Daughter of Spanish emigrants, “a father a bricklayer, a mother in the hosiery industry”, Mrs. Marina entered the house 41 years ago, before, she had never heard of haute couture. Today, she still says: “I don’t comment on my job, I do it”. The gesture is sure, flexible and determined. It cuts, just like the pair of scissors on which she had her first name engraved. Mrs. Marina hates kits, she prefers boxes. A chalk, spools of thread (“no green and there will never be any”), needles and a Portuguese silver dice form her personal guard. “I’ve had it for twenty years, I was tired of going out with a black finger.
The tailor’s hand, “it is a hand that knows how to press”, it knows like no other how to turn the lapels and make the basque take the roundness of the hips. “The carcass, we put it after. The tailor’s hand irons and mattes. “She also caresses”, Marina tells me without ever stopping, and summarizes, enigmatically, the surgical intervention on the T19, the Bar suit of the season: “I wedged the fabric on a base of organza to make it roll, and so on. Or again, about the collar: “There is nothing complicated, you just have to arrive at the right place. It is said, it is clear, clean and neat. 16 pieces assembled in all directions, we keep the waist arched, the spirit of the house without concession: “dresses (…) built, molded on the curves of the female body which they would stylize the curve” said Mr. Dior. Appeared on February 12, 1947, here is the emblematic model reinterpreted as every season by Maria Grazia Chiuri. On the canvas, the ellipses are drawn by the First. Time passes, and like the lines, the traditions soften. “In the old days, we used to be polite to the old, I do not want,” says Marina. “I’m a seamstress, I don’t try on customers. I just know that they are happy. They say thank you. @laurencebenaim