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Looking through sketches, ideas and projects has proven very reflective. ‘We’re doing things that may not be profitable, but that broaden our practice.’ They have been drawing, redoing or adding to publications and updating their website. ‘We have the privilege of working in the most positive sense of the word,’ Abascal says. ‘Why was I buying these things?!,’ she jokes.įrida Escobedo’s kitchen-cum-home office, where she faces the challenge of transitioning from face-to-face interactions to Zoom meetings with both her clients and teamįor Isabel Abascal and Alessandro Arienzo, the couple behind architecture studio Lanza Atelier, the idea of work has shifted altogether. ‘We’re going to reevaluate everything, from distribution in families, to the way our domestic environment looks, to how we dress.’ No longer going to the office or attending in-person meetings, she has discovered that much of her wardrobe isn’t comfortable or practical.
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Escobedo believes that the experience of balancing home and professional life plays into a greater learning curve. ‘It’s related to having to re-learn your relationship with your own personal space,’ she says.
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‘But it’s going to be very important to return to an idea of collectivity, different networks and a solidarity that we’ve forgotten about.’Įscobedo had hoped that working at home would mean more free time, but hasn’t found that to be the case. ‘This is a moment where we’re decentralising a lot of things so that we don’t just collapse,’ she explains. The difficult-to-find cochineal bug, which produces a colourful dye coveted by Fernando Laposse in his practice, and which he recently discovered in a secluded location at his local park in Mexico CityĪrchitect Frida Escobedo shares a similar perspective. Like Fernández, Cappello is a longtime advocate for diverse voices and identities, and remains hopeful that local talents will emerge in importance. Fully aware that his ability to step away from work is a ‘huge luxury’, he tries to pay makers who can produce in isolation for small projects. He continues to draw frequently and consider new collaborators.
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The movers came with gloves and masks.’Ĭappello won’t set up his new studio until it becomes safer to interact with labourers like electricians, but the current situation offers him extra time to make the transition. ‘I packed up two tons worth of belongings in my studio. ‘I truly did a quarantine move,’ he says.
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As an inevitable shutdown approached, he fast-tracked his plan to relocate to Guadalajara and join his boyfriend. Similarly, French-born furniture and product designer Fabien Cappello took the opportunity to leave Mexico City, though with a more permanent twist. ‘Fashion can be so fast that you often don’t have time for the things we do out here – exercise, cooking, being with our loved ones.’ She hopes that the experience of Covid-19 doesn’t accelerate automation and homogenisation, and instead champions a more local, neighbourly world.Īn image from a recent walk by Carla Fernández, who cherishes the opportunity to spend significant time away from her urban day-to-day ‘I’m a very rural girl,’ she says with a laugh. Meanwhile, Fernández has moved to a community two hours outside Mexico City, along with her artist husband Pedro Reyes and their children. Their production also ensures continued employment for the 170 communities that she normally works with to develop seasonal collections. The designs pay homage to ten different mask-makers in five states, who receive royalties from Fernández. In partnership with Mexico’s oldest beer brand, Victoria, Fernández is now fabricating upwards of 50,000 masks for essential workers, including those in the public transport and city sanitation sectors. ‘But traditionally our masks are made in wood and in leather, so it’s impossible to wear them as protection.’ ‘Mexico is a country of masks,’ Fernández says of the nation’s deep history with the craft. In the wake of Covid-19, she and her team quickly shifted gears from producing garments for purchase to face masks for donation. Fashion designer Carla Fernández’s enthusiasm for her current project is palpable – her ability to use fashion as an agent for change has her glowing.