The challenges of high embroidery
- Maria Teresa is a gifted embroiderer and entrepreneur
- Her career spans over 60 years
- She carries forth the high tradition of hand embroidery
Maria Teresa Bergamaschi entered the Brambilla embroidery atelier in Gorgonzola, founded in 1946, at the age of 15 as an apprentice. She completed her training there and stayed on, taking over the business in 1991, when the owners retired. During her 60-year career, together with her team, Maria Teresa embroidered high fashion dresses for Armani, Ferrè, Dolce & Gabbana, Versace and many others. She also worked on theatre performance costumes, wedding dresses, including the one for Charlène de Monaco, and garments for Lady Diana. The techniques she applies "reflect the high tradition of hand embroidery, while also being adapted to dealing with the extreme variety and complexity of the creations," she says. After training a hundred apprentices, Maria Teresa now dreams of founding a school to preserve and pass on this ancient art in Italy.
INTERVIEW
I started working at 15 and learned over time, alongside all the masters responsible for the company. In the end I took over. By observing and trying first hand, I was able to take care of every phase, from prototyping to the final creation of the embroidery on the fashion show piece.
Everything! In particular, I love to make ideas come to life. It is extremely stimulating to always face new challenges. Almost every day I have to find new solutions: fabrics, materials (sequins, crystals, corals, leather...) and motifs (classical, floral, geometric...).
The reverse crochet embroidery. It is a particular technique in which the chain or stitch does not remain visible and makes the embroidery extremely refined. The applied material seems to 'float' on the fabric, creating volumes and patterns particularly suitable for high-quality creations.
Many moments, having worked with great names in fashion such as Ferrè, Versace, Lancetti, Krizia, Dolce & Gabbana, Armani, Rocco Barocco… I also worked with the Teatro alla Scala and the Metropolitan Opera. Placido Domingo after staging in NYC wrote a moving dedication to thank me. I fondly remember the nights spent working with Gianfranco Ferré: he was always so friendly and very creative.
