“My days with the Chanel vest felt like time spent with an object that already knows many lives. What struck me most was not only its beauty, but the way it carried traces of history while inviting me to add my own layer to it. In recent years my way of engaging with fashion has shifted: clothes are no longer something I simply consume, they have become part of my surroundings, extensions of the spaces I create, companions to the stories I tell. Vintage pieces, with their memories and imperfections, slip naturally into this world, becoming mine by entering my rhythm and being written into new narratives.
That is why The Traveler resonated so strongly with me. To witness how the same piece can move across different women, different contexts, and still remain itself, felt like watching memory in motion. This Chanel set from the 90s circles back to wholeness, carrying forward not just its original design but also the lived experiences of the women who touched it. For me it became less about fashion as style, and more about fashion as a shared archive.
As an artist whose work revolves around women’s stories, memory and social roles, this experience felt deeply aligned with my practice. It reminded me of my time at Homo Faber in Venice, where, in celebration of Lesage’s centenary, Le19M highlighted the invisible hands and craftsmanship behind their embroideries. I was fortunate to contribute to Murmuration, an embroidery artwork that later travelled across Europe. Each bead added by different people became a fragment of a collective journey.
Both encounters – the vest and Murmuration – revealed to me the same truth: objects can travel, gather voices, and return transformed, yet never lose their essence.”
