does it feel safe at the time of creating or the doubts assault him still? 
After so many years I feel every day the terror of the blank paper. It is something to what I have not got accustomed but I do not scare the risk. I stake it in every collection. I to go to the sure thing neither in my life nor in my work, that's why my collections touch the sensitive fibre of the people. I am radically visceral. I was born like that and I them will be all my life.

I believe that in an occasion they proposed to go to New York with the possibility of giving the big jump: Why did not he accept the challenge? 
If, a company proposed to me to mount me in New York and to throw my name. Then some American magazines as “Women's Wear Daily” was speaking about me. I could make use of the lode but I did not accept. I had liked to create a mark of world fame but this was meaning to have to remove me from my family and from my friends. If it had gone it would have obtained a series of things that I have not obtained, but I have felt always very free and can have handled myself to my style.

Vd. has done very creative clothes but in the latter years a decantamiento is appreciated by a more commercial style: To what does this draft owe? 
I believe that it is very important in every moment to know that it is what you are doing and that is what you have to obtain. Every thing has his magic and his difficulty and everything is nice. I have done commercial things, functional uniforms and have gained important contests and at the same time I have presented taxable seam collections. I have needed along my career to do of everything. That do not take from me this part of investigation, of painting, of essay. But along with all this I can do the most functional point.

But does not he believe that the commerciality reduces quality? 
There are creative commercial fashions and not creative commercial fashions. There are the people who does commercial fashion with creativity, with investigation and with good line and the people who does simply dressmaking and this are another history.

Has it changed the designer's concept from the 70 when Vd. started up to today? Earlier only the perfectionists were triumphing with the design: does he keep on believing in the power of the pure design? 
I do not believe in another thing, because this is what to do to him. The designers what we must do is to surround us with a good team and I have had the fantastic people around me. You have to surround yourself with persons who understand the marketing. Mine is to do collections, to investigate, to prepare. Not to copy and is known that I would like but it does not leave. I do what goes out for me as the way of speaking goes out for me the letter o. There is very coherent my way of working with my way of living, of being with my family, with my friends. Everything unites in a philosophy of the life. I have done designs of furniture that are subject to the same line of design as the woman's clothes, the wedding dresses or the glasses. Everything is somehow under the same prism.

When he designs: does he think that it does slightly only? 
No, I do not claim anything. Only I do what I like and point. I am not most indicated to judge what I am doing. When I do a uniform I claim that it is functional but that it is nice, when it is an opera what I claim is that fantastic images go out … and later if it is an art or is not an art, it is better or worse it is not up to me to say it to me, but to the others, to the public the one that is directed.

What does he think about the employment of the technological textiles that so much show themselves at present? 
I believe that they mean an important step. I think nevertheless that we must rescue the natural textiles and contribute only the new thing that is worth while.

Vd. is a big Balenciaga admirer: How does he believe that he had accepted the challenge of the new technologies?
Balenciaga was a genius, that's why I believe that it could have done marvels now, just as it was doing them in his moment. But nevertheless it investigated greatly, greatly on the artificial silks. Balenciaga them worked like nobody, even supported very much the textile industry of his epoch, that of the 50 and the 60. All the materials that also were a fruit of the technological revolution of his epoch were used by it and it would have used today these with the same mastery.
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