DELATORRE BY ANDREA TORRE: AN IN-DEPTH INTERVIEW

Andrea Torre created Delatorre as an academic project to present his creations to the world through Instagram and after a few years it was less of a product base page and more about sharing the process that goes behind every piece of clothing she makes. A perfect way to see how a young designer walks through the first stages of its career, an inspiring page that can serve as an example to a lot of students.

From his passion for drawing to the technicality of his garments, the young Spanish designer just graduated from the Master in Creative Knitwear Design by Accademia Costume & Moda and Modateca Deanna, a life-changing experience that have made her ready to enter in the Italian fashion industry as an Assistant Knitwear Designer for Max Mara Fashion Group. 

Across different collections that she has posted in social media, we can see her potential as a designer as well as her taste to curate a page that serves as a medium to connect to the world. A great example of how the designer creates garments about her own persona through defined topics like the states of fire, the samurai culture or Golden Echoes, her Master collection, an attempt to bring modern sensibility to the “sway-backed” posture of the 20s. 

Álvaro Ramos: Before we begin, I’d like you to introduce yourself both as a person and as a designer. How have you evolved since you immersed yourself in fashion?

Andre Torre: Hi hi! My name is Andrea. Ever since I can remember, I grew up with a pencil and paper in hand, drawing little stick figures that over time turned into fashion sketches. My first passion was drawing, which is why I studied an arts-focused high school program and then chose to pursue a degree in fashion design. 

During my studies, I discovered that my way of creating clothing wasn’t so much about pattern-making and cutting, but rather about creating different surfaces—working from the fiber itself or adding embellishments that, in my view, enriched the garment. That’s why, when I discovered the world of knitwear, I decided to deepen my knowledge of this specialty for my master’s degree. Like any person navigating the creative world, I’ve gone through different phases, and I feel that now I’m at a good place—connected to what I do and fulfilled.

AR: In your bachelor’s degree collection, The Rage, you talk about going from one extreme to the other, like fire. Was designing a way to understand or tame that inner fire? What part of you was most exposed in this collection?

AT: In a way, yes. I wanted to create something that felt like mine, and I wanted to explore and make something beautiful from a part of my personality that I’m still working on. I’m a pretty calm and easy-going person, but internally, sometimes when faced with adversity or unforeseen situations, I overreact. Basically I get stressed about everything, I’m working on it for my own inner peace haha.

So I wanted to represent this feeling through the states of fire, also playing with different textures and colors that represent fire, smoke, and ashes.

AR: What was the process of creating the fashion film for «The Rage» like? What were you trying to convey with the moving images that clothing alone couldn’t?

AT: I didn’t really think too much about the idea for the video. I graduated during the year of COVID, so we had to find a way to showcase what I had worked on all year since there was no option for a runway show. I believe there’s clothing that looks better on a static mannequin and others that stand out more in movement. In the case of this collection, I considered that the most striking option was movement. Also, given the differences between the pieces (hand-sewn sequins, organza, macramé, methacrylate…), the best way to understand the concept was through a video.

AR: What was it like combining two passions, painting and fashion, in a single project? What emerged from that fusion?

AT: I think the world of design in all its forms can inspire itself, and in experimental fashion, there’s a lot of freedom to include any kind of discipline—it’s like art on the body. There are no limits or restrictions. When I finished my collection, I had a lot of leftover fabric, scraps, and beads. Since I don’t like throwing things away, I decided to make a big artwork using all those leftovers. I could also use it as a background for photos or whatever else. In the end, when you’re working on a personal collection, you get so deeply involved that anything you create becomes just another part of the narrative surrounding the collection.

AR: How has your relationship with craftsmanship grown over the years?

AT: It keeps growing more and more! I started by painting, then I learned to sew, bought a knitting machine, and found my favorite corner in fashion which is knitwear. I took ceramics classes for a year and fell in love with that world too. On my list of things to learn, I’d like to dive into the world of designer jewelry and also learn how to work with glass. There are so many fascinating disciplines… 

What I enjoy most about all of them is that moment when your brain just communicates through your hands—there’s nothing else, just you and the material you’re working with. That’s my favourite part. With that, and a good comfort series playing in the background I’m happy. Sometimes I think that more than a designer, I’m a «craftsperson», because I really enjoy designing, but what I enjoy the most is making things.

AR: Do you consider imperfections in handmade projects a good quality to work with?

AT: It depends on the result you’re looking for. Of course, there is beauty in imperfections, and that’s what makes something look handmade. But personally, I’ve always liked to refine things as much as possible so they’re as perfect as I can make them, and I don’t think that makes them more or less handmade. Sometimes I think some people use that “beauty of imperfections” as an excuse not to put effort into doing things better.

AR: We can see in your Instagram profile that you’ve been featured in various magazine editorials and even music videos. Do you think exposure is everything you need to make it in fashion?

AT: Not at all… When I finished my degree, that was all I did—I spent my days sending boxes back and forth. It’s really nice to see how someone with a different vision uses something you created and gives it a new context. And it’s true that appearances give you exposure, which can lead to new opportunities. But many times, the fashion world takes advantage by offering commissions in exchange for visibility instead of financial compensation, and the work and time you put in ends up being just a photo to post on Instagram.

Nowadays, I participate in that kind of work only if I feel I trust the team and identify with the project, but it’s not my priority. To “make it” in fashion depends on what that means to you. If your goal is for a certain celebrity to wear your clothes and they do, then you’ve made it. If your goal is to work for a certain brand, personal exposure might not be very relevant. And if your goal is to create your own brand and make a living from it, then the expenses for publicity need to be covered by sales to make it worthwhile.

AR: How did you manage to create connections in an industry so heavily based on fashion capitals, mind you, you’re from the periphery of Spain, not even Madrid or Barcelona?

AT: If you’re referring to connections with stylists, nowadays we’re very lucky to have social media. I’m sure living in and surrounding yourself with a community with strong fashion influences makes everything easier. But in the end, I’ve always thought you have to work with what you have—which for me was living in my beautiful hometown Santander for a few years—and try to get the most out of it through the tools we have today. 

So my modus operandi was to make, make, and make, share my work because you never know who might see it or who might be interested, and reach out to stylists I liked for possible collaborations.

AR: Do you reflect your inner child in everything you do, or do you feel you have to distance yourself from your personality when creating, now that you’re looking to design something more commercial?

AT: I’ve always put my whole self into what I design. At first, maybe I felt like I had to create more eye-catching pieces for the purpose of attracting attention and getting the garments into the press. Now, I still put my all into it, but from a more mature perspective where my main motto is what I want to communicate, doing it the right way, and working on a design and styling that represents my identity as a designer, without worrying so much about how it’s perceived.

AR: What influence does music have on your work? Do you believe in creating a playlist for each project you do as a mood setter?

AT: It’s funny that you ask me that. While I design, I’m always either listening to music or watching series (usually ones I’ve already seen). For example, for the Bushido collection, I remember watching the entire Grey’s Anatomy for the third time. For my final master’s collection, I’ve watched Peaky Blinders again for the 285,937th time, and I even cut my hair into a bob because I was so into it.

Regarding music, during my studies, I made a specific playlist for each year that really captured the mood I was in at the time. But now, during my master’s, I went to study in Italy. I was never really into Spanish music, but I think being away from home and not hearing the language, I ended up creating my whole collection inspired by the ’20s with Hispanic trap playing in the background lmao. I know it doesn’t sound very intellectual, but that’s what made me feel good while I was knitting.

AR: Your personal brand is an expression of yourself, I get that, but how could you define Delatorre energy? Do you see yourself developing it as an actual brand rather than a space to create and express yourself?

AT: For now, I consider it a little corner on social media where I showcase my work. I’m extremely organized with the internal aspects of my life—I have folders for everything, online photo albums, videos… I like to keep things organized!

For a while, I deleted my personal account and tried to mix my work account with my personal one to make it less serious and more personal, but I didn’t like it—it didn’t make sense to me.

If you had asked me two years ago if I planned to do anything professional with it, I would have said a firm no because my creations are my hobby and I want to keep enjoying them that way while learning more about this world by working from inside the industry. If you ask me now, I’d still say no, but not so firmly. I think I could develop something more serious and truly mine in the future, but maybe under a different name, taking it slow and doing a lot of research before jumping in. Who knows! I like having projects in sight, and now that I’ve finished my master’s, I have some space free in my head!

AR: What attracted you to the samurai code of honor to make it the core of your third collection? What prompted you to create a collection outside of the academic environment for the first time?

AT: As I’ve said before, I like to organize. And this also applies to travel. I had a trip planned from start to finish with my partner to Japan for 2021—it could be said it was our dream destination. But once again, COVID arrived. We had to postpone it for a couple of years, so in the meantime, I eased the need to visit by creating a collection inspired by samurai culture, which I find fascinating.

I also wanted to make a collection completely made with manual techniques like crochet, weaving, and macramé since I didn’t yet know how to use a knitting machine, and I wanted to do a master’s in knitwear in the future. So I needed to show in my portfolio that I have skills with fibers and textiles.

That’s how the collection came together on its own! I really enjoyed it because I did everything my way and used techniques and colors that were unfamiliar to me, so I had a great time. I set up a studio in the storage room because there was no more space left in my parents’ house. I remember it as a very creative and beautiful phase.

AR: What was the time like between graduating from your bachelor’s degree and enrolling in the Master in Creative Knitwear Design by Accademia Costume & Moda and Modateca Deanna? What have you done to keep your creativity alive?

AT: It was a time when I focused on myself and my skills, mostly. I was preparing for the C1 English exam because all the foreign universities required it. I also enrolled in Italian and French classes because I wasn’t sure which country to choose for my master’s.

I bought a knitting machine and started teaching myself how to use it, which took time because these machines are very delicate when it comes to being properly calibrated. So I went through a long period of trial and error, along with quite a bit of math (which I’m terrible at), especially when it came to increasing and decreasing stitches.

Once I started the master’s program, I learned in a week what had taken me months to figure out on my own! And as I already mentioned, I also signed up for ceramics, which I absolutely loved.

AR: Why did you choose Italy as the country to pursue your higher education studies? What advantages do you think the Italian industry has over other leading fashion industries?

AT: I decided to choose this master’s because Italy is practically the cradle of knitwear. Every luxury brand produces its sweaters here—the culture of knitting and the appreciation for it is very evident. My master’s is backed by Accademia Costume e Moda, which is a great university with a team that doesn’t make you feel like just another number but like part of a family, and Modateca Deanna, an international fashion and knitwear documentation center with a fascinating history.

So I felt that the place where I would learn the most and truly live this world would be in Italy. It has been a fascinating year where we’ve met people from knitwear factories, historic yarn companies, embroidery specialists, and teams from major Italian brands with whom we’ve collaborated on projects. It’s been a year of a lot of hard work and intensity, but I’m eternally grateful for everything it has prepared me for in this sector.

AR: What was it like creating projects with Falconeri or Brunello Cucinelli? Can you expand your capsule collection MARE NOSTRUM?

AT: During this year, we have created capsule collections for different brands (Brunello Cucinelli, the Max Mara Group, Iceberg, and Falconeri). It has been a very interesting process since we were given a briefing and had to work based on it and the brand’s codes to design a capsule of 10 pieces, both conceptually and in the development of various stitches and volumes to convey what we wanted to express. Thanks to these experiences, I have learned how to work within a team, receive valuable feedback from key people in each brand, and build highly appreciated connections. In the case of Falconeri, together with other colleagues, I was selected to bring a part of my collection to life hand in hand with the Falconeri team, a process from which we learned a lot about translating our ideas into tangible forms to facilitate development, and again, about communicating effectively as a team.

AR: You are now working as an assistant knitwear designer at Max Mara? How are you approaching this stage?

AT: Yes, the Max Mara Group is a giant in the fashion industry here in Italy, and I couldn’t be more grateful to be part of it. From the very first moment, they have treated me very well, and I am learning a lot about designing with a tangible, commercial goal focused on the customer. When you think of this company compared to others, no single creative director’s name or figure stands out as taking the lead, and this is noticeable within the company itself since the entire dynamic is very much centered on active teamwork, with strong internal organization and clearly defined roles.

AR: Golden Echoes is your master’s graduation collection. Could you walk us through them?

AT: Sure! Shortly after arriving at Modateca, we would spend our afternoons doing research in the library. I remember getting completely absorbed in a book (Vogue History of 20th Century Fashion by Jane Mulvagh)  that focused on the 1920s—an era that, for some reason, has always fascinated me. Maybe it’s because of how dramatically women’s fashion changed in just a few years. The elegant femininity of the silhouettes without being overly suggestive—it really resonates with me, and I love researching it.

Something that caught my attention during the research was that most of the illustrators of the time depicted women in a “sway-backed” posture—very hunched over. That struck me deeply because to me that posture symbolized insecurity. I used to struggle with it myself during early adolescence, not feeling comfortable with myself and always hiding behind my hair, shoulders forward.

Seeing how that same posture back then represented strength and freedom really touched me. That’s when I decided to explore it further—working with volumes and elements from the era, but reinterpreted with a modern sensibility.

AR: Who have you collaborated with to create these looks?

AT: None of this would have been possible without the help of my mentors: Edward Buchanan, who supervised the final project, and Sonia Veroni, the director of the master’s program. My collection went through countless iterations—it’s not easy to find that perfect point where your vision is clearly represented and feasible to produce.

Thanks to the network we had through the program, the collection was produced by amazing Italian knitting mills, which helped achieve a polished, professional finish. We also collaborated with yarn companies that provided the fibers. That’s why it’s important to stay grounded—you need to design four distinct but connected looks. They need to be tangible, follow a consistent narrative in terms of image and materials, and be easily translated to the companies helping with production. I’m also very grateful to Marzia Saccon from M3 Knitwear, who supported me throughout the process through her knitwear company—helping with garment development, patterns, and even lending me some of her stock yarn.

Creating this collection has been a real-life lesson in how to produce and communicate something professional, not just academic.

AR: What is your favorite piece from the collection and which was the most challenging to create?

AT: I can’t choose… they’re all my babies! I really love the jacquard pieces, and the multi-position jacket too. I also have a special connection with the accessories I made at home over the past few months. For me, it’s the whole ensemble—nothing really stands out above the rest.

The most challenging piece to produce was probably the final dress. I had created a manual sample, and we weren’t sure if Marzia would be able to replicate it mechanically in the knitting mill—but she did, and it turned out even better than I had imagined!

AR: I can see how multifunctionality and accessories are key elements throughout all your projects. How do you think this affects your position within the industry?

AT: To me, accessories are an essential part of a look. You can design the most beautiful garment in the world, but if it’s not styled properly, it loses a lot of impact—at least from my perspective. Sometimes I tend to envision full looks more than individual pieces. Maybe it’s my background in art, I always need to see everything together, as a whole. I always start with the complete silhouette and then move into the details of each component.

AR: To conclude the interview, I’m going to ask you three questions that will inspire others and reflect your academic and professional journey so far. Starting with this, what advice would you give to someone about to begin this career?

AT: Trust your instincts and work hard! Don’t limit yourself to just what you’re taught—stay curious and always eager to learn something more, because you never know where it might take you!

AR: How would you describe your identity as a designer today, after completing your degree?

AT: Mmm… it’s hard to see yourself clearly, I wouldn’t really know how to define it. I think I have a thing for creating feminine pieces. When it comes to silhouettes, I tend to draw—often unconsciously—from Japanese references. It’s a world I’m passionate about, and it’s always there in the background.

AR: How do you envision your path in the fashion world in the coming years?

AT: Fashion is a constant learning process, and even though my time as a student has ended, I still have so much to learn from the industry experience. For now, my goal is just that: to keep learning and gradually move forward, step by step.

But in the background (because I can never sit still for long) I know that once I recover from this intense year, I’d love to work on something more personal. We’ll see!