{"id":57327,"date":"2026-01-06T12:19:14","date_gmt":"2026-01-06T15:19:14","guid":{"rendered":"https:\/\/museomoderno.org\/exposiciones\/vestir-mundos-fundacion-ida-en-el-moderno\/"},"modified":"2026-09-24T16:24:22","modified_gmt":"2026-09-24T19:24:22","slug":"vestir-mundos","status":"publish","type":"exposiciones","link":"https:\/\/museomoderno.org\/en\/exhibitions\/vestir-mundos\/","title":{"rendered":"Dressing Worlds. An Exhibition Created Around the IDA Foundation Archive"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Vestir mundos<\/span><\/i> [<\/span>Dressing Worlds<\/span><\/i>] looks at fashion design as a practice that transforms the spaces we inhabit. This exhibition brings together leading designers who have redefined contemporary dress, pushing beyond its traditional boundaries in response to twenty-first century social and environmental challenges.<\/span><\/p>

Their practices explore new modes of production through the revival of traditional crafts and collaboration with artisan communities and their heritages, as well as with urban collectives and co-operatives whose resurgence has, since the start of the century, been driving alternative forms of productive organisation. This experimentation ranges from manual techniques and natural materials to biomaterials developed from fungi and bacteria.<\/span><\/p>

In their intimacy and collectivity, these practices address different forms of loss and reconstruction. Some respond to the dismantling of the industrial fabric and the disappearance of technical skills, traditional crafts and ways of working; others explore how clothing enables us to negotiate personal grief, accompany life transitions and construct new forms of identity.<\/span><\/p>

Dressing, in these works, is a way of taking a stand against accelerated consumption, the offshoring of production and the growing disconnect between garments and those who make them. Each piece is a manifesto affirming discrete local languages. They underline the fact that what we wear on our bodies expresses how we relate to one another and how we inhabit the planet.<\/span><\/p>

Created primarily around the archives of the Fundaci\u00f3n IDA (Research in Argentinian Design), the exhibition is completed by loans from the designers themselves and recently acquired works from the Museo de Arte Moderno de Buenos Aires Collection. The collaboration with IDA brings two growing collections into dialogue, highlighting the value of archives as active tools for constructing, preserving and transmitting the identity of Argentinian design and its cultural and material legacy.<\/span><\/p>

Designers:
<\/b>Tramando (Mart\u00edn Churba)
<\/span>Trosmanchurba (Mart\u00edn Churba y Jessica Trosman)
<\/span>Vero Ivaldi
<\/span>Vicki Otero\u2060
<\/span>Cora Groppo\u2060
<\/span>12NA (Mariano Breccia y Mercedes Mart\u00ednez)
<\/span>MANTO (Clara de la Torre y Diana Dai Chee Chaug)
<\/span>Roxana Liendro\u2060
<\/span>Nous \u00c9tudions (Romina Cardillo)
<\/span>Juliana Garc\u00eda Bello
<\/span>Therapy Recycle and Exorcise (Mari\u00e1ngeles Aguirre y Paula Aguirre)
<\/span>Milagros Pereda<\/span><\/p>

Curated by:<\/b> Franco Chimento and Ra\u00fal Flores
<\/span>General Co-ordination:<\/b> Noelia Magnelli
<\/span>Exhibition Design:<\/b> Iv\u00e1n R\u00f6sler
<\/span>Production:<\/b> Julieta Potenze
<\/span>Graphic Design<\/b>:\u00a0 Juan Desteract
<\/span>Sound Design<\/b>: Mabel
<\/span>Installation Co-ordination:<\/b> Germ\u00e1n Sandoval
<\/span>Technical Co-ordination:<\/b> Guillermo Carrasco
<\/span>Costume Installation:<\/b> TRAMA<\/span><\/p>

Fundaci\u00f3n IDA – Investigaci\u00f3n en Dise\u00f1o Argentino <\/b>Acknowledgments
<\/b>President:<\/b> Ra\u00fal Na\u00f3n
<\/span>Director: <\/b>Mariel Szlifman
<\/span>Fashion Advisors: <\/b>Sebasti\u00e1n Rodr\u00edguez<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\t
Tramando \/ Trosmanchurba<\/b> <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/i><\/span>\n\t\t\t<\/i><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

On the Threshold<\/b><\/p>

In the late twentieth and early twenty-first century, economic and industrial crisis led the Argentinian fashion industry to imagine new means of production focused on transforming what was already available.
<\/span>Founded by Mart\u00edn Churba and Jessica Trosman, Trosmanchurba (1997-2002) conceived its collections as textile laboratories. The combination of fusing, scorching and reworking plastics and industrial waste, coupled with the use of fibres and microfibres and crinkled prints nicknamed \u2018<\/span>lechugas<\/span><\/i>\u2019 [\u2018lettuces\u2019] defined a new material sophistication for a haute couture\/pr\u00eat-\u00e0-porter approach removed from international trends.
<\/span>Jessica Trosman later developed her own labels \u2013 Trosman (2002-2012) and JT (2013-2019) \u2013 to put her collections on the international stage. In parallel, she also branched out into sculpture and installation.
<\/span>From 2003 onwards, Mart\u00edn Churba embarked on a new phase with Tramando, a venture conceived as shop, studio, workshop and laboratory. In Tramando, he combined manual and industrial processes to create textiles featuring reliefs, transparencies and images, extending his experiments to objects, installations and artistic actions. After 2001, when there was a boom in self-managed workers organisations, he developed the collection \u2018Pongamos el trabajo de moda para siempre\u2019 [\u2018Let\u2019s Make Work Fashionable Forever\u2019] (2004) with La Juanita Cooperative, which resignified the <\/span>guardapolvo<\/span><\/i> smock as an icon of working-class culture.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Vicki Otero<\/b> <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/i><\/span>\n\t\t\t<\/i><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Disassemble<\/b><\/p>

Clothing often reveals the times, crafts and knowledge involved in its production. Against a backdrop of cyclical crises, the exposed seams and unfinished edges of these garments expose both the crafts that usually remain hidden behind the final product and the fragility of Argentina\u2019s industrial fabric.
<\/span>Since founding her label in 2001, Vicki Otero has been re-interpreting the conventions of tailoring by shifting between right side and wrong side, as well as changing scales and structures. In \u2018Industria argentina\u2019 [\u2018Made in Argentina\u2019], a collection presented in 2017, each piece evokes a stage in the production chain. Staged as a sewing workshop, the models gradually removed machines and tools from the catwalk until the workspace was left bare. The physical dismantling of the workshop and the deconstruction of the garments became a metaphor for the weakening of domestic industry and the collective loss of jobs and skills.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
12NA \/ Garc\u00eda Bello \/ Therapy Recycle and Exorcise<\/b> <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/i><\/span>\n\t\t\t<\/i><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Salvage and Environmentalism<\/b><\/p>

Since early in this century, the re-use of garments and fabrics has established itself as a way of re-examining production processes and our relationship with clothing. In the face of waste and the acceleration of consumption, upcycling salvages materials without fully processing them. By keeping part of their original identity and composition intact, it gives them new meaning while extending their lifespan.
<\/span>Founded in Buenos Aires in 2004 by Mercedes Mart\u00ednez and Mariano Breccia, 12NA selects, unpicks and re-assembles second-hand clothing from different times and places. Their work draws on urban and Latin American imagery and engages with collective forms of learning and production.
<\/span>At Garc\u00eda Bello, a label founded in 2019, Juliana Garc\u00eda Bello links these processes with domestic knowledge, personal attachments and the landscape of Patagonia. Mending and reconstructing inherited or discarded garments transforms them into surfaces that preserve memories and family ties.
<\/span>Founded in 2012 by Mari\u00e1ngeles and Paula Aguirre, the label Therapy Recycle & Exorcise brings \u2018super-recycling\u2019 to urban subcultures and the nightlife scene. Working between C\u00f3rdoba and Berlin, they transform textile waste and cast-off clothing into seasonless, gender-neutral garments that push back against overconsumption and social exclusion.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Vero Ivaldi<\/b> <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/i><\/span>\n\t\t\t<\/i><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Mourning<\/b><\/p>

Clothing in Vero Ivaldi\u2019s work becomes a medium for processing experiences of loss and expressing what is difficult to put into words. Emerging from the late-1990s alternative scene in Buenos Aires, she found in the Bond Street gallery and others a space where fashion and music linked to nightlife culture converged. She designed the costumes for the \u2018beatcore\u2019 band Los Brujos [The Warlocks] and was one of the driving forces behind the late-1990s \u2018Dise\u00f1adores del Bajo\u2019 [Waterfront Designers] collective. In that setting, material research was integrated with character-building, imbuing the garments with a performative edge.
<\/span>In her 2021 collection \u2018Bit\u00e1cora del duelo\u2019 [\u2018Grief Logbook\u2019], Ivaldi salvages, transforms and re-interprets garments to process her grief following the death of Ricky R\u00faa, a member of Los Brujos, her life partner and B-side. The progression from darkness to light and back, the removal of parts of the garment, the broken hearts and messages addressed to Ricky turn these pieces into sensitive records of loss as a means of coming to terms with absence and transforming indescribable pain into something beautiful.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Manto \/ Santos Liendro<\/b> <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/i><\/span>\n\t\t\t<\/i><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Community and Identity<\/b><\/p>

At the turn of this century, the revival of regional crafts and materials gathered pace with the search for identity in Argentinian design. Against the fast-paced rhythms of the industry, these practices uphold forms of production that prioritise manual labour and the passing-on of knowledge from generation to generation.
<\/span>Founded in 1996 by Clara de la Torre and Diana Dai Chee Chaug, the Manto label has over the years built up a network of spinners and weavers in northern Argentina. Sheep\u2019s wool and llama hair are transformed into coats with austere lines, whose cuts and asymmetries link traditional craftsmanship with urban tailoring.
<\/span>Santos Liendro, a label founded by Roxana Liendro in Vaqueros, Salta Province, brings the goldsmithing skills that Roxana learnt in her father\u2019s workshop to clothing. Using embossing and chiselling techniques, she integrates metals such as nickel silver and copper into regional <\/span>barrac\u00e1n<\/span><\/i> and <\/span>aguayo<\/span><\/i> textiles. This crossover transforms the family legacy into a contemporary expression of Andean identity.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t\t

\n\t\t\t\t\n\t\t\t\t\t
Cora Groppo \/ Nous \u00c9tudions \/ Milagros Pereda<\/b> <\/div><\/span>\n\t\t\t\t\t\t\t\n\t\t\t<\/i><\/span>\n\t\t\t<\/i><\/span>\n\t\t<\/span>\n\n\t\t\t\t\t\t<\/summary>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Nature and Ethical Industry<\/b><\/p>

In response to the environmental crisis, the clothing industry is re-examining its ties with nature, a concern which involves observing natural processes and developing techniques that respect the origin of resources and our co-existence with other species.
<\/span>Since founding her label in 1996, Cora Groppo has developed her garments straight on the mannequin, where she explores the relationship between the body and pattern-making. Her collections \u2018Mic\u00f3tica\u2019 [\u2018\u2019Mycotic\u2019] and \u2018Vertebrada\u2019 [\u2018Vertebrated\u2019] translate the forms of natural organisms onto the garments\u2019 surface. Observation and imitation of fungi, roots and bone structures inspire the layering, pathways and articulated volumes of her garments.
<\/span>Romina Cardillo explores the relationship between nature and industry through the lens of veganism. At Nous \u00c9tudions, a label founded in 2014, she works with biomaterials and textiles free of animal components. In her collection \u2018Fin del mundo. Principio de todo\u2019 [\u2018The End of the World. The Beginning of Everything\u2019], the landscape of Tierra del Fuego is linked to the organic origins of the material, grown from agro-industrial waste products.
<\/span>Through her label, founded in 2019, Milagros Pereda explores the relationships between natural processes and circular production systems. In the \u2018Crudo\u2019 [\u2018Cru\u2019] collection, she upcycles wool discarded during shearing and works with women from Entre R\u00edos Province, washing and spinning it by hand to create fabrics with digitally designed patterning.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/details>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Dressing Worlds: The Playlist<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t