interview by fabiola talavera
photography by adonay sánchez
NAYELI DE ALBA, STYLE AMBAR VENEGAS, MODEL ALDO EK, HAIR ADRIAN GONZÁLEZ, MAKE-UP TANIA TREJO, STYLIST’S ASSISTANT
FABIOLA TALAVERA — What motivated you to start this project?
AZZMMA — I started my project as a way of finding a means of personal and aesthetic expression that encompassed my interests yet allowed me to expand into other disciplines. I found the answer in a hybrid between attire and sculpture.
FABIOLA TALAVERA — How do your pieces change when translating a sketch into material reality?
AZZMMA — There’s a sophisticated transmutation between the sketch and what the creation turns out to be. My sketches convey abstract sensations, and after several iterations, ideas become clearer in my mind, and then the piece emerges. I usually experiment with materials and let the pieces evolve. I like to allow that mutability.
FABIOLA TALAVERA — Do you craft all your pieces by hand?
AZZMMA — It depends on the work. Right now, I’m working piece by piece, and sometimes a tailor helps me. I usually begin by making a prototype with the material I will be using, and I add on to it and arrange it as a sculptural puzzle until I’m satisfied with the result. In some pieces, I hand-paint the fabric; in others, there’s more attention to the final touches.
FABIOLA TALAVERA — How do you begin to conceptualize a new body of work? Is it an idea or a material that catches your attention? What influences come into play?
AZZMMA — For me, it’s essential to imagine the material and the sensations attached to the pieces. Working on a piece coordinates my mind and hands, but there’s also an element of chance. As for my inspiration, I don’t feel it comes entirely from external influences, but more from an introspective process, exploring what my mind interprets subconsciously. I’m captivated by the idea of light and dark, the abstraction of what an angel could be, or a demon, or what a hybrid between both of these would look like. In the end, what attracts me most to attire is being able to display sensuality and power.
FABIOLA TALAVERA — Many of the titles of your pieces allude to BDSM subculture. Do these practices and fetishes impact your view of fashion?
AZZMMA — To a certain point. BDSM is meant to cause corporal sensations, and that’s where it comes in contact with my practice. My pieces, instead of being worn by a body, use the body. I find inspiration in the power and energy of sensations, and the performative and quasi-cinematographic experiences that my pieces might arouse. It’s also play with sex and provocation, how these pieces can add more to the sexual act — what is revealed and what is not, the complication of untying a garment, the sensation of being held or constricted, the temperature of the materials — the hidden faculties accessible only to those who recognize them.
FABIOLA TALAVERA — Your creations have an interesting take on what is shown or hidden, and how they intertwine with the body. How do you envision the human body that wears these pieces?
AZZMMA — I like the person wearing my pieces to come close to a feeling of deification, an embodiment associated with the supreme. The pieces highlight the body and bring a sensation of desire and unattainability into corporeality.
FABIOLA TALAVERA — Do you see Mexico City as a cultural hub for fashion?
There is a certain energy that Mexico City has, and an atypical beauty that is not seen elsewhere.
I like the night and everything that happens during it — the excitement of being perceived in sites where
desire reigns. I think we, the inhabitants of this city, live through sensations in a more battle-hardened,
profound, chaotic, and sometimes destructive way, which creates a particular power.
[Table of contents]
elein fleiss (part 0)Read the article
martin margiela (part 1)Read the article
martin margiela collages for purple 30yrsRead the article
wolfgang tillmans (part 2)Read the article
rick at home rick owens 2022Read the article
purple community (part 3)Read the article
comme des garçons (part 4)Read the article
black rose comme des garçons f/w 2022
by chikashi suzuki
purple tokyo (part 5)Read the article
tateishi east tokyo givenchy f/w 2022Read the article
purple new york (part 6)Read the article
guinevere in prada f/w 2022Read the article
chloë sevigny (part 7)Read the article
chloë’s scene, 2022 interview by olivier zahmRead the article
maurizio cattelan (part 8)Read the article
maurizio cattelan purple interviewRead the article
bernadette corporation (part 9)Read the article
speaking out bernadette van-huyRead the article
dominique gonzalez-foerster (part 10)Read the article
species of spaces dominique gonzalez-foerster interview by olivier zahmRead the article
rita ackermann (part 11)Read the article
inez van lamsweerde & vinoodh matadin (part 12)Read the article
final fantasy inez & vinoodhRead the article
purple night (part 13)Read the article
doppelgänger fendi f/w 2022Read the article
glenn o’brien (part 14)Read the article
dash snow (part 15)Read the article
long live dash by glenn o’brienRead the article
juergen teller (part 16)Read the article
balenciaga winter 2022Read the article
purple sex (part 17)Read the article
emporio armani f/w 2022Read the article
purple politics (part 18)Read the article
on war and its dehumanization bernard-henri lévyRead the article
purple paris (part 19)Read the article
3537 a new fashion lab in the heart of paris adrian joffeRead the article
daniel roseberry the american designer reinventing schiaparelli surrealismRead the article
purple icon (part 20)Read the article
catherine deneuve in saint laurent f/w 2022Read the article
purple cinema (part 21)Read the article
philippe parrenoRead the article
david lynchRead the article
larry clarkRead the article
wes andersonRead the article
harmony korineRead the article
gaspar noéRead the article
Gus Van SantRead the article
abel ferraraRead the article
mamoru oshiiRead the article
kenneth angerRead the article
los angeles (part 22)Read the article
wilderness doug aitkenRead the article
gucci cosmogonie collectionRead the article
how to inhabit the world (part 23)Read the article
louis vuitton F/W 2022 with akon changkouRead the article
purple diversity (part 24)Read the article
purple mexico city (part 25)Read the article
arca in loewe F/W 2022Read the article
art as a script mario garcía torresRead the article
inge grognard (part 26)Read the article
beauty revolutionary inge grognardRead the article
avant-garde (part 27)Read the article
louise giovanelliRead the article
george rouyRead the article
stefan brüggemannRead the article
antony cairnsRead the article
antonia showeringRead the article
arthur jafa in conversation with michéle lamyRead the article
purple philosophy (part 28)Read the article
women and painting (part 29)Read the article
women and painting: part 1Read the article
women and painting: part 2Read the article
women and painting: part 3Read the article
women and painting: part 4Read the article
women and painting: part 5Read the article
women and painting: part 6Read the article
women and painting: part 7Read the article
women and painting: part 8Read the article
women and painting: part 9Read the article
women and painting: part 10Read the article
women and painting: part 11Read the article
women and painting: part 12Read the article
women and painting: part 13Read the article
richard prince (part 30)Read the article