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Juan Duyos
Juan Duyos
Juan Duyos
Juan Duyos
Juan Duyos
He admits that the missing person Manuel Piña was his big teacher: "Of him I learned everything when I was raw". With Pineapple it began working in 1992 and later with Antonio Pernas, although in parallel it realized proper exhibitions. In 1995 it collaborated with the designer Cecilia Paniagua and founded the signature Duyos and Paniagua. With this name it entered the Footbridge Cibeles in 1997 and in 1998 the British Embassy in Madrid invited him to present his collection in the London Fashion Week. It was in 1999 when Duyos presented his first collection alone and obtained the award L'Oreal.
His parades always have a topic, an argument. That of winter 2009 is called a Theorem. "It is a clear and nice word that sums up for what we were looking in this collection: something mathematical, precise and elementary like leitmotiv". That of spring - summer 2009 takes the Slip-up title and there slides for the colors cake, the tulles, the muslins, hoarfrosts and pearly. He confesses that for the design he is moved by the life, the trips, a curiosity, a memory, a conversation with the friends, a reading...

Juan Duyos is the king of the cocktails of patterns and of textures. I underline this preference and reply: "One had never raised it, although yes it is a constant in my work: it seems interesting to me like game".

In some occasions his models are slightly spectral, as if the androgynous woman preferred. One defends: "I always praise myself for the special women, of atypical and personal beauties, without falling down if they are androgynous... in that I do not notice". He adds that he does not think about how to dress to a certain type of woman: "I always say that they are they those who choose. And this way I prefer it".

Duyos believes that the Spanish fashionable design advances positively; little by little it is taking his position and steadying itself like a proper entity, inside the culture and the industry of the country.

I say to him that some of them think that Balenciaga is more seamstress than designer and defends the Guetaria teacher: "It was quite: a creator". Of the Museum of the Suit in Madrid he makes sure that it is phenomenal: I like the building, I like the collection and it seems necessary to me.

What elegance definition has convinced him more? I ask him and he answers that "It Is so relative and personal that I do not believe that it is possible to define".

For Juan Duyos the textile materials are in charge very much, but also it is necessary to give them another use, and this way new things arise. As for the complements, he admits that everything does: I enjoy designing any thing, when it is attractive and also when it touches and the historical period of the fashion that more he has liked has been perhaps that of the fifties.

It does not have creative muse but Chloe Sevigny always attracts attention of me: he sums up very well everything what I like. With regard to Mrs Leticia, princess of Asturias he says that you saw very correct, he might say that well, even. But I would cheer it up: more personality and less correction, perhaps.

He does not believe that the fashionable designers are so spoiled by the official nature like the artists of movies and theater and waiting of the official institutions "An absolute blast-off of the fashion as part of an industry and of the culture of this country..."

Juan Duyos has designed diverse complements and shoes (in some parade Sanver has presented those of Cardigan) and has done scenographic wardrobe for the ballet dancer Rafael Amargo in his work “Amargo“.
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