Moda: Pablo Ramirez

Una década para el fantasista supremo de la moda argentina. Backstage Mundial. Declaraciones también. Demasiada identidad nunca es poca identidad.

TEXTO: Federico Fahsbender
FOTOS: Jorge Miño

Visto desde la rendija del biombo en el backstage es otra mística totalmente. Pablo Ramírez celebra una década de vivir o sobrevivir, depende de cómo lo mires, o él lo mire, a una década exactamente de “Casta”, su colección breakthrough tras ser un chico UBA en los 90s con tonito vocal tímido, o un chico de colegio católico, hijo de mecánico y ama de casa en Navarro, Provincia de Buenos Aires, y lo hace con gracia extrema en el Salón Versalles del Alvear Palace Hotel, paredes con volutas doradas y todo. Las chicas van y vienen, con música clásica algo de rigor, en una colección que sintetiza su década en completo, frente a un público de fans vestidos en negro, gente con lentes oscuros a puertas adentro y familias con sonrisa que saben que Ramírez es moda. O Ramírez mismo, que recién ahora descomprime su neural inicial y sonríe. Gonzalo Barbadillo, su socio, sonríe también. “Love Me Tender” por Elvis suena gigante, corte imperial. Y el milagro en todo esto es el milagro de la moda misma, y que Ramírez haya podido entenderlo para hacerlo propio, a 51 años de Audrey Hepburn, Givenchy o “Desayuno en Tiffany’s” y cosas por el estilo. Podemos hablar de cuando lo visitó Alber Elbaz de Lanvin para felicitarlo, de Stephen Gan de la revista Visionnaire, Suzy Menkes o Isabella Blow con “te felicito” también, de ser parte de enciclopedias de Phaidon, o ser una tendencia en sí mismo contra cualquier tendencia de estación. Eso está perfecto, no son logros menores, pero Ramírez prefiere hablar de otras cosas.

¿Cómo hiciste para sobrevivir diez años?
Ay, ¡no lo sé! Me adapté, me adapté… ¡y me adapté! Haciendo lo que me gusta, también.

¿No son términos un poco antinómicos?
Es que adaptarte es poder sobrellevar lo que pasa a tu alrededor siendo fiel a vos mismo, dentro de tus posibilidades. Dios, parezco un libro de autoayuda de Louise Hay en vez de un diseñador que habla de su carrera.

Quizá un logro es que tu nombre se convirtió en sinónimo de moda. No lo dicen los entendidos, sino también la gente en la calle, las señoras y sus hijas. ¿Te sorprende?
No, ¡para nada! El otro día, estaba chateando con Paula Gandolfo, la modelo que abrió y cerró el desfile, y ella me dice: “¡Mi familia te adora!” Y es cierto: ¡soy el diseñador más querido por la familia argentina! No sé qué fibra puedo tocar, realmente, y tampoco soy un diseñador joven. Por ejemplo, el público que va a mis desfiles no es el que va a todos los desfiles, sino que es súper heterogéneo.

Representás valores tradicionales de la moda, quizá.
Es que es eso. Represento valores y principios que son clásicos en la moda, la confección, la sastrería, la nobleza en los materiales, un sentido de elegancia. Es cómico: la evolución a veces es la tradición misma. Tampoco es intencional, no es que quiero quedar bien con las señoras, sino que es el resultado de una década de trabajo, en buscar la silueta perfecta.

¿Existe?
Existe, porque cualquiera puede tener un vestido, un traje que le genere una fantasía, que le quede increíble. Esa es la gracia: ver dónde va el recurso, la tabla, la pinza, y que todo esto ocurra sin color, solo la tela cosida sobre el cuerpo.

Va a tu teoría de la sexualidad, donde el escote jamás estuvo en el pecho, sino en la espalda.
Está en el cuerpo contenido, el traje mismo se ocupa de contener ese cuerpo cargado de sexualidad, en cómo el cuerpo le da rienda. Para mí, un cuerpo desnudo está indefenso. Y la revolución fue que esto mismo lo percibían los hombres cuando yo empecé, veían a las mujeres vestidas en mi ropa y entendían que lo sexy pasaba por otro lado, y lo decían. Tampoco digo que lo inventé, esto viene por lo menos de la revista Bizarre y Betty Page.

¿Cuándo fue la primera vez que viste “Desayuno en Tiffany’s”?
Ufff, ¡ni me acuerdo! Era muy chico, en Navarro, en Canal 7. Y me volvió loco, me pareció lo más de lo más, no podía haber algo más increíble que Audrey Hepburn cantando “Moon River.” Ahí aprendí al cuerpo contenido en el negro. Agarraba la revista Gente, la 7 Días, y dibujaba encima. No sé, a Graciela Alfano le hacia guantes negros, trajes hasta el cuello. De ahí viene mi silueta negra.

“Casta”, tu primera colección bajo tu propio sello, en 2000, fue un breakthrough. No solo demostró que había una nueva generación de diseñadores en Buenos Aires, sino que también, bueno, te demostró a vos.
“Casta” tenía eso, el vestido que se alejaba, que creaba volúmenes, y sin saber qué había debajo de esa tela, de qué pasaba con ese cuerpo, algo muy monacal. Tenía 28, y dentro de toda esa insoportable forma, había algo infantil, de concretar una fantasía, todas esas cosas que yo había imaginado se habían corporizado y estaban haciendo fila para salir.

¿Quién estaba ahí?
Mi familia, mis amigos. Y Gonzalo, que era amigo mío hace un tiempo, y había sido papá de Valentín hace poco. Ni había visto la colección, ¡y se quedó en el back ayudando! Apareció con su hijo de apenas meses, así que Ramírez cumple diez años como Valentín. Muy simbólico.

¿Qué es Gonzalo en toda esta estructura?
Es mi socio, y mi traductor e intérprete. Sabe muy bien lo que quieren las clientas, sabe desde dónde veo yo las cosas. Es como si tuviera mis ojos. A veces, yo subo desde el sótano a dar una devolución y la clienta dice: “Ah, ¡es lo mismo que me dijo él!” Además, soy un poco fóbico en el trato, y él es como la cara pública.

¿Los 90s? ¿La UBA? Era una novedad la carrera de Diseño. Nunca antes hubo algo similar.
La primera experiencia en la facultad fue increíble, el grupo que se había generado, lo que pasaba con los alumnos. ¡Iban todos montados a estudiar! Mirabas al 160 y ya te dabas cuenta quiénes eran los de Diseño. Era como la isla de “Lost”, una garra enorme, muchísimas ganas de existir. Teníamos cursada de 14 a 18 horas, el peor horario. Pero había un desfile, un concurso e íbamos todos.

Los estudiantes ya ni siquiera van a desfiles.
¡Tal cual! Va gente, no sé, ¡a eventear! ¿Dónde están todos los chicos y chicas anotando conjuntos? Recuerdo el primer gran desfile que fui, uno de Nina Ricci en el Sheraton, fui con Gonzalo, y nos colamos, ¡obvio!

¿Cómo hicieron?
¡Vestidos impecable y saludando muy cortesmente! Así uno se cuela a un desfile. Nadie te duda.

La falta de identidad nunca fue un problema en tu caso. ¿Sentís que un exceso de identidad puede serlo?
¿En qué sentido?

No te digo una queja de clienta, que te puede pedir un color, un bordado o una piedra. Va más a un agotamiento creativo.
En realidad, eso es más un fantasma ajeno que una fantasía. Mientras yo lo siga disfrutando y lo haga con entusiasmo, no veo por qué parar. Yo lo hago convencido, y la respuesta tiene que ver con lo que yo creo importante. Tiene que ser auténtico. Lo que vale es eso: que sea de verdad.

Vas a hacer los uniformes de Aerolíneas Argentinas. Muy inusual verte en cosas utilitarias y pragmáticas.
Para nada. Me encanta hacer uniformes. Ya hice para restaurants. ¿Qué hay más utilitario que un uniforme de camarero? Vos cuando vestís a alguien de manera serial y lo cargás de un significado standard, lo desnudás. Son aparentemente iguales, pero el que lo lleve lo va a diferenciar. Es más, gané el concurso de Alpargatas en 1994, y la idea era hacer uniformes escolares, así que hice un jumper de jean. Ese fue mi primer gran reconocimiento, me abrió las puertas para ir a trabajar a París.

¿Y el primer “te felicito” que realmente importó?
El de mi papá. Nunca pudo ver un desfile, pero vio un trabajo mío, cuando yo estaba en la facultad, y me lo dijo. De todos los “te felicito” me quedo con ese.

Ah, el Mundial: ¿quién lo gana?
¡Por Dios! ¡¿Vos te pensás que me interesa?!

FOTO 1: PABLO RAMIREZ Y SU SOCIO, GONZALO BARBADILLO

FOTO 2: PAULA GANDOLFO:
Vestido de novia tubo en tafeta de seda natural con capa en tafeta de seda natural e interior de tull

FOTO 3: PAULA BASCUÑÁN:
Vestido tubo en Jersey de seda natural, de escote bote y mangas ¾

FOTO 4: VICTORIA BUGALLO:
Vestido cuello chimenea silueta cáliz en Raso de Seda natural

FOTO 5: CAMILA CASTARES:
Vestido cáliz escote a la base, mangas cortas y Blusa cuello alto de Satén blanco

FOTO 6: SERGIO LAMENSA, MARIANITA SCHURINK:
Vestido Largo Sirena en Seda satinada, cuello alto manguitas cortas y gran cola con enaguas en tul
Y ANDRÉS PASTOR

350 Comments

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    ¿Porque no averigua a las personas que estafó el Sr.Gandolfo de Junin y de BsAs? Es un inmoral y por lo tanto no le haga tanta propaganda a su hija porque puede quedar pegado mal.Averigue Don y encontrará sorpresas

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