1000 Ideas by 100 Fashion Designers

Jessica Trosman 149

044

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Although Jessica

Trosman is making

more of a name for

herself in the fashion

world through her

trosman label, she

refuses to leave Buenos

Aires, the city where she

 nds her inspiration.

She is also a great

admirer of National

Geographic magazine

and feels nostalgia for

legendary, ground-

breaking architects

like Charles Eames,

Frank Lloyd Wright,

Le Corbusier, and Mies

van der Rohe, which

motivates her to design

garments using different

methods than other

fashion designers. She

decides on a silhouette

by making scienti c

decisions and creates

each piece as if it

were an architectural

project, making each

part appear assembled

instead of sewn. These

delightful constructions

are currently on sale

in prestigious stores in

Europe, Asia, and the

US.

Jessica Trosman

www.trosman.com

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432 DEVELOPING A COLLECTION. We

don’t believe in the precision of design

at all. The perfect drawing or computer-

assisted design doesn’t interest us. On the

contrary, we like to think up and create

solutions in a chaotic, circumstantial,

and spontaneous way. The instruments

of precision have no pride of place in our

lives. It’s much more important to become

visually infected; to have a heap of ideas

and not to  nd where we left our favorite.

433 M

ATERIALS. The choice of a

material can be due to many things: by

chance, triggered by a memory. We almost

never like synthetics.

434 C

OLORS. We don’t always look

for the same thing in our choice of color.

Sometimes we try to give a feeling of

security; other times we try to confuse

and irritate. It’s like composing music and

thinking about how the chords are used.

435 T

RADITIONAL MANUFACTURING VS.

EXPERIMENTATION. It isn’t good to suggest

that one should work in such a structured

way. I never decided to have a signature

piece, although some people say that we do.

Afterwards it’s good to become aware that

such a thing exists, but only afterwards.

The moment of creation should be chaotic

and visceral.

431

I

NSPIRATION. We work continuously and constantly; we never “start” a

collection. When there is a commercial need or a communicative need to

present a collection, we show a selection of our latest designs at that time.

150 1,000 Ideas by 100 Fashion Designers

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436 BRAND VA L U E S . At the moment, the

only thing my label promises and achieves

is to satisfy my taste. The only thing I

believe I’m capable of doing is what I  nd

appealing. It just so happens that nobody

is totally unique in their preferences,

which is why there are people who seem to

understand me. In any case, it’s something

I have no control over.

437 C

OMMUNICATION. Communication

is something I have fun with. I don’t know

whether it’s important or not, only that

it’s a part of the job that I really feel good

about. I don’t have any de ned message

or strategy to begin with. I don’t see it

as something separate from the design

of products. I would never delegate it to

anyone else because I see it as an integral

part of what I’m offering. I don’t think

that  rst you have to design an object and

then you have to design its communication.

I believe the objects are integral parts of

communication.

438 E

VOLUTION. I don’t believe in

enhancement because I don’t think it’s

intelligent to think of things as better or

worse. Everything I do comes from that

moment. I like to see what I do only as

a testament to how I experienced that

moment.

439 A

DVICE. You have to feel

comfortable in order to work and in order

to move with a lot of freedom. Comfort

gives you knowledge. It’s good to learn,

know, and later handle this knowledge

comfortably.

440 A

CKNOWLEDGEMENT. In my case,

I think the best praise is my own. But it’s

praise that I haven’t achieved yet. I always

have a feeling of frustration–the feeling that

the next collection is going to be the one to

really show what I want to. It’s utopian and

futile, but that’s how it works for me.

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