Andrea Martínez Maugard, fashion journalist and editor-in-chief of Vistelacalle: “There are several Chilean designers with a lot of identity. It's something I haven't seen in a long time."
I have known Andrea for several years, almost the same as she has been working in fashion: “11 or 12”. Before meeting her physically, I read her in Vistelacalle under her pseudonym Martirio's Way (that's how you can find her on Instagram, in fact: @martiriosway ). The pseudonym was actually the name of her blog, the one she created when practically no one talked about fashion in digital territory in Chile. “I started with my blog in a layoff period. I was doing a Master's degree at that time because I thought that to have a good hit you had to study hard”.
After reading it on VLC, we became colleagues on that trendy website and I put a face to his informed pen, his direct and clear style. She worked from her native Valparaíso and traveled for special occasions to meet with us, the rest of the team. We didn't see each other much, but gradually we began to share beers instead of professional opinions, friendship instead of work space. I admire her a lot and I believe that her work and dedication always deserve a showcase, so I invited her to share her ideas, references and fashion guides with the followers of Nashion It.
The beginnings.
Where does this hobby or interest in fashion come from?
It all comes from when I was very young. When I was about 4 years old, instead of playing with my cousins, I locked myself in my aunt's house to read her fashion magazines. She had a very large collection of magazines and I was always reading them, reviewing them. I knew the names of the models, of the designers. I saw brand advertising and found it aesthetically beautiful, something of that attracted me.
What were the referents that remained in those first approximations?
I really remember seeing Lancôme commercials with Isabella Rossellini. I found her dry, I don't know…I saw that and thought 'she must still be important'. Then I found out that she was an actress and that she appeared in David Lynch's films.
studious Andrea
When you started your blog, you thought that to find a good job you had to study hard; Do you think that this premise is particularly applicable to fashion?
It has changed my perception of studying hard. One can be self-taught or go to the University. When I was a girl, I thought that the more you studied at the U, the better chances you had. Which is not a lie, but at the same time I know a lot of people, even journalism people of my generation, who don't work in what they studied. The great mistake of people -in general- is to believe that being a journalist you will be able to work on radio, TV, magazines. I feel that one has to specialize, study and be very Mateo in what one likes.
I understand, but you didn't answer the question….
I believe that in fashion you have to study, certainly. One has to know the basics of the profession. Not necessarily to know about fashion you have to study a formal program, one can learn a lot through the internet, watching fashion shows and knowing the history of designers.
Are the people who work in fashion in Chile really well prepared?
Not all. Most of them focus on the lights, the events, what is 'chic' or stylish and all those overused adjectives.
And why do unprepared people reach places of privilege or power?
The same thing always happens in Chile. It's like standing out based on contact, being from a 'good family', from a good school. I believe that this is what makes the path of any person, and not only of those who work in fashion. Unfortunately, not everyone who is capable of writing about fashion is in the positions that they should be.
The Editor in Chief.
Other than good fashion writing, what else does a fashion editor need?
You always have to be informed. Despite whether or not one likes what is happening in terms of trends, it is something that cannot be avoided. You have to look at Instagram, look at catwalks, know the important dates of the year. Not only because of how cute they dress on the red carpet, but also because it is a reflection of society and what is happening. It is necessary to be constantly informed, updated and keep in mind that history is the basis.
The history of fashion is one of your favorite subjects, in fact. Do you think that fashion is a constant reinvention of styles from the past?
Yes, it is a reinvention, but every time something we already know from the past is positioned, it is done with a new influence, in a new context. It is never the same result, it will always be something different even though it is something that has already been invented.
Is there a designer or brand that is working from scratch, building without historical references today in fashion?
Today, I think it is very difficult to create something absolutely original, from scratch. For example, Alexander McQueen, who was recognized for being very original and disruptive, took many references from movies, from urban tribes, from London. He did not create something from scratch, but the way he transmitted and visualized it was the product of that mixture that he had of originality, daring and darkness.
What are the filters that a brand or a project has to go through to be published on Vistelacalle?
The first thing is that it has a clear identity, that it is not a mere copy of something that is made abroad. Being yourself and having an identity that is reflected. Designers often get confused in that initial step, in having their own identity. That is necessary.
What things would you not post?
It would have to be something very serious, something racist or transphobic.
Considering that you have been in VLC since its inception, how much of Andrea Martínez does the site have?
Along the lines of the website, I would say 95%. You can tell that I like to highlight many local talents. Since this pandemic thing happened, I said that we had to support the local industry. I told the kids, the editors, that they had to focus on interviewing people, showing the experience of how they were going through this time, how they were overcoming this difficulty. Since last year, we only interviewed local people. Sometimes we include foreign characters, especially Latin Americans.
In these more than 10 years of VLC, how has the platform changed its imprint?
The mission has not changed at all, it was always to support local and emerging talents. That has been maintained. We start off as a page focused on streetstyle. Now as the whole context is so different, people send us their looks, they tell us 'I want to appear'. There is a greater focus on social networks, Instagram is a super main engine of the page.
Never wanted to migrate from VLC, work elsewhere?
There are many people who wonder that, we are super used to trying to move a lot in the paste that we do. I feel that the most important thing in my life is to have freedom and in Vistelacalle I have incredible freedom. I could never write what I write elsewhere. I want to review a designer, I want to write about certain things and at the same time make my schedule. For me, the main thing is not to live to work, it is to have the freedom to change when I want to travel, for example.
Local fashion and the editor's picks.
You have collaborated on several international platforms. How do foreigners view local fashion?
Depends. There are many people who, despite globalization and the internet, still don't know much about Chile. It's super funny to hear, but it's true. They ask me 'do you really have designers?'. At the same time, there is a great desire to meet. I have seen many articles in Latin American Vogue about Chilean creatives. When one writes articles and consults with international sources, they feel curious about what is happening in Chile.
And what is your vision of Chilean fashion?
I really think there are several designers with a lot of identity. It's something I haven't seen in a long time. There was a time when people they were just launching brands and they wanted to be famous, which lacked identity and integrity. I feel that now the projects are more established and thought out. There are products that are too good, but there is a lack of diffusion. We have an editorial problem in Chile, we don't have many serious fashion magazines and media that don't focus only on how Dua Lipa dresses or how the Elite characters dress.
Is there a disconnect between the editorial system and the fashion system?
Yes. There are a lot of prejudices when a magazine sets up that they only look for certain materials or styles that point to a more London or chic style, whatever that word means, which burdens me; It all looks very nice, very classic. You need to mess up the media sometimes.
Would you share data on emerging designers and creatives to watch out for?
There is a designer who is re-enchanting with the medium, which is Ceremonia , by Cristián Palacios. He has just launched a very balanced collection, in the sense of looking for something that is traditionally beautiful, but at the same time risky; with a concept that has to do with something very Chilean, such as the first communion. I like that it has a typical concept. I also love Nieves Marín . You could be in any century working as a designer and you would do just fine.
If you had to make an ideal team for a fashion editorial, what would it be?
Stylist, Jasmine Flores . Makeup, Marcelo Bhanu . Always dry. I like the vision -even though he is my friend- the sensitive vision of Carlos Saavedra . You can take photos on analog and digital cameras. Regarding clothes, I would like a strong, visually rare mix. I would like to do an editorial that is very different from the context of Jotha Jerez 's clothing, which is a deconstruction, an upcycling, an urban fashion that always falls under that category. I would like to take it to a terrain that has nothing to do with his style.
