GIADA MONTOMOLI

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Giada Montomoli,

born in 1986, is a multifaceted visual artist of Colombian and Italian origin. She works on her projects for individuals or companies in her studio YeyaeFont in the Acquabella district of Milan, she holds a workshop at the European Institute of Design – where she teaches an alternative method of concept research. She prefers the use of fabric as a tool of communication, synthesizing what she sees in symbols. The style is direct and honest, strongly linked to her origins, her passion for cultural anthropology and sexuality.

Some of her most important projects are Something blue, Arpilleras and Macro pieces.

How would you define your style?

With my gut. Too much research and too much mubles take away the emotion that causes me a new project. I am agitated, I am impulsive and my works are like this, they are not licked, they are not perfect, they are sincere.

What is customization for you?

It is one of the best ways to express yourself. Fashion has always taken inspiration from the personalized garments of underground movements, in music or in arts. Living a garment and making it a manifesto of what you want to say is something you don’t create at the desk in a style office.

Living a garment and making it a manifesto of what you want to say...

jumpsuit_milan_project_yeyafont_working_tuta_custom

What inspired you to customize the Jumpsuit?

The nature that takes over the city. Workwear that become part of a natural landscape in an alternative future.

How did you make it?

Like every time I work with fabric, I hang the garment on a beam of my studio, I throw all my scraps on the ground and mount it on my ladder, so I start to imagine how the fabric can fit and climb on top. Shapes and composition always come from the suggestions that each piece already communicates to me. Then glue and a lot of wrist oil, all is sewn by hand.

How do you approach a new project? What is your modus operandi?

It all depends on the material I’m using. For the fabric I let him talk to me and move around. Illustrations instead are always messengers of a strong concept sometimes uncomfortable, few lines, limited details and a lot of synthesis in creating a symbol that without words and frills tells you a world and sometimes even makes you smile.

What is the surface you prefer to work on?

Fabric. It can one day do in one way and the next day move in another, it doesn’t last forever and people have a strong sense of familiarity in front of a work made of fabric.

You have a past in the world of graffiti and street art. How much of that background is there in your current projects?

Graffiti has given me a lot even though I think I was a little too attached to achieving certain stylistic rules that over the years I realized they would never talk about me. This cultural background left me the streets. Ok it sounds like a generic concept, but I mean watching what happens outside, the forgotten streets, the signs on the buildings and its smells is very inspiring for me.

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