PREFACE

It begins in the abstract. I start in the material, to touch is to create, to look is to acknowledge, and to live is to create new memories. I be-lieve in beauty - in clothing, experimenting with it, ta-king care of it and judging it. A question mark in the right place is a won battle. To look twice at the same jac-ket can change your life, to look twice at the same skirt could broaden your horizons. To look twice at the same coat can give you a De la Morena experience.

BUYERS BOOK 2012

2102 KOOB RSEYUB

EMILIO DE LA MORENA

To destruct and to create. Two pur-poses, four eyes looking at the same garment, and two reasons behind the same collection.

A CONVERSATION WITH EMILIO DE LA

MORENA

In the past, I didn’t really look at who’s going to wear my work. When she started to wear my clothes, I began to pay more attention...

EMILIO DE LA MORENA

A Conversation with Emilio.

Tamara Rothstein -The whi-te ones?Emilio de la Morena -Yes definitely the white ones.TR: This one is certainly in pink isn’t it? EDLM -I am making it in pink to see how it works. It is a bit too pretty for pink.. Let’s try it with a jacket. Can we have the pink jacket here please..TR -Wow, it’s really beau-tiful isn’t it!EDLM -It’s sweetness itself..but I think it would be really nice to have some pretty dresses amongst the white and black.TR -And I think we could make the girl look a bit grungier, give her a cooler look.EDLM -I think that is too much. I like the jacket plain with that look. It looks a bit like…TR -Like a cake?EDLM -Yes.. I went over-board haha.. TR - Ok, well let’s keep it simple.

TR -The top on this one is beautiful, Emilio. It looks really good. EDLM -Im doing it like this, I was gonna insert a leather piece here. But I am thinking it looks more modern with this strap..TR -Have you tried it on a person?EDLM -No, we are waiting for our lovely fitting mo-del, she was here until late last night. […]EDLM -Can we try the trou-sers on Claudia now. …What I also wanted to do with the print is two dresses like this. Full on. TR -Beautiful. They look like they are from the same thing, but still different. Like a natural move on. EDLM -It was a natural de-velopment.. The statement-making dress that get a wo-man noticed for the tight reasons does not just hap-pen. It’s been a process, like always.

COLLECTIONS

AUTUMN WINTER 2012/2013“..Emilio went back to Spain and re-searched the heritage and costumes. It was a change of direction. He always does very structured and body cons-cious but this was a whole new ap-proach to his look - sexy, austere and covered up but still naughty,” Sarah Harris, Vogue

SPRING SUMMER 2012“Emilio de la Morena is a process-oriented designer. Each of his co-llections has seen him exploring new ways of putting together clothes, and the techniques he develops, such as palimpsest layering, tend to accrete over the course of seasons, emerging as brand signatures.” Maya Singer, Style.com

AUTUMN WINTER 2011/2012“What makes de la Morena compelling is that he applies himself to ensu-ring that dressed up, polished, and ladylike feel modern; he doesn’t go in for a lot of froth...—and the collection’s sense of strictness was underlined by de la Morena’s emphasis on geometric embellishment.” Maya Singer, Style.com

SPRING SUMMER 2011“…Oppositions of day and night, andshadows and light, stirred by the way light travels through translucent fa-brics, I explored possibilities with prisms, and with it, the movement and intensity of colour that develops.” Emilio de la Morena

AUTUMN WINTER 2010/2011“..Cue a technique involving oil and wax to create drier colour and as such cracks, erosions and wild mineral prints…The result was otherworldly – but not in the Star Trek sense, but in the mystical, slightly ethereal sen-se, with teal, vivid orange, burnt sienna and navy blue bringing to life this otherworldly woman.” Jessica Bumpus, Vogue.com

SPRING SUMMER 2010“Winding round the body in a helters-kelter fashion to form a spray of frills, while sunray pleats spanned his signature body-con numbers making for little capes, fastened as they were, at the back. So sheer and light were some of the styles, it looked as though the dress itself had been gently blown by the wind on to the model, landing elegantly to document her silhouette at that exact time.” Jessica Bumpus

AUTUMN WINTER 2009/2010“The signature, body-contouringstretch shift dresses may ooze a chicsimplicity but look closer and you’ll notice they’re pieced together from up to four different fabrics..Each dress is faintly varied in its skilfulconstruction, but all are the same short length and every one is as bodygripping as the next.” Jessica Bumpus, Vogue.com

SPRING SUMMER 2009“The graphic, geometric patterns are carried through into precious evening wear pieces such as short-sleeved stretch satin dresses, which boast panels of Swarovski crystals veiled under organza to glow like dimming spotlights.” Sarah Harris, Vogue Uk

PRESS

VOGUE UK

ELLE COLLECTIONS

POP MAGAZINE

DANSK MAGAZINE

MYKROMAG

S MODA (SPAIN)

VOGUE NIPPON

SURFACE MAGAZINE

BON MAGAZINE

ELLE USA

WONDERLAND

VOGUE USA

PONYTAIL MAGAZINE

HARPERS BAZAAR UK

USED MAGAZINE

MARIE CLAIRE

PAPER PLANES MAGAZINE

INTERVIEW MAGAZINE

A MAGAZINE

EMILIO DE LA MORENA 2012

ALL RIGHTS RESERVED

ART DIRECTION: JAVIER GARCÍA COMECHE, CLAUDIA GIRBAU PINA.

TEXT: EMMA DIDDI NIHLEN

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