“Knowing what it is you want to say is fundamental”

What memories do you have of your childhood?

I remember I hated the sea and doing sports. And that I used to eat very well.

How did those early years in Esporles make an impression on your creative facet?

When I was small, I was fascinated by the stories my grandparents told me about the Civil War, and the smuggling that came afterwards. I was amazed by the fact that all that took place in houses where families still lived. With all the frivolousness and thoughtlessness of an 8-year-old, I told my grandparents how much I would have liked to experience those historic events, wear the woollen suits and flax shirts that people used back then, form part of the magical, heroic concept of the resistance and the struggle... Obviously, at that age, I didn’t take into account numerous other aspects related to those years.

When did you feel truly drawn towards fashion and art?

The other day a relative told me that when I was 4 years old, I already used to tell her how she should dress, and if she didn’t take any notice of me, I would start crying. She made an effort to please me, but apparently my proposals were anything but discreet.

Who were your references at the beginning, and who are they now?

John Galliano, working for Dior, was one of my first influences. And the classics like Poiret, Schiaparelli or Velázquez. Recently I have been inspired by people with curious lifestyles, or those that clash head-on with my principles, such as de Paz de la Huerta, Cayetana Álvarez de Toledo or José Luis Manzano, but who eventually lead me towards interesting reflections and terrains. What I like the most about theatre and film is that every project is framed within a different context. For example, right now I am researching the attire of the French Navy in 1800, and USSR rhythmic gymnastics, and this allows me to constantly learn and absorb historical and aesthetic references.

What method do you follow when tackling a new project?

Knowing what it is you want to say is fundamental. Things change during the process, and leaving space for experimentation is important, too. I believe that both the stage and the audiovisual side have a critical political and social task to do that cannot be ignored.

What defines an artist, in your opinion?

In my closest circle the word artist or film director give rise to respect or modesty, and this is because these terms have been given a rather pompous usage. “Artist” is a person who communicates and works on the aesthetical. The most interesting thing is to play down the figure of the artist in our society. Only in this way can the artistic be democratic and consequently have value and meaning.

How have you lived out these months of lockdown?

I have spent the lockdown in Madrid, in good company. In my case, I had finished my studies one month before starting lockdown, and pausing has enabled me to rethink certain aspects. And I also took advantage of the time to resume pending plans: see all of the films of Haneke and Hitchcock, do puzzles, see Death Becomes Her and all of the videos of Manuela Trasobares on YouTube.

What is your view of the situation of humanity during and after these circumstances we are experiencing?

I find it hard to have a perspective on what is happening in the world. One thing I am clear about is that I am frightened by the rise of the far right and the policies countries like the United States and Brazil have applied during this crisis. This pandemic has been classist and sexist, very cruel with certain layers of society.

What do you judge to be the role of art in situations like this?

I am concerned by how [...]

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