Channastudio
Rawness becomes advanced research and sublimation of shapes for Channastudio. More than a brand, Channastudio universe unfolds indeed as a statement. It is a stance that questions and interrogates the structures and how they intervene in our daily lives and, hence, how we dress and expose ourselves to the world. The reality around us is fluid, shifting, constantly in the making, and this appears to be the spirit embodied by Channastudio pieces. The perpetual flow of motion immortalised into an item, unclassifiable but undeniably recognisable. The manipulation of an object becomes an emotional act aspiring to render the tangibility of a vision. Imelda Channa Luft’s creations seem to override the taxonomic distinction between categories by defying their stability: these are garments, sculptures, ornaments, organic elements. Around them, the daring energy of self-expression is released through re-enliven materials, unexpected forms, and enthralling palettes that resonate with their own voice.
Would you like to introduce Channastudio’s identity, the people behind the brand and define the main threads of your vision?
Channastudio is a visionary creative space that contains sculptural wearable objects (shoes), motion visuals, sound and Art Direction. The main ground of Channastudio is to work intuitively. It is a place for provocation and carelessness towards structures and fluidity.
My name is Imelda Channa Luft and I am the owner and the main creator of Channastudio. It all arised from exploring and investigating materials and wearable sculptures. Then Channastudio became so much more than shoes and sculptures: it became a universe and the language of Channastudio. This universe can move freely in any art form and the collaboration with the fashion and music scene goes hand in hand with Channastudio
What are your primary references and sources of inspiration when realising your items?
My main source of inspiration is structure on a high or low level. For example the view of the woman of today and the view of the man of today and our behaviours around these structures.
Another source for me is music. Sound is vital when it comes to my references and in the work of my creations.
I am an intuitive person and the energy and people that I surround myself with gives me tons of inspiration.
Channa shoes seem to be almost living creatures. Organic garments, both in terms of pattern and the movement they express. How would you define your relationship with shape creation and materials selection?
First of all I get very humble to hear that you as a viewer speak about my shoes in the name of creatures. That's what I am aiming for.
When it comes to materials I always strive for an organic expression and the feeling of movement. I want the materials and the form not only to communicate the beauty. The materials must tell their own story and the same applies to the shapes. The materials are almost always old and I am experimenting into new textures.
“‘’I think some people are more aware and they also care more about their aesthetics and its importance to communicate out to the world. And for some others they don’t even give a minute to think about it. ’’”
What does aesthetics mean to you, and how do you try to disrupt its codes through fashion?
I think some people are more aware and they also care more about their aesthetics and its importance to communicate out to the world. And for some others they don't even give a minute to think about it.
For me the aesthetic has always been important. Or it has been there, in everything I do, either in my art or how I present myself to the world: it always comes with a sense of thinking about aesthetics. But not to forget the most important thing, our influences and our background. We have to remind ourselves about our inspiration and where it actually comes from. Then we can understand our own aesthetic and be able to be visionary creators.
Regarding fashion and specifically fast fashion, it makes us forget about the source of culture as well as visionary designers and artists. I don't see the word fashion as an indicator to create. It limits me in the process of my creation. But to be able to collaborate with the fashion industry makes my work evolve into interesting things.
In your latest collection, the focus is on neutrality while designing male footwear. Could you please elaborate more on this approach and share how you came to conceive this line with us?
To get a grip of “Neutrum Collection” you might need an understanding around the research in my work that has been a central part in the work of Channastudio in recent years. I chose to call this “The Vulgar Woman”. “The Vulgar Woman” is filled with strength and creativity. It's a state of mind where we as women can feed from. So when Channastudio wanted to create a man's collection It needed to be in line with this research.
The state of neutrum became a playground in outer space to try to get close to see beyond structures. “Neutrum collection” doesn't give you any answers, it's a place for the unknown with help of color and forms.
Do you see the future of Channa as only shoe-oriented, or would you be keen to branch out into other wearable pieces?
Channastudio is going to keep moving freely in all art forms. This year I will focus on motion design and the digital world of Channastudio. I'm going to explore the 3D/4D expressions that align with Channastudio.
I see Channastudio in free motion as being able to expand more as a multi area studio like art direction, motion visuals as well as shoe design. I also see Channastudio expand in other wearables, not only shoes.
That being said I want the future to happen organically and let the future still has it unknown.
interview GIULIA OTTAVIA FRATTINI
More to read
