Tribute to designer Marco Correa through an investigation by Claudio Lobos and Gabriela Tapia about his fashion legacy and more areas.
It has already reached national stores “Marco Correa. Fashion. Color. Identity”specimen of Clover editionswhich rescues the name of a key figure in Chilean fashion, as it was Marco Correa.
The journalist Claudio Lobos and the costume designer Gabriela Tapia worked together to investigate the race, the seal and the contribution of this creator of trends both in the catwalks, dance, theater and television, forming a tribute to the memory of the famous designer Marco Correa, who died in 1992 at the age of 50.
This is the second book that Gabriela Tapia and Claudio Lobos publish together, since in 2020 they launched “Dress to count. The costume design in Chilean audiovisual fiction”which is still available as a Drive link, in the biography of the Instagram account @diseno_de_vestuario.
Marco Correa’s talent broke into our society during the 60s. He studied painting in Santiago de Chile and design in Paris, France. He worked at the boutique “That”And he is considered the first local designer with his own speech, and who was very interested in rescu Villa Los Aromos, The Balcony Lady o In the shadow of the angeland historical miniseries such as Quintla y Teresa de los Andesthey had the rigorous and applauded Seal of Marco Correa. The designer also ventured into the opera and the theater, with works such as Who hid my black shoes? y King Lear.
In La Machine Magazine We dialogue with Claudio Lobos and Gabriela Tapia about this book that addresses Marco Correa.
How was the idea of making this book and why choosing Marco Correa as the protagonist?
Claudio: She was born from an interview with Antonietta Moles, wardrobe’s costume designer of Mega and TVN soap operas. She mentioned Marco Correa, because she reached for a short time with him, and highlighted him as a creator. We stayed with the idea that it would be significant to study his work, being marked by innovation, versatility and excellence. As we start looking for more information, we simply ratify that he is a great artist who deserves to be much more studied, known and disseminated, and then we decided to carry out this project.
Are there other books or papers About important national fashion figures or not?
Gabriela: As far as we have investigated, there is practically no literature about the work and the trajectory of Chilean designers. As for Marco Correa, Marinella Bustamante, an academic at the University of Valparaíso, has done a very rigorous and revealing job, communicating in academic articles, about the attributes of his proposal of the sixties and seventies, known by many as Latin American fashion and where references of pop art, OP Art and psychedelia also converge. Our book addresses these creations, but adds what Correa did for TV, Misses competitions, theater, dance and opera.
How long did their investigation last?
Claudio: About a year in formal terms, including the search for information, interviews with specialists or artists who worked with him, the management and realization of photographic sessions to generate a record of several of their dresses, the articulation of all the information raised, and the writing and editing. Before that, when we prepare the project, we work for about three months to gather information about Correa, the period in which he developed his career and fashion.
-What things were surprised to discover about the late designer?
Gabriela: Discovering that he had been such a versatile designer was extremely enriching for research. Its ability to display an overflowing creativity, and at the same time execute very complex costumes in different formats and means of expression, highlights it as a truly unique creator.
Did Marco Correa exert an important influence on Chilean fashion?
Gabriela: More than talking about a direct influence on Chilean fashion, I would refer to a legacy: a work that has endured over time and that today we can observe, value and recognize for its creative depth and its contribution to cultural heritage.
In which of all the areas in which Marco Correa served left a fundamental legacy?
Gabriela: Based on what we could investigate, I think it is in fashion and audiovisual design where it leaves its most extensive and possible legacy of being studied and appreciated today. In the field of fashion was one of the key designers during the period known as the “Chilean fashion”, which, although it did not constitute a formal movement, did group a set of textile designers and creators, achieving a significant impact on the fashion of the time. On the other hand, in the field of audiovisual wardrobe, he was a founding member of the dramatic area of TVN, and his work contributed decisively to build the visual language that would mark Chilean television series for more than a decade. The changing rooms that created for iconic teleseries characters still remain in the retina of many Chileans.
Did Marco Correa had disciples who continue in fashion until today?
Claudio: Marco Correa did not make a career in teaching or academy, which would have undoubtedly facilitated that there were disciples who formally knew their vision and their methodology. However, undoubtedly those who worked directly with him in the clothing workshops of television dramatic productions and in other instances, they knew of his rigor, the permanent search for excellence that characterized his trade and his art, and of his great artistic and aesthetic knowledge. This is something that people such as costume filmmakers Sergio Aravena and María Lira mentioned. It is not exaggerated to think, therefore, that people who were part of their costume teams are, to some extent, their disciples.
Why do you have to read “Marco Correa. Fashion. Color. Identity”?
Gabriela: Because it is a necessary tribute to a creator who deeply marked the aesthetics of an era. Reading this book is to look at the Universe of Marco Correa, understand your creative process and rediscover how costumes and design also tell stories. It is an invitation to watch our television, our fashion and our visual memory with other eyes.
Claudio: Because it is a book written for all audiences, based on an exhaustive research and written in a flat language, about a fundamental artist in the costume design and fashion in Chile. Marco Correa was exceptional, because taking various references, he articulated an avant -garde proposal, with identity, original and beautiful, and that has done so in their field. It is not easy to be original and distinguish, but he achieved it. For many, he is the great Chilean costume designer, and that is why it is positive that his work and his gaze be known much more. good experiences are good examples and Marco Correa’s career is a great experience, in which he demonstrated not only aesthetic sense and a daring bet for color, but also deployed versatility. All that is in the book, which travels his work from the sixties to the beginning of the nineties. In addition, through the book, we can learn about how the emergence of this designer is inserted into the effervescent and creative period of the sixties and beginnings of the seventies, and about how his art was linked to the Miss Universe Chile contest, including the unforgettable typical dress he made for Cecilia Bolocco, and with soap operas (Beautiful and boldfor example), miniseries, theater, dance and opera assemblies. The book is also a tour of great milestones of the performing and audiovisual arts in Chile of more than two decades. It is a book for those who love beauty, art and design.
The book is on sale in stores throughout the country and is also available for direct sale via email drescent
