HOMO FABER 2026
Victoria Tanto
©Victoria Tanto
Victoria Tanto
©Victoria Tanto
Victoria Tanto
©Victoria Tanto
Victoria Tanto
©Victoria Tanto
Victoria Tanto
©Victoria Tanto
Victoria Tanto
©Victoria Tanto

Victoria Tanto

Textile sculpting

Paris, France

Instinctive twists and turns

  • Victoria loves high-precision manual work
  • She worked on miniature sets behind the scenes for Chanel haute couture shows
  • She sources her raw materials from second-hand shops

Victoria Tanto first studied textile and material design at the École des Arts Décoratifs de Paris, and then specialised in miniature models, and in particular vegetation, used in the world of fashion and animated films. She also embarked on a personal artistic quest in which the minuscule is the starting point for her exploration and the foundation of her graphic vocabulary. In her creative process today, Victoria will identify an initial principle, repeat it, alter it and repeat it in an expanding movement. Her creations are composed of patiently twisted and embroidered threads that generate textures, contrast and volumes following her instinct. The result is nuanced and striking pieces. Victoria’s singular, intimate language unfolds, combining intuition, technical savoir-faire and a love of work that takes time.

Victoria Tanto is a rising star: she began her career in 2019 and she started teaching in 2019.

INTERVIEW

It is very intuitive. It is triggered by an encounter with a material that speaks to me and in which I sense a potential for exploration. It is also connected to the joy I feel at the idea of experimenting and being surprised by the material.

I would be honoured if people recognised me through my visual signature as it is one of the most beautiful things that can happen to a artisan, because it shows a profound coherence in their work over an entire career. I am working towards this!

To a great and undeniable extent. I was brought up surrounded by plants by a landscape gardener mother and I learnt to observe plants, to try to understand them. I think I responded to my botanical incomprehensions with my imagination.

My own technique, based on twisted threads, needlepoint and knots. It is a blend of traditional techniques and personal contributions. I have always been fascinated by learning something, experiencing it and then trying to reinterpret it.