Those who do not fully know their craft will journey through a vast beauty universe where dazzling planets and moons echo the imagination of a fashion artist. The exhibition titled invisible thread, hosted by the Sala Canal de Isabel II until January 15, brings together well-knit garments, accessories, and photographic studies that reveal the versatility and creative richness of this designer.
The designer has long stood as a cult figure in Europe and the United States, with a strong following in Japan as well. A reluctance to reveal personal life is part of the persona, yet appreciation for the craft speaks clearly through the clothing. A language of representation was created to speak for the designer and let people understand the person behind the garments.
Her mother passed away when Sybilla was 14, and like many fashion figures, she began her career very young. At 17 she joined Yves Saint Laurent’s design department, recalling that she was the last apprentice in the attic. The important finding, however, was Anne-Marie Munoz, the right hand of the French genius who mentored her. Anne Marie’s strength and energy, paired with her grace, left a lasting impression on the designer.
Those who already know Sybilla will enjoy tracing the many peaks of her creativity. They can connect dots, seek answers, and solve some puzzles, but not all. The true mystery of art, a mystery that words cannot capture, has shaped her personality since childhood.
Years ago she explained that her mother taught her to follow her own instincts. The family moved to Spain when she was six, living in Mijas (Malaga), then Madrid, always in the field, endlessly fueling inspiration.
She describes how she learned to patch textiles with her mother, to embroider, and to applique using found objects. It is not surprising that many adults are drawn to this craft. In her early work she created rag dolls and patches, and she often improvised prints through embroidery and applique due to budget constraints. Later, in Japan, the exhibition catalogue became a key book that allowed her to unleash the creation of her own prints and fabrics, embracing increasingly sophisticated knitting and textile techniques.
A connection with art
Her parents moved to New York, the city where Sybilla was born in 1963 and later signed her name with a children’s clothing line designed by her mother for Saks Fifth Avenue. It was a money-making venture that left few memories of success, yet she found that painting ran in the family and that her father had an artistic sensibility. The designer was drawn to influences from Matisse, cubism, and other modern languages.
Sybilla’s curiosity also took her toward cubism and movements such as Arte Povera and pop art. She mentions a particular affinity for Paul Klee, describing him as her favorite painter, a trait evident in her vibrant, puzzle-like dresses and in the striking black-and-white ensembles. The aesthetic blends with a sense of whimsy that feels almost joyful, producing outfits that read like living paintings. Haute couture is invoked, yet the approach leans toward a more personal, wearable expression.
We refer to a philosophy close to ready-to-wear, a belief that mastery means understanding the limits and possibilities offered by machines, while preserving the humanity of the handmade.
When asked about comparisons to the greats, she explained that the craft of this generation stands apart from haute couture, emphasizing practical preparation and the intimate connection between designer and wearer.
New York to Japan
She finds elegance in the New York fashion link led by Claire McCardell, a hallmark of American sportswear. This freshness is visible in trench coats, travel coats, colorful linings, and striped pairings that diverge from European norms. The influence from Japanese fashion of the 80s—anti-fashion fields led by Miyake, Yamamoto, and Kawakubo—appears not as a copy but as a parallel voice that resists predictable trends.
When discussing similarities between her work and that of other designers, she notes shared echoes with Elsa Schiaparelli, from cotton-filled dresses to dramatic, winged jackets and expressive silhouettes. Early in her career, she observed parallels with surrealists, yet she designed without knowing those writers, letting the own universe guide her. The result is a wardrobe that feels both personal and cinematic, where color and form invite playful exploration.
Growing up in such an art-filled milieu, she absorbed feminine visions and intimate surrealism as a living consciousness of the body.
Her closest relatives expected a shift toward painting or art, but she explored political ideas as well. She believed in changing the world through art and later realized that arts and crafts could drive social change. This led to sustainable agriculture projects and transformative programs that she pursued in Majorca, bringing joy through community and craft.
One of her most radical ideas came in 1991, when she joined pieces of black crepe with invisible nylon threads so they appeared to float above the body. The dress that followed, often called a bull dress in early discussions, hinted at the delicate paper-cut aesthetics popularized by artists like Matisse.
Sybilla has always sought to preserve bespoke and demi-couture while embracing direct contact with clients. Dressing women to highlight their features and celebrate their reflection remains a central joy and a hallmark of her practice.
The sewing workshop memory stands out, especially when she first opened a studio by recruiting exceptional tailors through a newspaper ad. That moment, amid limited funds, led to the formation of a rare, distinctive brand that would eventually travel to major fashion capitals.
I recall a conversation from the early 1990s when a prominent fashion executive spoke of enduring influence and lasting impact, signaling that the designer would leave a lasting mark on fashion history.
With the passage of time, new shades of art will emerge through exhibitions in museums of all sizes. The extraordinary talent of an artist focused on women’s clothing shows that fashion can be more than a mere surface act; it can carry a powerful sense of identity and vitality.