Trosman Churba print their mark in constant research of work on clothes. Their job goes beyond tailoring. It relates to a combination between many different artistic elements. As Jessica explains, “it’s nice to change our perspective and see ourselves in other artists. I get excellent ideas from other artists’work. Fashion opens up a research field towards art itself”.

That’s what the fall-winter 2002 collection shows. It reinterprets the pictorial work of Kenneth Kemble: “it is a matter of verbe, graphics, scribbles, the multiplicity of messages, the simple need to communicate something above all”, explains Martin.

The chosen ones for next spring-summer 2003 collection are peruvian artist Martin Chambi and photographer Nan Goldin, from whom designers have picked “images, a way of life, the energy”.

That is why they are able to find inspiration “in a picture, some texture, anything that happened to us, an image of unique beauty, masculine or feminine, a misture of both of them or beauty never ever seen on earth”, describes Jessica willingly, “mistery, a shadow, whatever you feel like…a potpourri”.

Jessica and Martin are taming a wild horse. Or at least, they believe it. Four years ago, they got in the fashion world and for some moments the road was placid and some other times, it was very slippery.

At first, they thought about “a runaway horse travelling towards XXI century, until he crashes against a post of the pampean plains. Everybody claims they’ve seen him first, and want to be his owners”. At that time, “their major worry was the market and its guts, the eager competition among those who just wanted to lead the way. For them, “many others has disproportionate projects and very few ideas. They searched for new things, but copied foreign ideas. That way it is very easy to crash against the post and sink”.

So they chose to differ from the others through “trusting our inner feelings, Martin tells, that evolve while we think thoroughly about the same questions. It’s a continuous work, without inner cuts. But for the outside world we fillet it to make it delicious”.

Fashion schedules are tyrant. From Jessica’s point of view, “unfortunately, in fashion we must change the collection every six months. There is little time for analysis and personal self critique. But those are the rules of this game”.

Even so, one could never tell what will overcome for them. And more, one can suppose an open and multiple road. For Jessica, her next project could be “learning acrobatics and achieve plasticity for the body and then translate it into art”. For Martin’s realistic perspective, it could be “to integrate design and decoration in our enterprise, why not”.

They both agree on going beyond clothes design frontiers and they are already doing it. An example is the recent production of the performance “Milky Tears”, of corean artist Elaine Kim, who uses human hair to make dresses.

The continuous work takes place at the Trosman Churba Observatory, the place dedicated to the exposure of “visionary expressions of other artists” inside the store they opened six months ago in a Buenos Aires mall. “The pieces of art can be sculptures or video projections. The store is made of translucent glass and the images are projected there, creating the effect of a screen”, Jessica explains.

Martin finds the final touch for his green cloth masterpiece. It’s a fragment of emery glass covered in reels and little sequins.

He names it “a lamp”, and Jessica decides it already belongs to her. They both celebrate. Meanwhile, in a parallel reality, they are running towards a restless horizon, with the horse as the loyal accomplice. Obviously.

Trosman Churba
Address: 396 Broadway suite 702 A, New York, NY 10013
Tel: +1 212 625 3060
ftrosman@aol.com
https://www.trosmanchurba.com