The pattern maker acts as a bridge between the designer's visionand the final creation: the designer thinks about the 'what', while the pattern maker thinks about the 'how'. It is a long process to learn the craft, requiring a solid foundation in fashion history and culture, otherwise, it is impossible to interpret the stylist’s vision. My work is not just a translation from 2D to 3D, but a true interpretation of the design, to ensure the garment's replicability and fit across all sizes. The pattern making department is the heart of any fashion house.

Architecture, observation, travelling, art exhibitions... I was fortunate enough to travel the world, also with my beloved husband, who worked in textiles. Together, we searched for rare looms and materials across every continent. Understanding history of art is fundamental to my practice. I think of Balenciaga’s drapery, which looks like it came straight out of a Renaissance painting. The pattern maker must possess the cultural background and visual language necessary to engage in a dialogue with designers and interpret their vision.

I have a passion for it that never fades. I enjoy creating new volumes and seeing them take shape on the mannequin. It is like creating a sculpture. I love the profound dialogue with the designers, a relationship built on providing creative feedback without ever overshadowing their vision. I had the opportunity to work with giants like Giorgio Armani. I also love teaching: passing on the passion and the tools of this craft to young people means contributing to the growth of an entire creative industry.