After the presentation of Evita in front of the mirror, the new book of the Collection of Studies on Fashion of the Ampersand publishing house, the dome of the CCK became a performative catwalk, with the costumes of none other than Pablo Ramírez. Inspired by different passages of the text, the designer presented nine looks that more than sets of clothing seen in a parade, will be remembered as a finished interpretation of clothing of the protagonist in question. There are no doubts, among other things, about the timelessness of his style.
The designer Pablo Ramírez reinterpreted with nine designs the style of the "standard-bearer of the humble" from an essay on the mark that Juan Perón's wife left in the world of fashion.
Of course, Ramírez could have dressed Eva Perón. "In fact, I dressed Fabiola (Yáñez) and Cristina (Fernández) when they went to see the Pope," recalls the designer.
And just as there are transpositions from books to films and plays, in this case some ideas, looks and events mentioned in the texts that make up the publication edited by Ampersand, are referenced in the display of skirts with petticoats, hats and jackets typical of the 40s.
Thus, around a microphone typical of the radio of yesteryear, as the only element on stage, the models rehearsed poses that can be linked to the different roles – cited in the book – that Eva Perón had: model, actress and political leader. The same applies to the reference of the paradigmatic model he wore in the audience with Pope Pius XII or the typologies that allude to Christian Dior. Although the latter was shown in the pure way of Ramírez: all, absolutely all, the garments respected to the letter table the black and white binomial, at this point the trademark of the creator.
-In the Bicentennial parade you had already worked with Eva as inspiration. How did you take the book to the catwalk?
"I found it organic. I didn't have to make an effort, it's super natural for me. And while I had pieces, I also added new ones. One of the emblematic ones is that of Eva in her visit to the Vatican. A crepe suit that she wore with the mantilla that was like the same dress. Based on a cast by Madame Grés, it could have been by Azzedine Alaïa or mine. It has an incredible contemporaneity, for me it represents the most Ramírez Eva of all. In fact, I dressed Fabiola (Yáñez) and Cristina (Fernández) when they went to see the Pope.
-Everyone knows something about the Eva Perón style, what did you tell again?
Beyond the reference of Eva in the Vatican, I also showed four day suits. The first is a set of white jacket and black pencil skirt, a silhouette like from the 40s, of the most morocha Eva, the radio soap opera actress. And the last of these looks is the version of the New Look (created by Christian Dior in 1947) by Eva Perón.
The designer Pablo Ramírez reinterpreted with nine designs the style of the "standard-bearer of the humble" from an essay on the mark that Juan Perón's wife left in the world of fashion.
–Taking into account the impeller, the skirts, etc. What do you think it contributed to the clothing?
–It gave him extraordinary visibility. She wasn't just any woman, that's exactly what the book says. Her first job was as a model, she went to radio, then became an actress, worked in films and got involved in politics. Who remembers a first lady? If I think about that, I think Jackie Kennedy is in second place. There is a contribution that has to do with the exposure that is not even given with an actress because there is always the doubt of how far the character goes. Here, he is a real person with a journey, a history, a past and a present. That also gave him a very strong sense of contemporaneity. An empowered woman wearing what everyone dreamed of wearing.
-The book ends up confirming that Eva Perón united the aspirational of cinema, also of fashion and politics, can that be what keeps her current?
–Yes. Although, although he was aware, perhaps he never imagined the scope that all this could have.
-Evita in front of the mirror rescues that she was related to a queen, something that is diluted when she is shown in pants and with a cross coat on the trip to Italy. Of these two Eves, which do you take from each?
"I would have loved to do something bigger, because I have things left to go. If I see the image of her with the scarf and pants, I feel totally identified, it has to do with me, but here I had to concentrate everything. That's why I took it to the four day looks and the long dresses that relate to the most exacerbated thing of Jacques Fath, (Christian) Dior and (Marcel) Rochas
-The authors also take charge of all the mythography around Eva Perón, what gave that fantasy to fashion?
Fashion is communication because it is fantasy. Designers tell stories and people when we dress too. A character like her has such a great meaning that, precisely, that is why her figure is immense and unfathomable. It has all the ingredients and an inexhaustible amount of reading.
The designer Pablo Ramírez reinterpreted with nine designs the style of the "standard-bearer of the humble" from an essay on the mark that Juan Perón's wife left in the world of fashion.
"How would you dress it today?"
It's hard to think of what it would be like today. It's a completely different world.
–I ask because your typologies are timeless
Yes, and it is like in the phenomenon of Eve, it has to do with classical beauty, with harmony and balance. I look for those values of Greco-Roman culture, something that never expires. We see it and we can always reflect ourselves.
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Pablo Ramirez
Argentina, 1971.
Konex Award Designer 2012 and 2022. After his first steps in Paris, in 2000 he founded his own label. Her work is based on simple lines, with refined contours, where the sculptural intention of the dress combines the classic presence of denim with a palette dominated by black. His stylistic universe unfolds in the fields of literature, theater, cinema and fashion films. He was part of catwalks in Buenos Aires, New York, Stockholm, Berlin, Madrid and Medellín.
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