JUDGEMENTAL GAZE: A CHAT WITH MARTINA PISTORINO

Martina Pistorino, a talent born of the vibrant city of Naples, Italy, belongs to the class of ’99 – a designer whose presence in the fashion realm is as captivating as it is enigmatic. Embedded within the bustling streets of her home city, Martina’s creative energy pulses with a specific vibrancy that sets her apart in the world of emerging fashion design.

At the core of her innovative work lies ‘Noia e Narcisismo,’ a portfolio that serves as a canvas for her artistic expression. Instead of baring her soul through conventional means, Martina allows her creations to paint a vivid picture of her identity, opting to communicate through the language of textiles and silhouettes. Delving into her portfolio, one encounters a lexicon of keywords that serve as glimpses into the psyche of this enigmatic designer. Instinctive and observant, Martina possesses a keen ability to draw inspiration from the world around her, translating fleeting moments and emotions into tangible forms of expression. Her work is marked by a sense of realism that grounds her designs in a relatable and authentic aesthetic. Narcissistic and humorous, Martina’s creations exude a sense of self-assuredness and wit, inviting viewers to engage with fashion on a deeper, more introspective level. There is an air of arrogance in her designs, a boldness that challenges traditional norms and pushes boundaries in pursuit of sartorial excellence.

In a world where fashion serves as a mirror reflecting the myriad facets of human experience, Martina stands out as a beacon of creativity and individuality. Through her work, she invites us to explore the depths of her imagination, offering a glimpse into a world where artistry and authenticity converge in a symphony of shapes, colors, and textures. As Martina continues to carve out her place in the ever-evolving landscape of fashion, she remains a figure to watch, a rising star whose trajectory promises to leave an indelible mark on the industry.

Through her work, she sparks a dialogue that transcends language and cultural barriers, connecting us in a shared appreciation for the transformative power of fashion. As Martina’s star continues to rise, one thing remains certain – the fashion world is in the presence of a true trailblazer, a visionary whose creations speak not only to the present moment but also to a future where creativity knows no bounds. See below our exclusive interview + keep an eye on Martina, for her journey is just beginning, and the possibilities that lie ahead are as boundless as her imagination:

Are there any activities outside the realm of fashion design that are closely connected to your creative process?

Certainly, actions such as exercising, solitary drives, smelling the rain, and listening to music at such a high volume that it silences the world around me. Rather than inducing creativity, they lead to greater self-concentration, isolation from everything, and reflections on everything. It’s precisely during these isolated moments that I can create because I feel the need to compose something.

The color palette selected for your works seems to have a common thread. Is there a particular reason behind this selection? Is it also a reflection of your “emotional palette”?

There is a particularly strong connection with colors through which I try to make my perception clear. I use black and lilac, and I recognize myself in all palettes ranging from grays to blues. The latter convey complete tranquility, mental peace; they evoke a gloomy sky; the image of light rain; something cold and icy. All of this relaxes me; not surprisingly, I don’t perceive cold in a negative sense it’s as if I feel warmth and life in a paradoxically opposite climate.

Does the design of your garments always refer to specific decades or eras that have dictated the laws of that style? Is there a period you refer to in creating your pieces? Or perhaps an era in which you would have preferred to be born?

This question makes me smile; I often think I was born in the wrong era. I would love to travel back in time to relive the Victorian era. I’m drawn to the pale and mysterious aesthetic, which I try to introduce and personalize in my works. I find many other eras and styles fascinating; I have a propensity for mix and match; juxtaposing opposites and merging them; combining gothic and lolita; taking a tailored garment and making it street. I can’t use a single inspiration or mood; I have several myself. Contamination is definitely a keyword.

How do you manage the phases of your personal creative process? Do you believe there is a routine, now consolidated, in the progression of thoughts and the subsequent realization of products?

Honestly, I’m not sure if I have a true routine, but I recognize that the moments preceding creations occur when I’m extremely excited or extremely sad. When I’m in a phase of stagnation, where I don’t perceive extremes, I can’t produce. Strong perceptions help create a connection between thought and realization.

It emerged during the conversation that you find it stimulating to arouse curiosity, indirectly inviting the recipient to capture without providing too many explanations. In this way, it’s as if you reserve the soul of your creations for a select few, capable of reading the implicit. Does this also translate to your “market demands” and the target audience you wish to address?

Preferring to reach people through my productions rather than with a thousand words is somewhat emblematic of my personality. I prefer to be for a few, for those who understand and learn through observation, I believe there is an extreme connection in this. I like to think that between me and those who wear my garments, there is a bond of true harmony. From a commercial point of view, it could be counterproductive, but I don’t want to be worn by everyone. The person belonging to the target audience I imagine to be similar to me.

Words + Interview: Miriam Di Lorenzo @cherryvblossom + Floriana Carannante @floriana.carannante