Fashion

Projecte Bressol, the first of its kind in Spain is based on fashion incubators cultivating design talents worldwide in places like Toronto, Montreal and Chicago. Part of the Plan to Promote Fashion 2007- 2010, the Catalan government’s project provides selected up-and-coming designers with a scholarship living stipend, administrative and business support, as well as a place to work, sketch and make patterns.

The Bressol ball got to rolling in July 2007 when emerging designers competed for the first-ever Catalonia Award for New Designers. Competing anonymously, and at various stages of their design studies, the contestants strove for top prize as well as a secured spot in the project. The result was an eclectic group of 15 international talents. Three are working on their designs abroad, while the other 12 began work on their first Bressol collection at the start of 2008 in Catalunya.

The hope is that after three years in the program and producing six collections, the designers will have established their brand and be able to continue equipped with the skills to succeed. Then a new group of Bressolers will be welcomed into the mix.

So far, the project is getting mixed reviews from participants. “The project has really helped me in creating a brand and collection planning. But, for me there hasn’t been much publicity, especially for our showroom,” explains Krizia, the youngest member of the group. Specializing in a kind of edgy street wear reminiscent of the 90s fashion scene, her first collection with Bressol Love Me Love My Dog for spring/summer ‘09 was a witty commentary on the lives of today’s spoiled socialites and starlets.

Krizia’s project mate Imma Vallverdú, a designer focused on bringing out a woman’s femininity with her classically stylish pieces also finds the project has some rather large kinks. “We were supposed to have a database of industry contacts when we started. Instead, this list is really being made up as the project goes along, with our help,” she comments. This can be frustrating when the group looks to the project organizers for answers as an industry authority.

Manuel Bolaño, a Galician designer also on the project adds, “We were told we would have individual space when we started, but have been squeezed into a space in Canet de Mar. It is far away and makes things difficult if we forget something or have appointments to get to in the center of Barcelona.” Bolaño got an overwhelmingly good reception for his Bressol premiering spring/ summer ‘09 collection Viudas. A modern interpretation of Galician widows in mourning, the fashion press has predicted the Goth doll-like look from his runway show will be the upcoming season’s biggest trend.

The space that Bolaño and the rest of the Bressolers currently call home is in L’Escola Universitària d’Enginyeria Tècnica de Teixits de Punt in Canet de Mar. There they wait for the permanent Bressol headquarters in Poble Nou’s old Siberia factory to be ready. However, the renovations haven’t even begun.

According to Ingrid Van Gerven, Coordinator of the Bressol project at the Generalitat de Catalunya Departament d’Innovació, Universitats i Empresa, “The renovations should begin at the beginning of 2009 when the project goes out for bidding. The termination of the project is still to be decided.” Something those in charge did not clearly express to the participants at the get-go. As Imma states, “At first they told us we would be in Canet for three months, then a year, now it looks like three years.”

When the construction work is completed, Bressol will have a 4,000 square foot head office in Districte 22@. The district, made up of 115 city blocks in the abandoned industrial part of Poble Nou, hopes to emerge as an innovative economic district with cutting-edge infrastructure. Like Bressol though, the 22@ project has received both glowing and not so shiny reviews. Some see it as an invasion and destruction of the Poble Nou area, while others are excited by the additional employment and revenue opportunities.

The 22@Barcelona project is a combination of public initiatives and plots out for private and public proposals. It is an urban planning model that is flexible and adapts as it goes along, seemingly much like Projecte Bressol. The jury is still out on whether projects of this less-structured nature are good or bad, as witnessed earlier in the frustration of the Bressol participants. For the Bressolers especially, they need to concentrate on strengthening their brands and not get too wrapped up in helping the government better execute their plans.

Unfortunately, for the current Bressol group, they cannot ignore important project modifications they have to make happen. Imma Valllverdú who makes the arduous daily trek to Canet from her home in Tarragona and the others are desperate to change from the distant Canet location to a more central Barcelona locale. Since the renovations of the old Siberia factory will come as the current group exits the program in 2010, they cannot afford to patiently wait.

Luckily, the designers are pro-active and found a temporary work spot in Districte 22@. However, while the designers would like to move fast, Ingrid points out, “Right now the designers are in Canet de Mar. It’s planned that from December 2009 on and with the renovations of Siberia still unfinished, they will be moved to a temporary location in Districte 22@.” Not immediate enough for the group who recently found the alternative space and will end up forking over their own money to help pay for it. Imma explains, “We will put up half of the money to rent it.

From the roughly €1,000 a month the designers use for living expenses and to work on their collections, they will contribute to renting the new space. The one question that arises is: Why, if this is a scholarship program to help new designers get out in the fashion world would they have to supply the funds to do so? Unfortunately, because she recently went on maternity leave Ingrid was unavailable to answer this follow up question.

It does seem unfair that the designers should have to pay, but then again, they are choosing to turn down the Canet space offer. The truly wonderful thing about the project is that at least those in charge are open to suggestions and changes from the designers. Manuel points out, “All aspects of the project are evaluated every few months. Not only are we told what improvements we can make, but we let the organizers know what they can do to improve things.”

Since the Bressolers see each other day in and out, the group has formed a strong familial bond. Manuel adds, “If one person is unhappy with how things are going, we can all get together to offer support and really make changes happen.”

So, while each is unique in their own way, they are able to come together in force and fight for the good of the entire team. Along with Bolaño, Mallorquína Stefanía Borrás, a designer of sophisticated, feminine garments and Andrea Llosa, who specialises in neo-artesian pieces incorporating traditional patterns from her native Peru, are also helping to improve the government’s project in progress.

While Stefanía, Andrea and the rest can look to each other for encouragement within the program, being lumped into a collective can be a bit of a double-edged sword. This even more so when each designer is fighting to have their individual names known in an industry currently tightening their wallets, like all the others. “It’s hard when you do a fashion show as a group. You get less time and have to try and transmit your entire collection in only five pieces. You don’t have the control over the styling, music and things you would when participating in a fashion show alone,” comments Manuel.

Krizia has also found being tossed into the Bressol pot both good and bad. With a style that is far-removed from many of her mates, she has found it difficult to sell pieces. “When we go to fairs like Bread & Butter as a group, we have a group stand in a certain section. But the area isn’t really appropriate for my designs.” Imma Vallverdú as well is finding it difficult and frustrating trying to get people to remember her name, and not just the name of the project.

Members Cristiana Lapi, Lola Cuello and Nerea Lurgain are trying to stand out from the bunch and get their garments in shops, too. Lapi sought to breakaway from the group by playing with masculine and feminine lines, superimposing one upon the other in her Bressol debut collection. On the other hand, Lola Cuello stayed within sobering clean lines and combinations, presenting a timeless style. Nerea, apart from Lapi and Cuello splashed onto the Bressol scene with her collection Sound Gallery, which outrageously combined wild colors and patterns.

In addition to the individual talents promoting personal brands, Bressol has a couple of designing teams trying to break into the biz. Brother and sister Arturo and Miriam Guillen work together under the label Guillen Doz. While Carolina Caralt and Rosa Tharrats combine fashion forces with their label Crommorc. These designers, as well as the rest of the Bressolers survived their first collection showings and are currently hard at work finishing their next winter collections.

For the upcoming collection Manuel Bolaño is doing a 180-degree change and choosing color instead of black. Partly inspired by a summer holiday in China and the bright patterned garb of the Miao people, bright yellows and reds will dominate his palette. As for Krizia Robustella, Spain’s dominguero, the typical sweatsuit clad guy in line at the roast chicken stand on Sundays, and take-away food were her inspiration. Imma Vallverdú sought inspiration instead in the beauty and power of the lotus flower. It will be interesting to see what inspired the rest of the group and what fashion tricks they have hiding up their sleeves.

After the winter collection and then four more, the designers will graduate from Projecte Bressol. It’s hoped that they will then form part of Physic, the second program in the Generalitat’s fashion promoting strategy. Physic was set up to help established designers with the manufacturing and production end of the business. But, Bressolers are not guaranteed a spot, even though all these projects, the 080 fashion show included, were set up to ideally function as a kind of utopian fashion cycle.

The designers are also currently waiting to see if they will be a part of the largest fashion tradeshow of the season, Bread & Butter happening January 21st – 23rd. Ingrid Van Gerven explains, “Right now we are negotiating Bressol’s participation. We hope there are no problems, and that there will be a space for Projecte Bressol come January.”

Bressol, like the other fair participants have to hand over a substantial amount of money for a stand at Bread & Butter. If things do not work out, then at the very least Projecte Bressol members can display their designs in the project’s showroom and on its website. The site also includes each designer’s CV, images from past shows, contact information and links to their personal websites.

Hopefully, through all the bumps in the Bressol road, the designers will come out victorious. Their names will be on the lips of the fashion press, their wares will hang in the trendiest of boutiques and more importantly, they will be able to make their passion a living. While we can nitpick the Generalitat’s project down to the last little detail, at least it is a step – a baby one – in the right direction.