Meet the Italian designer Valeria Scoppa

The indigenous people of the Canary Islands, the Guanches, believed that inside the Teide volcano lived Guayota. This evil deity kidnapped the sun god Magec and shut it up in the crater, submerging the world in the darkness. Research indicates that the name of the largest of the Canary Islands, Tenerife, was given by the native people of the nearby island La Palma, to whom its snow-capped peak was visible. They called this place Tene-Ife – Tene (white) and Ife (mountain). 

Tenerife’s landscape is thorny, and it can definitely get you into trouble. Legend has it that when dragons died there, they became dragon trees. Dracaena draco, known as the Dragon tree, was the most sacred tree of the Guanches and remained shrouded in mystery. The sap of the Dragon tree, “Dragon’s blood”, was used for making medicines and embalming their dead. 

It’s no wonder that the Italian sustainable fashion designer Valeria Scoppa chose this harsh and arid environment as a background for her design collection “The Metamorphosis”. Every single corner of this island is full of stories that can stimulate your imagination.

Valeria Scoppa

“The Metamorphosis” by Valeria Scoppa
A journey through time, where the symbiosis with nature is represented by the Metamorphosis and the Harmony that is created in the act. 

An ephemeral music, and meditative mantra. The dance accompanied by the melody released by the incessant repetition of the wave motion that operates on the architectural creation of Nikola Basiĉ in the Croatian city Zadar.

The Metamorphosis collection... Harmony where the past, present and future mingle like weaving cobwebs, gather in tangles and prepare for the metamorphosis.

A harmonious change, a masked imitation of creative chaos.

The myth of Cadmus and Harmony, with its features transformed into snakes, a symbol of change and life.

Valeria designed unique, unconventional and timeless garments, in accordance with sustainability and respect for artisanal production. The textiles that compose the Metamorphosis collection are always small scraps of stories - individual art objects and scraps given new life. She experimented with proportions, specific cuts, textures, and contrasting materials to create visual perceptions of transformation and camouflage comparable to that of the octopus.

I feel honored to be a part of this project. 

Please take your time to read this interview with Valeria and see the video of the collection which was made for the Circular Sustainable Fashion Week Madrid.

The team:

Fashion designer: Valeria Scoppa

Sustainable fashion designer, artist and founder of Abissi which incorporates circularity into the core of the business. Graduated from IED and NABA in Milan. Passionate about archeology and ancient cultures.

Director of photography: Lucilla Bellini

Photographer and co-founder of FrenchFries Studio, researcher of poetic photography, nature lover.

Makeup artist & Model: Dafne Palles González

Alternative makeup artist, undercover ecological activist, nature and animal lover, post grunge and glam metal creative.

Model: Mirai Ishii Simonini

Yoga teacher, creator of Nature Goddess - a fashion and lifestyle brand, born as an expression of femininity.

Model: Gabriela Barnat

A sustainable clothing enthusiast, a tribal fusion dancer.

Camera operator: Filippo Bertola

Video maker, passionate surfer, web designer, co-founder of FrenchFries Studio and Maka Magazine.

Assistant: Massimo Corneo

Wood craftsman, the founder of the MAXAER brand and Subsonic Lab. Music permeates every aspect of his creations. Drummer, percussionist for personal pleasure.

The interview below is conducted as part of my exploration and research work on sustainable clothing.

What is your definition of fashion?
To answer this question, we would have to go back to when fashion was a “Fashion”. I believe that the key word is identity. Before, you could recognize the brand through unique details. It was a process of balancing the DNA of the brand and its evolution. I believe that the current problems of the fashion system have developed due to the loss of this concept. Fashion is a social system that speaks of our experiences and our roots, which is why it’s important to our identity., Clearly, quality work that encompasses the artisan know-how is fundamental.

What was the greatest design lesson you ever received? 
I have learned that you can design from many different points of view, but the knowledge of the textiles, both as a fiber and as a fabric, is fundamental for the success of the final product. Continuous training across different methods allows you a broader vision and optimal management of a textile resource. I have also realized that there will be times when your projects will not be understood and accepted because your vision is ahead of current aesthetic trends. 

In terms of design, modeling, and tailoring, I owe a lot to Professor Di Pasquale, director of Koefia Academy, Rome's high fashion school. I had the privilege of attending the first experimental course of fashion at the NABA academy in Milan. Some of his words became a signpost for me pushing me to surpass myself. 

I have also met the Italian artist and designer Bruno Munari who encouraged me to fusef different fabrics and seemingly incompatible techniques. Another great role model was fashion designer Emilio Pucci. I became a model for a day trying some of the fabulous dresses from his personal archive at Palazzo Pucci! On this occasion the lesson was based on the immense passion for one's work, the light and joy reflected in the eyes of a Master of Design. I think this is the essence of designing.

What and who inspires you as a designer?
I’m inspired by the phrase:

"Woman is like water, a fertile, creative element…”

It has always accompanied my creative trajectory, even back in the times of the Art School.

Water itself is never equal. It is always going to be different between moments.

Water represents the feminine par excellence. The female intuition and instinctuality belong to the water, the deep emotions that flow without being seen and sometimes emerge, creating unpredictable bonds.

Water is adaptable. It is an expression of perseverance and transformation. Since ancient times the tides have been a spiritual element in close connection with the lunar cycles.

How do you want women to feel when they wear your clothes?
I would like to make them feel themselves. I hope that people choose my garments both because they will wear and love them for a long time, and because they believe in the philosophy of sustainable and artisanal fashion. This is the connection I would like to make between me and my consumer. 

What is your favorite fabric and why?
For me, the silk represents the charm of history. The myths, legends, tales, and cultures seen through this fiber are fascinating. In Italy, the story of Marco Polo's travels through the silk road perfectly conveys the idea of the preciousness of a material. Silk, as a natural protein fiber, is very important for personal care. It also opens up incredible perspectives for a fashion designer because the texture adapts to different expressions and emotions: satin, crepe, cady, bourette, chiffon, voile, organza, duchesse, velvet… "Emotions".

What can the fashion industry do to be more sustainable?
Many steps are needed to make the fashion industry more sustainable. It is a path which needs constant improvements. I believe that transparency is fundamental. Consumers are confused by the deceptive messages of self-serving brands.

As an owner of a small brand, I believe that I have always worked sustainably by creating small collections tailor-made only once per year. I use fabric consciously which means avoiding waste, recovering ancient materials and vintage and giving the customer the opportunity to rework and reuse a garment they love. I continue this path by creating, supporting and sharing my knowledge with sustainable communities and organizations, such as “The Circular Project”, and the “Madrid Sustainable Fashion Association''. I also use technology as a tool to keep myself updated with new sustainable innovations.

How can we change the behavior of consumers to make more conscious purchasing decisions? What is your story?
As a child, we travelled across the Italian peninsula due my family’s business. This experience created a profound cultural fusion in me. Later, we settled in my maternal grandmother's house and I ended up with three mothers (grandmother, mother and aunt), who gave me a better understanding of femininity. 

With age came the understanding of the enormous influence of this harmonious matriarchal environment. I think the knowledge I received from my grandmother was the most essential. Coming from the Apulian hinterland where culture is deeply linked to the earth, she taught me how to sew and cook. Every gesture was accompanied by tales and memories of other family members who were for me like the "guardians of traditions". Unknowingly, this environment encouraged me to travel and be more curious about people's stories and their uniqueness.

So as a designer I believe that our creations are the reflection of our being, our experiences and our family ties, and it is essential to be able to communicate this. Culture is the basis of conscious choices. And collaborating with artisans deeply enriches its value, the aesthetic form becomes a tale of the hands that transmit a cultural background.

What's the future of fashion? 
At this moment it is difficult to make long-term forecasts. Change is urgently needed, but it has also been delayed for far too long. It is important to understand that both sides should take responsibility for these changes - the designers and the consumers.

A utopian thought: ideally we would go back to the times when fashion was a “Fashion”. I wrote it with a capital letter, because I am convinced that there is now very little of the real concept of Fashion in the current system. Fortunately, real talents and geniuses still exist and I am incredibly surprised by their wonderful creations. The future of fashion would be brighter if the industry gives them a voice. We have too many brands and companies which are copying and counterfeiting their ideas. We have also created a technology that replaces the need for seamstresses, but are we aware that their important knowledge and know-how is dissapearing? 

But even more utopian is hoping that the future of fashion will be based on a circular global system, which allows people to regain the lost connection with their surroundings, without overloading the planet with unreal desires. I truly believe that this utopian scenario will happen. As a sustainable designer I will definitely not give up, and I will continue my mission.