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“Moody?” I pondered. This is an adjective usually applied to women negatively. Emotionality, her period, and bitchiness come to mind. While actually interviewing FOTINI, a slender blond with salon curls, she uses “moody” again to describe her signature silk print of deep indigo and red leopard. Interested, I ask her to specify what this word means to her.
“Moody is sexual, mysterious, and intriguing. And to be blunt, she is a girl who is never afraid to not give a damn.” Mind you, FOTINI says this with a disarming smile and pauses to half chuckle before cursing. I’m inclined to laugh with her and revel in her humanness. Her embracement of moodiness revealed her sensitivity to the pressure of always being “on” and needing to accommodate others with pleasantness. I realize moody could also imply contemplativeness, unpredictability, and passion.
I admire the gray tints in the roses, lilacs, and neutrals used in her pieces outside the leopard print and ask what inspired the dusty color palette. She replies that she was heavily influenced by South American culture, in particular basket weaving. However, I scan the various lace, embroidery, and gathered tulle prevalent in her collection for woven details or Latin motifs but am lost on the reference.
When I press for clarification, FOTINI reveals to me her real muse, which was not discussed in the press packet. It’s Penelope Cruz’ character Mirtha, the Columbian wife of the protagonist drug dealer (played by Johnny Depp) in the film Blow. One of her contributions is making his drug deals easier by letting him marry into the family and negating his previous Gringo status. See video above to get a recap of Mirtha. Uhuh, that’s what our designer meant by South American influence. Wow, using moody to describe the FOTINI girl is an understatement! When Mirtha is coked out, her default state in the movie, she is an unhinged, aggressive, cleavage-flaunting waif.
Suddenly, I understand her collection. The Marilyn décolleté necklines, draping, and sequence used in the collection were indicative of Penelope’s wardrobe during the seventies portion of the film. Everything followed suit from the wavy tresses to the smoky eyes. Even the glazed expression and catlike lounging the models portrayed demonstrated a malaise often connected with housewives. With nothing to do but look pretty, why not get your nose powdered?
I glance at the h’orderve trays to check if I overlooked the cocaine. No, just raw fish. Still, with the Gramercy Park Hotel’s historical height in the 70s hosting guests that include Bob Dylan and David Bowie, the likelihood that epic Blow-like coke parties occurred in this loft is probable. To say the least, it was a fitting venue for her cocktail fashion presentation.
FOTINI married, had a child, and divorced early in life. She followed societal expectations only to have it result less than ideally. She remarries and decades later, she finally has the time and confidence to pursue her creativity and lifelong dream of designing beautiful clothing. In defiance of the norms she abided by, naturally she will romanticize an unconventional persona like Mirtha in her debut collection.
This does not necessarily imply FOTINI believes our culture should idolize a woman who snorts drugs during pregnancy. However, FOTINI attests there are two sides to every woman. She asks me to consider, “Aren’t we all part angel and devil?” Again, she acknowledges the imperfections and complications of the human condition. To her, the same woman has the potential to party like Mirtha, be a caring mother, conduct a boardroom, walk the red carpet, and host a charity event. These different aspects of a modern woman are the scenarios FOTINI has designed her clothes to fit. For this reason, she counters the disco wave Mirtha offers with feminine demure touches, such as the embroidered flowers, Chantilly lace, corseted bodices, and beading.
This balance most demonstrates another FOTINI sentiment. “I love lady-like clothes, but I am not ready to be a ‘lady’.” FOTINI’s statement may not be the most artistic or sophisticated, but her perspective adds to the gender dialogue meaningfully in a world where more than ever women and men can define what that means to them. Furthermore, the quality of her garments in the fabric choice, the attention to detail and the way in which they accentuate the female body make for an impressive initial presentation.