Ep 71: Designing Denim Through Change with Lucia Rosin

Some people enter denim through fashion. Lucia Rosin came to it through patternmaking, textiles, and the discipline of building a garment from the inside out.

In Episode 71, Andrew sits down with Lucia Rosin, founder of MEIDEA, to talk about craft, sustainability, education, and the long path from technical knowledge to industry perspective.

The conversation begins in Veneto, where Lucia grew up in a farming family outside Treviso. From there, it moves through technical fashion school, early work in Italy, formative years in India and Bali, and eventually Benetton in the 1990s, when denim, fabric development, and creative freedom were all part of the same conversation.

Along the way, they discuss sustainability, Made in Italy, the changing expectations placed on brands, and what happens when technical skills become harder to pass on.

As a teacher at IUAV in Venice, Lucia also offers a perspective on the next generation entering the industry, and why curiosity, patience, and hands-on experience still matter in a business increasingly shaped by technology.

This episode is about how knowledge gets built, how industries change, and what is worth preserving as they do.

Thank you to our sponsor Inside Denim.

Lucia Rosin
Founder of MEIDEA | Founder & Designer at BLU’N ME
MEIDEA, BLU'N ME Instagram, LinkedIn

Please follow us on: Instagram, Facebook, and LinkedIn. 

Transcript

SPEAKER_00 0:00

Okay, um I'm born in a small village uh uh near Treviso. You know, Treviso area is a a very strong area for fashion, textile, we have too many brands. And I'm born in this uh small, small village where also the same coincidence, the the same city where Martelli was in Vedalago. And uh, you know, my family, uh my father was a farmer, so there was no connection with fashion, with textile. So I I learned from my father, from my family, the importance to the nature, because as a farmer, we learn the respect for nature, we touch the land with our hands, and also the importance of hard work, as my father teaches us, and the importance of value. So we are let's say we have a very strong connection with all this value. So and and they they give us these solid things to work in life, and this is how I am practice also when I do this job. Uh I try to share all this to with the people working with me, but also the students, all around me, all the environment. So I uh also study in Padova. So in Padova, there was a school that's called Industrio Natta. That was a school where you have it's a five year. You have a kind of technical background. It was a fashion school. It's not kind of fashion school, but a technical fashion school. Uh in Padova, it's five years where you used to learn how to make a garment, how to study a textile, even some technical things like you know, uh recording the time when you make uh uh stitching. And by the way, this is the same school that's uh Renzo Rosso and also uh the son Andrea Rosso.

Andrew 2:07

No, who's Renzo Rosso? He's the one that started Diesel.

SPEAKER_00 2:10

Yeah, exactly. So he he used to do this school uh many, many so years ago, and this school gives this kind of let's say very good connection between ends and technology. Of course, the technology in the 80s, you can imagine. But our all the students that go out of this school uh start to work immediately because it was, you know, where it's very efficient, it's not uh existing anymore, this school. NATA. And I spent there five years. After that, I uh start university architecture. So my plan was to me to be a garden architect, so uh really connected with nature, but because I am a very independent person, after two years and a half, I give up from my study there and I start to work. Uh, independency is uh also a value that we receive from my family, and I want to be independent, I want to start working. And during the 80s and 90s, there was a lot of chance to work. We can do too many things. It's not like now, it was every you can give up one work and the day after you can have another work. Very, very easy.

Andrew 3:35

Jobs were everywhere.

SPEAKER_00 3:36

Oh, yeah, yeah. And also the the the school uh was very important because they they this that school, that time, give you know some uh important things and then you can enter immediately. So uh after that I I started my career, not in Denny, was not my first job then. I started uh working in Stefanel. I don't know if you know this company. Uh used to be a very big company, also in the Treviso area. And because I want to be a designer, but at that time there was no space for designer. The owner, Giovanna Stefan L told me, Lucia, there is an available uh work as a paper pattern maker. I say, okay, I start. So I start there uh and I learn how to make a paper pattern, and I'm still practice now with my brand. It was very helpful. And after that, uh I worked three years in Stephan L and I had a chance to start working. I I like to travel too much. This is my addiction. I travel, I not only for holiday, for work. Uh without uh traveling, I am I cannot be the same person I am today. So uh they offer me to work in India. So I was very young. Uh so I go in India, in New Delhi, and when some now I talk with my friend from India, I used to work in uh Oakla Phase One, that's one of the first areas for industrialization in Delhi. And I remember that we used to have a cow coming into the office. You know, the cow are sacred animal in India.

Andrew 5:34

I do know very well. In those days, there were cows everywhere, yeah. And pigs as well.

SPEAKER_00 5:40

Yeah, no, the cow, cow, white cow, and a cow enter in the room. I I told sometimes to to my daughter or my friend, the cow enters in the room, you cannot do anything because they are sacred animals, so you have to wait as a cow goes out. You can imagine the condition that time. It was so funny. And I learned there uh to use uh you know creativity. Um we went to Rajasthan to tie-dye to make a block print, and I was just you know uh 28 years old. So I was very all this experience uh there's a well I can imprinting in my life. So I like to co I like to combine you know this kind of end things with you know technology. So and then after that I went to Bali, also in Bali for another company, and in Bali fantastic because uh you you work uh in the morning, early morning, and then in the afternoon because it was very very hot. And that that time we used to work with Javanese that was you know uh viscoze printing, tie-dye printing, or uh it's another word, and if I think now, so I I was looking at the photos uh about Bali time because I'm going back uh in May for holiday with my daughter, it was really another word. A lot of friends, also the you know, I know Bali now is a totally different is it's like you know a city with uh incredible, uh let's say touristic, too much tourism, over tourism. Anyway, so after after that, in Yambali, I returned to Milano, and I used to work for a company for a brand in Milano, but I as I am a country girl, I don't like to work in the city. I like to be more connected with nature, so I returned after Milano in the Veneto region, and this started my first experience in Denim. So I was in this company uh that worked with Denim, and I have this uh uh guy, a kind of mentor, Eugenio Visionai, I remember the the guy, and he used to tell Lucia, I have indigo blood. Oh, okay. I see, wow, this is a very strange business. The people with indigo blood was so funny, but it was so serious when he said, Lucia, I have indigo blood. You have to understand. But okay, it was crazy, but I learned from him how to create a collection from basic, the concept, how to communicate things, how to a product is well done, and you know uh it was very generous for this for this part. I I I learned too many things from him. So what was a good experience at the end with this guy that is not uh anymore in life, unfortunately. After this uh time there, um I got the contact with Benetton. And Benetton definitely was the company when I grew. I learned a lot of things there. It's not the Benetton that you know now. Benetton in the 90s was the place to be because of communication, because of you know the photographer of Lero Toscani, how they communicate the product. And we have a lot of freedom. We use fabric from, let's say, Japanese, from Kurabo, Cornmills. We used to go in the laundry, the better laundry, Martello, other laundry. We have the best accessories, we can study a lot of creativity. It was incredible because when the people think about Beneto, they think mass production. But the brand for Danny, Blue Family, was really incredible. I still have product in my archive that are uh very good looking, really well done with a lot of research. So eight years I spent there. Eight years.

Andrew 10:19

So you like those years?

SPEAKER_00 10:21

I like too much those years. Uh yeah, this was good things, bad things, but generally I still have a lot of friends coming from that uh time. Was the family involved? The Benetton family? The family was involved. I used to work directly, of course, with my manager, but also with Juliana Benetton, because Juliana, uh one of the founders, the four uh brothers, uh she was really involved. She was uh she had the office, and she came every morning to the office. And I used to talk with her sometimes for, let's say, core product. We create incredible core products by studying uh the cotton construction, and that's why I learned about how to create the textile. We went directly to the textile to the meals and tell them what we want, even technically sometimes. You can't imagine something like that. Now, okay, a few companies can do it. I don't want to say all. But now I learn a lot and I practice with this you know knowledge. At the end, uh I was able to start my own business because uh as I am, let's say, independent person, I like to try different experiences and travel. Of course, a company like Banditon give me a lot of possibility, a lot of chance, but at the end of 97, start to feel the change, right? That product starts to go out for production because of cost. They start to search for a better price, things the music was different. In 10 years, everything changed a lot, and so uh because I'm looking about future, that time I say, okay, I want to start to be a consultant. I was a good timing, by the way, and uh practice what I learned. So I learn how to create a collection from research, from fair, from the street. So I create my way to create, and then I apply this method that is starting from the street, knowledge, knowledge about uh you know everything, and then design, and then all the steps in order to create a collection. This methodology I'm still applying even today. So there is a process when you create something. It's not just okay, you are creating. And it's a zoom of different action and different uh things, and also it's a teamwork. You cannot do it alone. Uh collaboration and exchanging of ideas are at the core of our work.

Andrew 13:40

And what do you do now exactly?

SPEAKER_00 13:42

Yeah, now after you know, I start after I work as a freelance consultant in 2004. I start my company, Medea. And the dream was to serve company with a different skill. For example, when a company comes to our studio to our company, they uh can ask for creating a collection, do marketing, product marketing, not pure marketing. We can do photography, we can do the study of fabric, we can do laundry parts, uh design accessories. So we are able to serve 360 degrees because we are different skills in uh different people with different background. So and my idea is that sometimes it's difficult to explain because it's uh a place uh where we have they say we can serve different needs. But at the end, uh we work with meals mainly now, denning meals, but not only me, not only denning, but also knitting and uh flat cotton. Uh we work for accessories company, for a technology company, laundry, a lot of laundry experience I have in the past. So when sometimes we are also uh specializing starting from zero. Just to give an ex an example, a company that's come here with no image, no identity, no logo, no story, we start from zero, we study their DNA, their background, their history, what they are doing best, we talk with the technician. So we create their identity. But when I talk about identity, it's not only identity in terms of look, the real identity and the collection too. And because we are traveling too much, we are also uh give the idea how to create products that are uh easy sellable, and you can uh let's say present to the client uh to better understand. So if I work for a laundry, for example, I used to work for uh laundry in the past. We we don't do just washing, we they make uh fabric research, a color palette, uh research of different color combination garment in order to show uh, let's say a good washing, even with loose feet or let's say jackets or shirting, because you have to provide 360 degree product. So today, after 22 years of different experience, different company work with very big company. Yeah, Maidea is organized to serve big company, not small company. You also have a brand, right? Yes, we also have a brand, Blue ME, uh, that is coming from the blue of Maydea. Just uh uh a small uh detail about Maidea and about the name is a funny story because we were searching uh about a name, and uh you know we are living in the area of Veneto region, you know, Veneto region, Veneto used to be a republic in the past, and we have our own dialect. And when people talk about what they think, they say, Medea is like that, Maydea is like that. So I decide to trademark this common way to tell my idea. So I trademark Maydea, and this is is uh kind of really related with our roots. So coming back to Blue and Me is the blue of Medea. That's why we use me in the front. We have our own brand, so and this is coming because we know how to make a product. It's not the only thing, of course. All the designers want to have their own brands. I think is the big desire of everyone when they start their job, or even when they study, uh to have something that is only your and you can do what you want.

Andrew 18:30

Is everything you make made in Italy?

SPEAKER_00 18:33

Of course. Uh except for some, let's say, fabric that, for example, when I work with some meals and we do experimental fabric, maybe it is not for large production, or they are only prototypes, I will use it. I want to have a special fabric. It's all made in Italy. We we have a prototyping here inside of our atelier. And also, uh, let's say accessories are made in Italy. Everything is made in Italy. Why? Because we want to have a control on the things. No, I get it. I get it.

Andrew 19:11

And tell me, let's move the subject now a little bit towards sustainability because it's a big subject in our industry. First of all, when you want to make a collection that were for a company or for yourself that has sustainable features, what are the first three things you you look out for?

SPEAKER_00 19:29

Well, talking about sustainability is a different subject uh and also difficult. Um we have to first of all to know things. Um because it's a it's a sum of action sustainability. It's a holistic things. So you need to know about first work in an ethical way, so the worker the right the right payment, if they live in a good and safe place, if you have the rights, so this is a bigger part. A big part. The second is about the material. Trace it material. So uh to have good fabric is not enough. You need to search for fabric that's traceable, that you knew how they are made, even from fiber. Sometimes, you know, we were in London last week, and some uh garments, some brands have also fiber trace inside. They are using also this addictional information on the things. And then with the material, it's come also to the construction of the garment. Now, with the echo design, this will be a regulation. You need to know how to make a garment in order to uh be easy to disassembling, uh use of material and uh less waste in order to create less waste. So the confection, the creation, the how the garment is made is also another part. So we have three pillar: people, as a material, and how the things are made. Uh, without these three things, uh you cannot do a good product and a sustainable product.

Andrew 21:20

And how do you think that the industry is dealing with sustainability?

SPEAKER_00 21:24

Oh okay. I start to work in sustainability I think uh since I started my work. At that time we called eco-friendly. It was even not sustainability. It was eco-friendly.

Andrew 21:40

We called it green. At Premier Vision, they used to have a green section.

SPEAKER_00 21:44

Yeah, yeah. Uh very also, product was not very attractive, not good looking. And so I passed all the phases in this business about sustainability. So the first uh uh Now I think is good. As we talk, Andrew, there's no there is less money at disposal. Less money for everything. Less money for research, less money for innovation, and sustainability needs a lot of investment to do a good job. And you have to educate your team. So all these things are money, time, also time and dedication. And trust what you do. Because it's not only about money. You have to trust what you do. So there are some brands that are doing well. Some others are just, let's say, touching this issue because they need to do it. You can't be out of this topic. You need to be involved. But I see kind of slowing down for the sustainability because we are living in the situation where there is less demand of fashion, even then, so less money. So we have to understand this point, unfortunately.

Andrew 23:12

Can we talk a little bit about you said less demand. I'm fascinated by that. What do you mean by less demand?

SPEAKER_00 23:19

It's not a priority anymore. Explain. It's not a priority to have a to be a fashion. You can first your priority is food, is you know, your health, is travel, wellness, definitely your travel. And then one of I don't want to say last point, but is fashion request. So uh definitely this is a moment when the priorities different than in the past. Also, the new generation are uh more attractive also from vintage garment, and this is a good point. So sometimes they are dressing because of money, but also for looking, for the look from vintage pieces. They are really well done. If you look at the vintage pieces, they are really well done because there was not you know saving all money, save all this, save all that. So uh there is less demand, definitely. And we have to to face uh this problem, how we can, let's say, go in the future, which direction will be in the future?

Andrew 24:41

How do you see it? How do you see it the future?

SPEAKER_00 24:44

I see uh okay, we have one advantage that is the technology. We have AI that's definitely helping us. For sure the product will be better because uh, you know, with the new regulation uh about you know textile uh labor regulation about you know uh ban of uh destruct uh destroy the garment. We have a lot of help from that side. But on the other hand, we have to think about the I don't want to call consumer, about the people that are buying our product. Now they are much more aware about what they are buying and they have more knowledge. So I think the market is ready for another change. Um product well done, with uh let's say taking care of every single action, and the ethical part is so important, very important. When you see the people in the street these days, you realize that the wind is changed, has changed. The people are more care about how they are treated. It's it's a uh let's say it's a difficult moment, but it's also a challenging moment. Um I I think that's the companies that are really realize that we are in a different phase, not easy, and but they are invest in quality, they are investing in, let's say, communicate transparency, are going to face uh this crisis in a good way. I think we will have less brand. There will be uh uh definitely less brand in the future. Uh but I'm positive because uh at the end we need to pass this phase. It's a difficult, the extremely difficult moment if you are living, you know, like May Dea, we travel worldwide, we talk with everybody, from you know the students, the teacher, the manufacturer, the laundry guy, and the shops, we talk with everybody, we are curious. And to you know, to use this information, we realize that this is a challenging moment, difficult but challenging.

Andrew 27:24

Tell me about the student. You teach at the university, right? In in Venice.

SPEAKER_00 27:29

Yeah. Um I teach in the UAV. The the interesting thing is where I study in university, where I never finish. U of uh is a public university, uh is architecture, and there is a fashion department. Uh I I remark the point of public university. You know, that's all the usual uh university, uh fashion university are private, and you have to pay a lot of money to study. Sometimes the family they don't have this money. Uh so to be more democratic, you have to offer uh chance to study to different students, even talented students. And this is a good point. So uh I teach in the master, so I teach to students that are 24, 25 years, so they are uh people that can understand. So they are, I don't want to say they are young, but in the meantime they are not children, so they understand. And I uh what I realize uh they need help, they need to be supported, not only in teaching uh textile or material or sustainability, they need to be supported also in their vision. Is as I told you, is a critical moment not only for economy but also as human inside. And uh the young generation, they have a lot of opportunity, huge skill, they know too much, you know. Sometimes I feel very you know old for that part. Uh, but on the other hand, they need to be guided, they need to support it, even emotionally, sometimes. This is an important point for me. Uh I was talking uh with a friend of mine, they they are uh teaching to primary school, and they told me that uh uh the the children are not confident when you put a white paper in front of them to design. They are disoriented. So we lost some of these children and then the generation, they lost the the connection with hands. So the manuality, the manual intelligence, the artisanal intelligence. So what I try to share, that is part of my experience when I work in India in Bali and Benetton, blah, blah, blah. I try to share with them that's the confidence to use their hands to enhance their intelligence. So I it's a kind of call to action for ends, let's say like that. Uh reconnect with you know the reality, touching the things, touching the product, even smelling the product. We need to have a relation with product. So uh for the student, I think that's okay. Teach them theoretical things, but they need to practice. And this was the good thing when I learned in my Nata school in Padova, touching the things, teaching, uh, do wrong and too many mistakes. Uh at the end, only the mistake, let's say, drive and guide who we are today, Andrew.

Andrew 31:13

No, this is something which I think is a I always encourage young people in our company, is you have to make a lot of mistakes. Yeah. You have to be like not in a way proud of your mistakes because it's like progress. Until you make the mistakes, you can't grow. So if you want to be like mistake-free, you're never gonna grow.

SPEAKER_00 31:34

So true. Mistakes uh uh give you experience and uh you learn. You learn. I still learn. Uh I went with this student in the good company, Facial Art, maybe you know them. And and then during the presentation, I learned I told them, I'm learning from you. I'm really learning from this young generation. They learn from me. It's a good exchange. It's a good exchange. There's no one of us that know 100%. You have to be humble, you have to learn, you have to listen. This is for me is the most important thing. Never stop to learn and try. Try. Even mistake, but try.

Andrew 32:23

Your students are from where? Are they from Italy?

SPEAKER_00 32:26

No, not only from Italy, uh, because my course uh uh is in English. So I um I uh I teach in this department, is called fashion ecology. They don't call sustainability, and I really agree don't call sustainability. Something more neutral. Ecology is more about life, it's not only about products. So, and I teach about fashion material, it's about sustainability. Uh, my student, because I'm teaching English, uh, there are too many Erasmus students. So, for example, I have students coming even from Iran last year, and uh from Spain, from Portugal, from Germany, from France, from China this year. I have a student from China is I like a lot because they they have a different, oh you noted a different imprinting from any country they are coming from. Also very interesting because I used to work with company worldwide, but from the students is another point of view. Students from Spain are different from students from Germany, totally different students from Iran, totally different from China. So it's good also to uh talk at different level each student you have in front of you because they understand differently. How do they look at the their futures? Some are very confident with themselves. Especially this year, I have one student that's told me, Luchia, in this business, everybody's old. I'm bored, I am to change everything. So they are passionate. Few, I have to say, some are really don't know. Uh, because that when you study design, you want to be a designer, but it's not space for all these designers. Everybody study fashion and everybody wants to be a designer. But in this business, I mean, not only then, there are too many parts that are very passionate. Let's say study accessories. We went to a button company here in Padova, and they saw recycled steel, how they, you know, make a button, how the different finishing. Or we went to a label company, they work for you know uh iFash brand. We went to C Text style, so laundry, so they can open their eyes because in this business there are a lot of space if you are experienced, if you want to learn. And uh it's not only to be a designer, so there's this is a let's say a fake myth about that.

Andrew 35:29

All designer, they might end up designing another patch.

SPEAKER_00 35:33

Yeah, to be the designer. No, no, I I told them people start to look around because there are too many interesting things that you can do and really and travel. And also they have because okay, I teach in English, but not all the students speak English. Come on, today is quite impossible. Of course, uh my English is not perfect, but they can understand me very well. Uh they have to look worldwide, they are living in Italy, but most probably they go to work in I don't know, in Germany or Sweden or Denmark or China or Japan. So be international. So when they look at themselves, some are very clear, but few. Others are, let's say, confused. And then you need to support this. You have to be strong. This takes a lot of energy, Andrew, to it's not just go in the class in the morning and go back. Uh you have to follow them. You have to share passion. And share passion takes a lot of energy because it's you know, it's like a transfer of indigo blood, like my mentor used to tell me. Uh but it's I love it, of course. I love to do this. It's it's nice, it's nice.

Andrew 37:04

Tell me about the Made in Italy situation for our industry. So, to me, when I grew up, made in Italy meant made in a beautiful place, in beautiful conditions. What is made in Italy today?

SPEAKER_00 37:20

Uh it's a very difficult situation. Um, made in Italy is uh, let's say, gold we have in our hand. Because I'm coming from a generation when we do everything in a very bad good way, the best of the best. Now, because of lacking of manuality, because of it's not attractive this business, and it's not also giving money. Nobody wants to do this, nobody wants to stitch, nobody wants to, everybody wants to be a designer. Okay, I'm sorry, I'm joking, I'm joking, but the reality is different. The reality is different. Um, very difficult to find a good quality if you are starting a brand. Me, uh, I have my own uh laboratory inside because sometimes it's very difficult to find somebody to make a good garment. So, because I want the control and I want the quality I'm doing, but all the small brands have the same problem. A friend of mine that is doing shirting uh brand, she cannot find uh a place where she can stitch with high quality. And um, so there's less money. Um everything is in a hurry. Uh it's like you know, you are in an operation, heart operation, doing everything in a hurry. Um, very difficult situation. But there are some light. When I talk about some uh good company, they are investing in quality, of course. Uh the the brands like a French uh fashion brand for Danny, they are coming to Italy because we have the knowledge. We have a good uh we are also demanding with ourselves. We want the best. And also still, the technology, you know, uh, too many innovative companies, chemical technology are based in Italy. I I know you just have some chat with even with Alice or other uh technology still in Italy because we have this vocation, we have this uh background that helps us to develop things, putting together passion, knowledge, good skill, and innovation. It's a very difficult moment, but I uh I feel positive. Also, I hope that all my students will start something uh knowing the reality we are living because we are not living anymore in a dream. We are the the reality is hard, but we can do it definitely.

Andrew 40:21

What about the Italian consumer? Do they care about made in Italy or is just rich people care about made in Italy?

SPEAKER_00 40:27

Oh, yeah. There are uh different uh consumer. We have, you know, uh the Italian likes to dress well. We we have we want to be good looking, but because of uh there is also a problem with you know the money, the family sometimes are difficult to access to buy garments, so that's why fast fashion brands are working well. And when I told somebody, but this is polyester, this is blah blah blah, I say no, but I have no money, Lucia. How I can dress three children with no money, and this is one. The second part is um the consumer can understand you just to be clear. My experience, I tell you my experience, we have a brand and we have our atelier here, so we are directly in connection with you know the client, with the people, and we explain how the garment is made, where we buy the fabric, where we wash, where is the accessories. Our, let's say, uh philosophy, they understand. So we need to be more clear and transparent and connect again with the consumer. So Italians are not different, I think, from Europe in this moment. We have all the same problem: money, time, and uh but uh there is a need to be uh let's say enriched by knowledge. Um I really find out uh people that come here, they they like to know, they want to know, and they're proud when they have the garment made like that. So there's also space for that. There is a space for the product well done, well explained, with a clear uh identity, positioning, and the right cost. Because if I think about luxury, okay, beautiful product with price that's are crazy. No need to buy one a pair of jeans that cost 1,000 euro that are the same as another that is one 150. So uh there's no logic. Now I think the clients are more aware on that point.

Andrew 43:06

In your career, what are your favorite pieces that you ever saw in this industry? Whether in Indigo, whether it was a bag or whether it was a jean, do you have like favorites?

SPEAKER_00 43:16

Uh you know, I'm in love with Japan as on the denim loader, and I used to buy all my garments there. Uh I used to love uh Gistar because I love raw products. I don't want to buy wash garments. Sorry, friend from Laundry, but I only dress raw garments, mainly chino or let's say female chino. So uh for me Gistar was very wow amazing. Not now, because at the end they need to do also wash garment and also the the confection sometimes is not like in the past. I used to buy from Japan. My first I remember the the when I used to go like everybody like uh going the in Japanese shop and you are crazy like uh MPR 45, like um they say all the brands when you go there, like Arigato Denim, you go there. Uh so I have some favorite brand, but I'm not uh let's say connected with a special brand. When I see a good product well done, I buy. For example, last week I was in London and I have now a new favorite brand that is You Must Create. They do beautiful, basic product, well done, well stitched, amazing fabric. So it depends. So I have no favorite. I have a huge archive together with you know the raw garment, uh, I used only vintage garments. So if they are washed, need to be vintage. Uh otherwise, only raw, pure, like my you know, mentor. I have indigo blood.

Andrew 45:12

Last question for you for young people going in the business, what are the key pillars that they have to always keep in mind to be successful?

SPEAKER_00 45:24

Uh yeah, the story is coming from uh knowledge first. You need to know. You need to know, you need to be uh curious, definitely. Uh and also, you know, to be also critic with yourself, demanding with yourself. Don't accept uh somebody that says it's not possible. And this is the first uh rules. Don't accept everything is possible by take time. And then they uh with the young gen, I see with my student, they have uh excellent ability and digital, but they are lacking in manuality. As I told you before, uh we need uh uh uh more artisanal intelligence. We are if you have artisanal intelligence, you can work everywhere with a great satisfaction. And the advice is take time. Nothing comes in one day, one year, takes time. So you have to be patient and work hard work, hard work, and then you can have results. If you keep these things important and be humble, of course, because nobody knows 100%. But they have to be patient. I know when you are young you don't want to be patient, it's normal, you want to be everything immediately, but takes time to be who we are now takes 40 years, 35 years. Uh so yeah, manuality, time, and curiosity for me.

Andrew 47:15

Thank you. Thank you very much for doing this podcast.

SPEAKER_00 47:19

Thank you, Andrew. So we can talk for hour and hour, but you know, this is a good starting point, and to know if if somebody has a question, uh we'll be happy to answer later. Thank you so much.

Andrew 47:36

Anyone listening that wants to get in touch with Lucia, just give me a text message or an email and I'll pass her coordinates. Great. Thank you.

SPEAKER_00 47:44

Thank you so much, Andrew. Have a good day. Ciao. Ciao.