The Homecoming

By R achèle Be vil acqua Photographs by Ale xia Silvagni Delfina Delettrez is not even 30 and yet, the accolades and achievements keep pouring in.

The Art Deco Museum of Paris has already procured two of her creations for their permanent collection — the “Frog Prince” ruby-studded ring and the “Thorns and Snakes” bracelet with peridots and Tahiti pearls. In 2012, she showcased her collection at the Almine Rech gallery besides holding an exhibition at Antonella Villanova’s esteemed gallery. When we met her, last December, she had just returned from Art Basel Miami. In this young woman’s life, art and fashion design go hand-in-hand. Even more so since she is the great granddaughter of Adele Fendi, founder of the house of Fendi, a brand that perfectly embodies the city of Rome, where it was founded and where she was born. In fact, in 1985, the National Gallery of Modern Art in Rome celebrated Fendi’s 60th anniversary as well as 20 years of their association with creative director Karl Lagerfeld. For the very first time, this prestigious institute had opened up its doors to a fashion designer. Today, Delfina Delettrez is all set to showcase her new jewellery collection for Fendi, designed in close partnership with her mother Silvia, accessories’ head of the brand, and Karl Lagerfeld. This collaboration is a logical and expected continuation of a career that began in 2007, when Delfina showcased her first collection at Colette. Since then, she has collaborated with many designers and opened up her own boutique, near Piazza Navona in Rome. Delfina Delettrez meets us in Paris, in the Saint-Germain-des-Prés district. She rolls her own cigarettes, speaks French with a distinct Italian musical intonation, breaks into English at regular intervals and confesses that she is perfectly at ease in any international city. “I am a citizen of any country that I travel to. I adapt easily,” she says. For her current jewellery collection, she is working with Lagerfeld, whom she knows very well and whose work she admires. “His creations are so unique. I can recognise a Lagerfeld design from a mile away. I know and understand his language. I have been seeing his work ever since I was a little girl, since they are archived at my house,” she adds. Delfina Delettrez is dressed in Fendi.

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Hair Momo Rauch, make-up Marielle Loubet, manicure Alexandra Leforestier.

February 2014 53 Delfina shows us pieces from collection for Fendi.

Bejewelled 54 February 2014 Your first collection for Fendi blends fur, a signature Fendi material, with the evil eye motif that is often used in your collections. Tell us more.

I wanted to work on enhancing our respective strong points: fur and the evil eye. I used fur to add lightness to the Spring/Summer collection. I like it because it has soul. I like the idea of bringing together two contrasting sensations. Fur with crystal, for example. I have attempted to bring unexpected textures together.

Could you tell us about the two worlds that coexist in this On one hand there is the organic world and on the other, you will find an imaginary, futuristic, almost cyber world. A ring could be seen as a glove, while an earring could well be imagined on a woman stepping out of a space ship. These pieces of jewellery could well be implants on a woman’s body.

You seem to be inspired by science fiction alot. Where do you find your inspiration?

I spend sleepless nights on YouTube and on sites like Reality Sandwich, which swings between shamanism and the cyber world. It’s almost like my inspiration is a cross between Wonder Woman and manga characters. I grew up in this culture, surrounded by these characters. I am from the generation of Sailor Moon, a character who is constantly adapting to the surroundings. I like the idea of adapting; I use it in my work all the time. The movement of your body makes the jewellery move, but it is also an extension of the body. I am obsessed by contrasts too. Skin and fabric, matte and gloss, robotic and organic… Coming back to the name of your collection “Furry Tale”, the history of Fendi is also a fairytale, isn’t it?

Yes! It is just like Doctor March’s daughters. Different women, bearing the same name, and who have a singular strength. I am from the fourth generation and the legend continues. They are eternal, like cyborgs! I also love playing with words. All my collections have interesting names. Sometimes, I name individual pieces. “Furry Tale” is a world completely imagined by me. I began by thinking of Fendi’s Bag Bug, which went on to become an Egyptian eye, followed by an Art Deco eye, a mutating parrot and finally, an imaginary tropical bird.

Is this the first time that you have been asked to collaborate with Fendi? Yes, and it all happened very naturally. I was approached as a designer and not as the great granddaughter of the Fendi family. I launched my brand six years ago. I have worked with many other brands. It was high time for me to come back home.

Do you have any fond memories from this collaboration? What do you have to say about Karl Lagerfeld?

I absolutely loved working with Karl Lagerfeld and my mother. I felt like I was studying in the most prestigious fashion school. My mother was curious to see how I would interpret Fendi’s codes. I loved having her in a double role, as a February 2014 55 mother and as the accessories’ head of Fendi. Different points of view and opinions from my mother and from Karl made me learn a lot.

Karl also has a great sense of humour. He looked at my collection with a very critical eye. In my family, all the women have a great sense of humour and that’s what has brought Karl close to us for the past 40 years. I also discovered the world of fur. Life is a constant learning curve.

Could you take us through the creative process? I designed the collection and then presented it to my mother and Karl. We discussed the best way to realise this collection. At the start, I was very shy. We hadn’t really spoken much about this upcoming collection. For example, Karl really liked the feathers on the earrings, but he wanted the feathers to be longer, because he had used them in his last collection. The trio formed by us was brilliant because we were all on the same wavelength. We all agreed on the presence of cyber and geometric elements in the collection. This was your first collection with fur. Is this a mandatory rite of passage?

I don’t really know. But it is definitely homage to my lineage.

You are the great-granddaughter of Adele Fendi, who founded the house in Rome, in 1925, a city of great art. Everyone has high expectations from you. Does this hamper your work and growth?

I have always breathed fashion, creativity and art, in all its forms. As a child, at home, we always spoke of fashion like others speak of time. I was not forced to join the fashion business. But it is difficult not to, especially when you are surrounded by women who are so passionate about and dedicated to their work. My outlook is like theirs. I interpret everything that I see. I can make anything wearable.

One word to describe the vision of the Fendi women? Reinterpretation.

Fendi is not only very well established in its field but it is also a brand founded and built by women, in Italy, where men rule the economy… The stalwarts of Fendi began working at a time when women didn’t have a place in business.They were five women against the world,five women with very strong personalities. It was a case of strength in numbers. How would you describe the personalities of these women? It’s strange because they are all so different from each other. One is a designer, the second is in communication, the third handles the technological aspect of things, etc. These women complete each other and are linked very strongly to each other. I feel that this link is a very strong common idea of aesthetics. I always say that our DNA is not made up of X or Y chromosomes, it is a double F, for females! This double F is strongly engrained in my system too. I feel very connected to this heritage. The art form of surrealism always present in your collection. The photographer Daniel Sannwald created the Magic Triangle video for you, and it has Dali-esque references. Which artists have inspired and influenced you?

Bejewelled 56 February 2014 I have always been influenced by sculptor and architect Piranesi, Roman ruins and Victorian jewellery (for their gothic charm). However, it is the surrealist movement that influences me the most. I am particularly fond of a painting by Jérôme Bosch Le Jardin des Délices. Each time I look at it, I see something new and I seek to recreate this effect in my jewellery. I want to make something that makes people think. I think that art needs to set off a mini revolution within each of us. Which explains why I always like to create a sense of movement in my jewellery. What do you mean?

What I can’t do materially; I try to do it mentally. I see my pieces of jewellery as mini sculptures that you can walk around with. They are also icebreakers between people. How did you get into jewellery design in particular? Jewellery is an important part of my heritage. I grew up with women and therefore I was surrounded by jewellery and all kinds of stones. A piece of jewellery can transform the way you look or dress. But the jewellery that I grew up around did not belong to me nor did it appeal to me. It was out of sync with my generation. They were opulent and more about being handed down through generations.Very often they were bought by men, who didn’t necessarily have good taste. One day, as I was growing up, I realised that a jeweller needs to be an alchemist of sorts. And that was what fascinated me.

Did you study gemmology formally?

No, but I am still learning every day in my laboratory. I work closely with my artisans. We work together to find the best way to showcase a precious stone. We work to bring a stone to life. There are lots of issues to handle and many compromises to make. Your technique can change the idea and shape of a stone. I prefer to play around with stones rather than design pieces. I am more of a hands-on person.

You have just returned from Art Basel Miami. What did you think of this year’s event?

I love this exhibition. I find that art and fashion go together so naturally. It is very rich and dynamic. I love Miami because of the sun and the sea. It’s like I was on a vacation. Except that I wasn’t. I saw some amazing pieces of jewellery, like a neckpiece by Jean Vendome featuring amethysts and crystals. This piece is so modern though it dates back to the’30s.My current obsession is raw,uncutstones. Do you collect jewellery?

I like heritage jewellery, Victorian jewellery, stones and tiny animals. I am passionate about insects, which you will find in my collection. I love nature because it is constantly changing.

I am particularly fond of a painting by Jérôme Bosch Le Jardin des Délices. Each time I look at it, I see something new and I seek to recreate this effect in my jewellery. I want to make something that makes people think. I think that art needs to set off a mini-revolution within each of us. February 2014 57