Entrevista de Ariadna Ferrer Ibiza

Ariadna Ferrer

In 2013 was created the brand ‘K de Kose Kose’, but Ariadna Ferrer (Ibiza, 1978) has dedicated to the world of fashion for 20 years. She studied design of clothing, dance and dramatic art and has worked in circus design, theatre and dance. Ariadna ensures that “artistic direction is one of her strengths” and within the world of performing arts, she has designed the fashion shows of firms such as Swarovski, Llongueras, or L’oreal -among others-. Ariadna has managed to position her brand of contemporary textile jewelry and accessories 100% handmade, K Kose Kose, as one of the new reference brands for lovers of exclusivity and distinction.

What does it mean for you to be an Adlib brand?

It supposes a platform of projection to the world and an opportunity to reinterpret our folklore, our roots and to open new ways of creation based on freedom.

What is the concept of the K de Kose Kose  products?

Value the craftsmanship and design linked to the true essence of Ibiza.

Where do you find the inspiration?

In history, folklore, art, cinema and music.

What is the relationship between your products and Ibiza?

There are those who confuse copying to the satiety and the lack of creativity with preserving the tradition. I dedicate myself to design, not conservation, or mummification. My respect for tradition leads me to study it to understand its true nature and re-inject it with meaning to bring it closer to the current public. It must be understood that the gold of the pagèsas ventures, to give an example, is exactly the same that was brought from America in the year 1400. The gold does not disappear or is destroyed, it has undergone multiple transformations, and has gone through different forms and places until it reaches the contemporary era. And that shows that our roots have to be sought in other cultures and much further than we think. I enjoy unraveling that part of Ibiza and I try to be reflected in my designs.

What processing techniques do you use?

I start by sewing, but I also apply techniques of headgear, marquetry, leather…

Who are your designs for?

Although they are very feminine, I would dare to say that, for free and daring minds, without distinction of sex or age.

You are currently working on a wedding collection. What kind of accessories do you design for this special occasion? How is a bride of K de Kose Kose?

My proposal is an androgynous bride, my ideal model is Tilda Swinton.

How do you adapt your collections to trends?

We do not do commercial fashion, we do not adapt to trends, in fact, we create them and most of the time we anticipate them. But not because we are “cracks”, but because it is part of our work to observe the current situation and the social environment. It is part of a good designer to know what is coming, but not especially to follow it. The tendencies are transient, the artistic values imperishable. And with contemporary jewelry and accessories you have more opportunities to do what you want.

“As a creator, I think like an artist, I produce like an artisan and I go up to the catwalk as a designer”: Could you explain this phrase of yours?

“I think like an artist” speaks precisely of the intention of durability with which I create my pieces. My pieces at the end of the season are not in balance, on the contrary, one of the characteristics of jewelry is that over time acquires more value. “I produce as an artisan” means beyond the literal, that nowadays the industry demands to deliver orders before yesterday. I defend that well done and different things need their time. And, “I go up to the catwalk as a designer” means the challenge of giving visibility to the craft and upload it to the catwalk in such a way that you do not realize it’s just that: craftsmanship. That part of the work that is always invisible in workshops behind the figure of the designer.

You have studied design of clothing, dance and drama, is it a good combination? How do you apply all that baggage in your creations?

In clothing I learned that the fashion industry is not just VOGUE. So I apply and practice the search for authenticity, as a way of making myself indispensable. The dance helped me with the staging and the musicality of my proposals on the catwalk. I have achieved that when people want to see a model do something other than walking, they call me. And the dramatic art, as well as for the narrative, has helped me to know how to give personality to the models.

Nowadays, can you live from handicrafts?

It can be done, but it is really complicated and we are missing references.

Tell us about the “acting for models” project that you carry out with your partner.

We are in an era where the reification of women reaches unsuspected limits thanks to social networks. A very high percentage of women is modeled on, bloggers and pseudomodeloswhose are putting chicks and foot of barbie. We give tools to work in front of a camera and we throw away the stereotype that you can only be a model if you are tall, young and beautiful. We believe that beauty goes far beyond all that. My partner and I make the ideal tandem for shootings. If you want a more commercial picture we also do it, but if you want to get out of the setteled way you have to be willing to risk.

Do you think that in Ibiza the fashion sector is in a good health? What initiatives do we need to promote it?

I believe that the diagnosis of the island can not be separated from the global diagnosis. The textile industry is going through one of its biggest crises. We have realized that the outsourcing of industry and the exploitation of labor in more disadvantaged countries also ends up undermining our resources and impoverishing our heritage and human capital. With the difficulty that now we do not know how to retrace the path we have traveled, when we are already in the midst of a technological revolution. If we are intelligent, we will make good use of it, otherwise it will end up engulfing us. And as initiatives at the local level, proposals are needed to update the sector in these new technologies. More support is needed for the “kilometer 0” sale. We need to protect more and support local stores with local producers and designers.

What are your artistic goals?

That future generations recognize my work as their heritage, not as a superficial and transient fashion.

What is the Leitmotiv of your brand?

Give art, design and craftsmanship the place they deserve. As well as the demolition of stereotypes and barriers.