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Undressing is a gesture implicit in the act of dressing. Putting on clothes creates the intrinsic need to take them off, just as a garment defines the existence of a body.

The sensuality of a dress that slides down the back is indelibly written in the opposite gesture, in the same way that a covered shoulder hides a bare shoulder. In 010, Ernesto Naranjo celebrates that sensuality. That space that clothes create with a woman’s body. As in Japanese tradition, the ambivalence of dressing to evoke nudity.

Sensuality is a game of spaces. Like Lynda Benglis’ search for emptiness in her 1971 spilled sculptures, designed to escape from the wall and occupy the negative space of a non-existent piece.

Or like Judy Chicago and her installation ‘The Dinner Party’ from 1979, a huge table spread for brilliant women of Western history. A search for Vsico space compared to that which has been denied to them in history. They, as is usual with Ernesto Naranjo, are the foundation of the ideas and colors that give shape to the garments.

010 evokes the perfume of a body covered by grandiose volumes of couture, constructed with fabrics that slide over the skin, for a woman who does not seek to be one. A woman, like Chicago and Benglis, who claims her active space in society without reducing herself to an ornamental object through the classic silhouettes of Ernesto Naranjo, now combined with the new ‘Hand’ bag.

When Benglis was asked to summarize his artistic ambitions in the 1960s, he responded: “I wasn’t breaking away from painting, but trying to redefine what it was.” 010 does not seek to hide women in its volumes. Seek to redefine it. Because she is always present.