ZILLA SPARKLING BAGS IN AN INTERVIEW TO THEIR CREATOR

Zilla fw 2018 | ph. Jasmine Deporta

Architecture and fashion can seem like a tuna tartare with currants, that is a risky combination. But the story of Zilla and its founder, Sylvia Pichler, originally from Bolzano, writes another story, in which planning and creativity go deep into her bags, characterized by a perfect aesthetic and functional balance. This fabula tells it to Wait! the same designer, met in Milan a few weeks ago, during the presentation of the autumn-winter 2018 collection, protagonist of the images.

Sylvia from architecture to fashion, with the foundation of Zilla. What must this path?

I am the daughter of an architect and as a child I spent whole afternoons in my father’s office to draw on various types of papers and tissue, with felt-tip pens that nowadays do not even exist anymore, because everything has been replaced by computers and programs in 3D. I therefore chose to study architecture as I was attracted to this world, but my fixed thought has always been that of fashion since I was a girl: at 14 I already sewed my first bags with needle and thread.
At university I was then encouraged to give vent to my creativity and I started sewing bags with materials that I used to make architectural models: sponges, filters, silicones, cork, etc. My bags attracted the attention of friends, students and professors. A dear friend of mine, who is doing hats, suggested that I take part in Pitti, which at the time used to do a selected fair in Milan called Cloudnine. From that moment on I started with clear ideas and I founded Zilla.

Zilla fw 2018 | ph. Jasmine Deporta

In 2005 the world lived a war and Obama was not yet president. On your part, instead, you gave life to your brand: which aspects of it have remained unchanged and which, instead, have evolved?

In 2005 my bags were still much more experimental and artisanal, because each piece was sewn by hand and by a girl who helped me. The models were different, many of them basted with just one material. It was difficult initially to find a workshop to sew the bags by machine, since my “strange” materials did not invite the classic leather goods to do some tests. In 2007 I finally met the craftsman with whom I still work: now my bags are finished much better.

Your models are synonymous with experimentation. Can you elaborate on this aspect and the reasons?

I have always had a weakness for technical materials, thanks to which I can create any kind of shape, and I am attracted by the idea of putting these materials – which derive mostly from construction – in another context and therefore totally changing the their original function. I have a weakness for metal plates and everything that shines. I find that the combination of fine leather and metal foils gives the bags a new look. And also a new functionality.

Zilla fw 2018 | ph. Jasmine Deporta

So I ask you: which aspect prevails more, the functional or the aesthetic?

The aesthetic aspect prevails. The ductility of the bag makes it special and always surprises. But I am very satisfied when a model is also functional. A positive aspect of my bags is certainly the lightness and the fact that the silver lining facilitates the search for the house keys.

What is your target market?

I love the Japanese, always excellent customers.

What are the plans for the future?

The project that at the moment stimulates me the most are collaborations with various artists. I do not want to make names, but this combination with art, reflections and the exchange of ideas that derive from it amuse me a lot.