Amelia Toro: An Energy Surge

What attracted fluoro’s Associate Editor Audrey Bugeja, to Colombian designer Amelia Toro were her strong ethical values and the depth in which they ran.

Sitting down for Toro’s favourite meal of the day (breakfast) with a good coffee, at Il Pomerrigio at Andino in Bogota, Colombia, Toro opened up about the way she has run her label for the last 20+ years.

Heritage

Growing up spending most of her time in New York, Toro knew she was one of the privileged few Colombians who were able to see that side of the world. She was surrounded by design all her life, and followed in the steps of her family, to give back. An aunt of hers was one of the main drivers of the Artesanos de Colombia and many of her ancestors helped women in the south of Bogota who couldn’t afford to leave their children at home to support themselves with proper work. It was a very difficult time, as the choices facing those women were to leave their children alone, remain jobless or become part of the crime and drug-trade that infiltrated many parts of the nation.

“It’s probably my family as to why I have stuck here [Colombia] for so long, with the war, with the bombs, with the kidnappings, with everything. It hasn’t been easy; it’s been very tough especially with a luxury fashion house in a country that is poor. With so much violence, but at the same time that’s where one has to be to be able to do something for people who need it. It’s not only for them, it’s for me as well, and we’re giving to one-another.”

Prior to the establishment of the ‘Amelia Toro’ brand, Toro spent some time throughout Italy before travelling to Sri Lanka working as a production manager at a clothing factory. With that experience she realised that’s what she needed to help transform the industry, as she couldn’t imagine herself sitting at a machine day-after-day sewing sleeves.

She returned to Colombia and started a small shop, in a time where little or no sewing culture for luxury products existed. “As a designer I wanted to work with high-end products. At the same time, with these processes I could teach women to work on a full piece. This is what I’ve been doing for the last 20 or so years.”

Social Responsibility 

The women and men that work for Toro create the complete garment, something which is very important to her as the designer. “If they leave the company at least they are able to support themselves. I feel that I have accomplished something and have given something back, whatever their decision in life they can support themselves,” she says.

Her ambition was to build a brand that would positively affect others, sharing her label with her employees. “Whatever road the piece takes, will be positive for the designer, the maker and the wearer. It’s a part of the history of the company and the piece of clothing.”

Most recently Katie Holmes, bought a piece from Amelia Toro’s New York boutique. She was quite pleased about this for more ways than one. “I can tell the person who made it, Katie Holmes has your dress. Do you know how they go home? So proud. It’s also something for them,” says Toro of the experience she offers her employees. “I’ve always been able to create something from the beginning to the end, but so many people haven’t had the opportunity to do this, and it is an opportunity for them that we can share. It’s empowering them.”

Clothing as Energy

“I see clothing as energy, what you wear becomes part of you; it’s your energy. How it’s made will come onto you.” – Amelia Toro.

Toro reflects on the overall state of the industry, not only in Colombia, but also around the world, sharing that she finds it “abusive”, in terms of the conditions and the pay. “It’s important to me that my staff get all the benefits, medicals everything,” Toro explains. It is actions like this that highlight Toro’s social and ethical interests and the ongoing affect of good practices.

Toro has always been resistant to suggestions that she must take her production overseas to Italy or China. “My response when asked is…. I have a responsibility to give back to the place that gave me the privilege to be able to educate myself. I have always felt that I have this responsibility.”

The handmade aspect of her garments remains at the core of Toro’s practice. “Handmade versus abusive practices, that is what I work for. It is not only about my country, but also about the fashion industry. Disposable clothing is what creates factories that abuse so many women and children.” Toro focuses on producing garments that are handmade with love and care, while at the same time providing somewhat of an educational foundation for her employees.

The Tiny Little Seed 

Toro continues to encompass a social aspect into her work as she builds her brand. Privileging the hand made, Toro feels has a respect for the skills of the Indians from indigenous tribes who she works with, including the Kuna, Wayuu and Putumaor tribes.

The Kuna tribe of Colombia is one who Toro works particularly closely with. The creation of her Mola collection of coats and garments embodies the traditional techniques of the tribe. The Mola embroidered panels created by members of the Kuna tribe, often take the form of colourful geometric patterns. Toro’s coats require 20-24 Molas to create one complete coat.

When in New York, the head of the Aid for Aids Foundation came into the Amelia Toro store and saw the Mola coats. Instantly he wanted to collaborate with Toro. The pair ended up working together on an event at Toro’s New York boutique raising funds to finish a hospital on the island of San Blass, Panama.

Other ventures have seen Toro work with Queen Sofía of Spain’s foundation, helping to empower single mothers around the world to establish their own businesses. Amelia Toro was invited to present her collection in Madrid during fashion week, which heavily featured indigenous work. She also presented a runway in collaboration with Shakira’s foundation Karlina Kurkova for the United Nations, honouring women around the world who help other women.

“I know it’s a tiny little seed, but this tiny little seed can grow if others follow and my company grows. The more the company grows the more I can keep educating.”

The Rhythm of Fashion 

Toro’s worldly view allows her to have perspective on her brand’s position within the fashion world and its impact. On one hand she admires her colleagues around the world. “In boutiques like Barney’s I am surrounded by Azzedine Alaia, Lanvin, Fendi, Bottega Veneta on the my same floor. I feel so honored to be with them. It is very inspiring to me that my brand from Colombia is there. I admire being there, staying there, the rhythm of the fashion world.” Toro also admires the patience of her 12 and 15 year-old children who respect her demanding life.

However, it is her employees who gain her greatest level of admiration. “Mostly I admire all the women who work with me. They’re single; they have kids; and they’re up at 4am to do what they need to before they take a bus one hour to get to work. Those women I greatly admire.”

Growth 

Toro’s brand has been established for over 20 years, and despite that design practices have developed greatly in this time her approach remains largely unchanged. “I am still doing the same thing which is so weird. I have these pictures of my first collection in New York, and I am still doing something very similar.” The Toro brand incorporates the processes and technology that has evolved over the past two decades, but this compliments the nature of her brand. “My brand is specifically about a mixture of the old and new. The quality of how things were made before, with the love and the care, along with the addition of the new industry developments.”

While Toro’s aesthetic is an intersection of old and new, her values come from a more personal place. “This life is one time only, so we have to really do it the best we can. I never thought or even imagined I would be sharing this with you or anybody. This to me was always in here (points to heart).”

www.ameliatoro.com

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