PLAY

Conchita

Classicism with a twist. Conchita’s form is at once edgy and contemporary, yet with classical references. Its thick straps evoke a sense of reassurance and comfort, while its wide sole exudes solidity, strength and resoluteness.

Clarissa

Clarisa exudes the ‘purist sensitivity’ of Pierre Yovanovitch interiors. Its clean, simple, elegant forms are painted in warm, vibrant yellow and beige, or classic black and white, conveying character and unequivocal allure.

Cecilia

Bold. Graphic. Geometric. Contrasts of interwoven colors. The twisting of threads to become braids, or to transform into defined stripes. Drawing in the eye, intriguing the mind. Cecilia speaks of the poetry of carefully studied linearity.

Carmela

Gentle, sloping lines that recall the soft, sensual curves of a woman’s body – the very forms that inspired artists and writers alike throughout history. Carmela, with its delicate, pointed toe and sweeping curves, is a tribute to timeless femininity.

Candela

Shapely silhouettes inspired by the cut-outs of Matisse or the overlapping layers of mountain ranges stretching into the distance… Candela’s unity of complementary, yet distinctly unique elements renders it a truly singular piece.

Conchita

Lucio Fontana —

Concetto Spaziale, Tate Gallery London

—

The Factory by the Ricardo Bofill Taller de Arquitectura

—

Thorvaldsen Museum

Brancusi —

Muse, 1912, Guggenheim

Mathieu-Lehanneur —

Venice palace

Site by God save the screen

Clarissa

Josef Albers —

Study for Homage to the Square: Departing in Yellow, Tate, 1964

Pierre Yovanovitch —

"Mlle Oops" exhibition

—

Lazio-castle, 17th century bed

Site by God save the screen

Cecilia

Lino Tagliapietra —

Glass lamp

Petecia Le Fawnhawk —

"Modern Desert Magic"

Joseph Albers —

To Monte Alban, 1942

—

Sol Lewitt, 1982

—

P. Horst, 1936

Site by God save the screen

Carmela

Photo by René Burri —

House of mexican architect Luis Barragan, roof terrace, 1969.

—

Residence of Inès de la Fressange

—

Lita Bosch

Giuseppe Rivadoss —

Grande casa comune, sculpture, 1977

Jude Jelfs —

Odalisque

Site by God save the screen

Candela

Mallet Stevens & Louis Barrillet —

Skylight windows, Villa Noailles, 1923

—

Henri Matisse

—

Hiroji Kubota, China 1980

Mathieu Lehanneur —

Sea 33 - "50 Seas" exposition.

Pablo Pazuelo —

Omphale II, 1962

Site by God save the screen

The concept

letter from the designer —

I needed to go back to my roots because my father was very sick and I wanted to keep him alive. In Paraguay we are all “mestizos” and my father is no different, a wild mix of European and Indigenous. In search of my ancestors, I met the Maka. This noble community fascinated me.

—

I fell in love with the fabrics, the colors and their genuine and generous character. Seeing how much they struggle to earn and provide for their families, we created Antolina: a project to support these Indigenous communities and in turn to help me to preserve an important part of my personal history.

—

Antolina was my paternal grandmother’s first name and her personality and tenderness suffused my childhood. Antolina is a name that both evokes my origins and also gives an even deeper meaning to this project.

the atelier —

A small atelier was established thanks to the support of Giuseppe Baiardo who fell in love with the project too. At this atelier, older women from the tribe started to weave the collection using traditional methods, soon younger Indian women started to show an interest in learning this time-honored skill. This made me extremely happy.

—

I really hope you enjoy Antolina shoes as much as we enjoyed making them.
Mariela Montiel

Site by God save the screen