Andrea Martínez Maugard, fashion journalist and editor-in-chief of Vistelacalle: “There are several Chilean designers with a strong sense of identity. It's something I haven't seen in a while.”
I've known Andrea for several years, almost as long as she's been working in fashion: 11 or 12. Before meeting her in person, I read her in Vistelacalle. under her pseudonym Martirio's Way (that's how you can find her on Instagram, actually: @martiriosway ). The pseudonym was actually the name of her blog, which she created when virtually no one was talking about fashion online in Chile. “I started my blog during a period of unemployment. I was working on a Master's degree at the time because I thought that to get a good job you had to study a lot.”
After reading her on VLC, we became colleagues on that fashion website, and I came to terms with her informed writing and her direct and clear style. She worked from her native Valparaíso and traveled for special occasions to meet with us, the rest of the team. We didn't see each other much, but gradually, we began sharing beers instead of professional opinions, friendship instead of a workspace. I admire her greatly and believe her work and dedication always deserve a showcase, so I invited her to share her ideas, inspirations, and fashion guides with Vístete Local's followers.
The beginnings.
Where does this passion or interest in fashion come from?
It all started when I was very young. When I was about 4 years old, instead of playing with my cousins, I would lock myself in my aunt's house and read her fashion magazines. She had a huge collection of magazines, and I was always reading them, poring over them. I knew the names of the models and designers. I saw brand advertisements and found them aesthetically pleasing; I was drawn to them.
What were the references you had in those first approaches?
I remember seeing a Lancôme ad with Isabella Rossellini. I thought she was dry, I don't know... I saw that and thought, 'She must be important too.' Then I realized she was an actress and appeared in David Lynch films.
Andrea studious
When you started your blog, you thought you had to study hard to find a good job; do you think that premise is particularly applicable in fashion?
It's changed my perception of studying hard. You can be self-taught or go to university. When I was a kid, I thought the more you studied at university, the better your chances were. Which isn't a lie, but at the same time, I know a lot of people, even journalism students from my generation, who don't work in the field they studied. The biggest mistake people—in general—make is believing that being a journalist means you'll be able to work in radio, TV, and magazines. I feel like you have to specialize, study, and be very knowledgeable in what you like.
I understand, but you didn't answer the question...
I believe that fashion requires studying, certainly. One has to know the basics of the profession. To know about fashion, you don't necessarily have to study a formal program; you can learn a lot through the internet, watching fashion shows, and learning about the history of designers.
Are people working in fashion in Chile actually well-trained?
Not all of it. Most focus on the lights, the events, what's "chic" or stylish, and all those overused adjectives.
And why do unprepared people reach places of privilege or power?
The same thing always happens in Chile. It's like standing out based on connections, being from a "good family," a good school. I think that's what paves the way for anyone, not just for those who work in fashion. Unfortunately, not everyone who is capable of writing about fashion is in the positions they should be in.
The Editor-in-Chief.
Aside from writing well about fashion, what else does a fashion editor need?
You always have to stay informed. Whether you like what's happening in terms of trends or not, it's something you can't avoid. You have to look at Instagram, watch runways, and know the important dates of the year. Not only because of how beautiful they dress on the red carpet, but also because it's a reflection of society and what's happening. It's necessary to constantly inform yourself, stay up-to-date, and keep in mind that history is the foundation.
The history of fashion is one of your favorite subjects, in fact. Do you think fashion is a constant reinvention of past styles?
Yes, it's a reinvention, but every time something familiar from the past is reworked, it's done with a new influence, in a new context. It's never the same result; it will always be something different, even if it's something that's already been invented.
Are there any designers or brands working from scratch, building without historical references in fashion today?
Nowadays, I think it's very difficult to create something completely original from scratch. For example, Alexander McQueen, who was known for being very original and groundbreaking, drew heavily from films, urban tribes, and London. He didn't create something from scratch, but the way he conveyed and visualized it was a product of his blend of originality, daring, and obscurity.
What filters does a brand or project have to go through to be published on Vistelacalle?
The first thing is to have a clear identity, one that isn't a mere copy of something done elsewhere. Be yourself and have an identity that reflects you. Designers often get confused in that initial step of having their own identity. That's what's needed.
What things would you not publish?
It would have to be something very serious, something racist or transphobic.
Considering you've been with VLC since its inception, how much of Andrea Martínez is on the site?
In line with the website, I'd say 95%. You can tell by the fact that I like to highlight a lot of local talent. Since the pandemic hit, I said we absolutely had to support the local industry. I told the kids, the editors, that they had to focus on interviewing people, showing their experiences of how they were going through this time, how they were overcoming this difficulty. Since last year, we've only interviewed local people. Sometimes we include foreign figures, especially Latin Americans.
In these more than 10 years of VLC, how has the platform changed its imprint?
The mission hasn't changed at all; it's always been about supporting local and emerging talent. That hasn't changed. We started out as a street style-focused site. Now, since the whole context is so different, People send us their looks, they say, "I want to be featured." There's a bigger focus on social media; Instagram is a major driving force for the page.
Have you ever wanted to migrate from VLC, to work somewhere else?
There are a lot of people who ask this question. We're so used to trying to move around a lot in the work we do. I feel the most important thing in my life is freedom, and at Vistelacalle I have incredible freedom. I could never write about what I write anywhere else. I want to critique a designer; I want to write about certain things and at the same time make my own schedule. For me, the most important thing isn't living to work; it's having the freedom to move whenever I want to travel, for example.
Local fashion and the editor's picks.
You've collaborated on several international platforms. How do foreigners view local fashion?
It depends. There are many people who, despite globalization and the internet, still don't know much about Chile. It's super funny to hear, but it's true. They ask me, 'Do you really have designers?' At the same time, there's a great desire to meet us. I've seen many articles in Latin American Vogue about Chilean creatives. When you write articles and consult with international sources, they become curious about what's happening in Chile.
And what is your vision of Chilean fashion?
I think there are truly several designers with a lot of identity. It's something I haven't seen in a long time. There was a time when people They simply launched brands and wanted to be famous, lacking identity and integrity. I feel like projects are more established and well-thought-out now. There are some really good products, but there's a lack of publicity. We have a publishing problem in Chile; we don't have many serious fashion magazines and media outlets that don't focus solely on how Dua Lipa dresses or how the characters in Elite dress.
Is there a disconnect between the publishing system and the fashion system?
Yes. There are a lot of prejudices when a magazine is launched that they only look for certain materials or styles that point to a more London or chic style, whatever that word means, which I hate; that everything looks very pretty, very classic. The media needs to be messed up sometimes.
Would you share some information about emerging designers and creatives we should keep an eye on?
There's a designer who's really falling in love with the medium, namely Ceremonia , by Cristián Palacios. He's just launched a very balanced collection, in the sense of seeking something traditionally beautiful, but also daring; with a concept that has to do with something very Chilean, like the First Communion. I like that it has a typical concept. I also love Nieves Marín . She could be working as a designer in any century and it would do well for her.
If you had to create an ideal team for a fashion editorial, who would it be?
Stylist: Jazmín Flores . Makeup: Marcelo Bhanu . Always dry. I like the sensitive vision—even though he's my friend—of Carlos Saavedra . He can take photos with analog and digital cameras. As for clothing, I'd like a strong, visually unusual mix. I'd like to do an editorial very different from the context of Jotha Jerez 's clothing, which is a deconstruction, an upcycling, an urban fashion that always gets pigeonholed in that way. I'd like to take it to a realm that has nothing to do with his style.