The exhibition Josep Font, beauty and restlessness at the Cristóbal Balenciaga Museum addresses the work of one of the most personal fashion creators in our country, internationally recognized, who left the catwalks five years ago.
Josep Font (Santa Perpètua de Mogoda, 1965) got to know the work of Balenciaga thanks to his mother, Teresa, whom he accompanied from an early age to buy dresses by Pedro Rodríguez, Manuel Pertegaz or Andrés Andreu. The bond between the two was very close. He died when Joseph was 16 years old. “It was very hard. I have a wonderful memory of him, but his absence has not made me any different, not even mentally. I always remember her. And now a circle closes: I would never have imagined sharing something with Balenciaga”, he says.
Josep Font is on the other side of the screen. The reason for breaking the silence is the exhibition in Getaria, at the Balenciaga Museum, curated by Josep Casarmartina, who managed to convince Font despite his reluctance. “I wasn’t there for anything – he says – but he is so polite, and his foundation has so much value”. Most of the exhibited pieces come from the collection of Antoni de Montpalau, and are completed with others from private collections. In total, 54 pieces that invite you to follow an aesthetic itinerary in which the shapes, volumes and embellishment of the fabrics combine in a real lesson in architecture on the body.
The father, on the other hand, learned that he was a fashion designer thanks to the press. “The sky fell for him” says Font, who still remembers it while reading the newspaper. He had won the Air France award and his name began to spread. Then, Font studied architecture and, secretly, design. And he had to assure him that he would finish both races. “I was lucky that Pedro Rodríguez gave me draping lessons, he was a super refined gentleman. He told me: ‘you have to make love to the fabrics'”.
With her friend Luz Díaz, she launched a series of austere, but daring collections. They contained the effervescence of post-Olympic Barcelona that so stimulated design and fashion; they reflected a certain monastic aesthetic embracing minimalism. From the catwalk, Gaudí jumped into haute couture in Paris – where he also opened his own store – and his solo career took on a more dreamlike aesthetic, drawing from the 18th century, Orientalism and the first avant-gardes. Until he lost track, like so many other creators who understand little, of the fine print of contracts. In 2011 he was signed by Perfumes y Diseño to create the Delpozo brand, after the death of Jesús del Pozo, and for five years he dazzled the world, season after season. Today he lives in Tenerife, in the mountains, in a community of English and Germans who take care of abandoned dogs.
He had been silent for five years.
Yes, I had nothing to explain.
Why did he leave it in the midst of the success of the Delpozo line, which was sold even at Bergdorf Goodman?
Because it wasn’t right. The fashion circuit is very complex, and the company had no experience in the sector. They are fragrance experts, and they do it very well. After six years I saw that there were things that did not improve.
And he withdrew from the bustle of the world.
To not lose my own life, yes. It’s not easy to admit it, but the pandemic has been the best time: obligations were erased, a new relationship was beginning… In the middle of the mountain, cooking, it couldn’t be more heavenly. Tort, one of my adopted dogs, was walking. I collaborate very actively with an animal protector; they have always been very important in my life. I admire their patience and personality.
Continua fent fashion?
I work for some international firms anonymously. I asked for it, because I didn’t want to get involved one hundred percent. I’m fine like this. I’m a beast when I let loose.
Is he obsessive?
More than obsessive, I’m a perfectionist, I do things 40 times. I always have been. When I walk down the street I would change everything: a house, a tree, a dress. People are afraid to invite me to their house: I never say anything, but it’s true what they think. I would change everything…
He left due to the pressure of the rhythm of fashion.
You must have a very tidy head. I didn’t follow his fashion game: I took care of the excess exposure, did few interviews and went home after work. This helped me. You have to know how to be tough to say “no”. And have a separate life, because if you don’t you’ll go crazy. You become a fair animal.
In 2015 he dedicated a collection to Andrey Remnev; its referents have never been obvious.
Remnev, a contemporary with a Pre-Raphaelite style, I met in New York; he told me: “I saw my work reflected in yours”, and he gave me a painting. These types of meetings have had a strong impact on me when creating. On the other hand, I have always been very inspired by Zaha Hadid. And four books that accompany me: Wuthering Heights, El roig i el negre and Proust. I don’t have networks.
Did you feel nostalgic when you reviewed the work in the exhibition?
I have the ability to finish a collection and forget about it. I am very present and future, not at all nostalgic. I’m interested in modernity and I’m open to what’s coming, although I have a memory for detail. But when they showed me the pieces, I remembered the state of mind I was in when I designed them.
Is Spain doing well in fashion?
Very interesting things are done, and some are little known. Look at Puig: it’s incredible how much weight they have in the world.
Does your idea of ??femininity involve taking your clothes off your body?
Yes. Balenciaga saw that the clothes detached from the skin and that did not stop it from being sensual; left the nape of the neck bare. Who says baggy clothes can’t be sexy?
Do you miss Barcelona?
Above all, I really miss the Empordà. Also Barcelona, ??yes. But I’ll be back soon.
I la fashion?
Fashion, too.
