KINTU STUDIO TALK: RAFALEA SALGUEIRO
Rafa is one of those wonderful people who just radiates positive energy. Our collaboration with her began three years ago, at the very start of Kintu’s journey — and hers, too, as she had just moved to Lisbon. So, in a way, we’ve been growing together since the beginning. We’re thrilled to introduce you to the creative force behind those statement gloves, bags, hats, and endless surprises.
KS: Hi Rafa, it's so nice to meet you at your secret studio! We've been collaborating for almost three years now, and it's exciting to see all your pieces and your creative process in person. Let’s start with a bit of your background. You’re originally from Brazil, near São Paulo. How long have you been in Lisbon, and what initially brought you here?
RS: "I was born in Brazil, and part of my family used to live in Naples, but now all my relatives are based more towards Latin America. I've been in Lisbon for almost three years. I came here to study because I was very interested in a specialization in furniture design that was offered here. I completed the course, and I’ve been staying here ever since ;)."
KS: How does your Brazilian heritage influence your work? Can you identify elements of 'Brazilidade' that are reflected in your creations?
RS: I arrived in the European Union few years ago, and this new territory has certainly had a profound influence on my artistic work, bringing crucial concepts to the projects I currently present. However, Brazil has an even deeper influence on my artistic creation, especially on my creative freedom.
I have a very strong connection with Carnival. It's where everything began for me; I started doing what I do during Carnival. It was a moment I looked forward to all year long. During that time of waiting, I would plan, imagine, and create worlds so that I could participate in Carnival, to be there enjoying myself with my friends in that celebration, bringing lots of joy and fun.
Over the years, I decided to bring this Carnival joy into my everyday life. To continue doing what I love and what I know how to do, but every day of the year.
Of course, things aren't always easy, but this festivity is undoubtedly one of the major driving forces of my creative power.
KS: You create a wide variety of pieces and often experiment with textiles. Can you share more about where you draw your inspiration from and how your ideas evolve?
Most of the work I do stems from my curiosity in creating, my desire to explore volumes, cuts, and textures, incorporating everything I've learned over the years. My ideas usually evolve through a process of experimentation and exploration. I might start with a specific concept or theme, but as I work with the materials, I let them guide me. The tactile nature of textiles—how they feel, drape, and respond to manipulation—plays a crucial role in shaping the final piece. I enjoy pushing the boundaries of what textiles can do, whether through unconventional techniques, blending different materials, or exploring new forms.
I keep an open mind and am always looking for new ways to challenge myself and my practice.
Ultimately, each piece I create reflects this ongoing dialogue between my ideas, the materials, and the world around me, with the aim of offering something playful and creative, opening doors to curiosity and imagination for those who interact with my work. One of my main goals in my artistic process is to spark the imagination of those who engage with my pieces.
KS: Out of all the pieces you’ve created, do you have a favorite? What makes it special to you?
RS: Among all the pieces I’ve created, one that stands out as particularly special to me is the series of wearable works called "THE INVISIBLE ARCHITECTURES OF THE SELF". A textile proposition in metaphor for psychologyIn this series, I explore metaphorical movements and invite people to interact with and engage with these materials so that they can evoke sensations and experiences. I have often tried to secure financial investments to bring this work closer to me, as it is currently located in São Paulo, Brazil.
This series was one of my first experiences with textiles and was crucial in developing my own narrative, marking an important milestone in my journey. I would love for more people to experience and feel this work. I believe I still have much to evolve in this research with the new years of experience I have gained. I hope to continue bringing this materiality to my current region and see what the future holds.
KS: Does the city of Lisbon inspire you and your work? In what ways does the city influence your creativity?
RS: I moved to Lisbon two years ago for a specialization in Furniture Design. When I arrived, I didn’t anticipate the textile influence the city would have, nor the access to high-quality national industrial production. I love being able to engage with this and have access to raw materials that were not available in my home country.
I believe that this materiality elevates my work to new levels. Here, I can work with fabrics of exceptional quality and textile screens that are no longer produced with the same excellence. As a result, I feel that I can offer my clients pieces and works that are even more unique and innovative. Upcycling is a crucial part of my creative process, allowing me to repurpose and transform existing materials into new creations, giving them new life and purpose.
KS: I know you have a keen eye for unique textiles and enjoy exploring different places to find them. How do you discover these places, and what criteria do you use to select a textile for your projects?
RS: When working with textiles, having a keen eye is essential, but touch is equally important. By handling the fabric, I can assess its composition, drape, and other fundamental characteristics for my selection. This tactile sense is crucial for my choice, and I strive to convey this experience to others who interact with my creations.
To discover new places and textiles, I make it a point to build strong relationships with suppliers and specialty fabric stores. Through recommendations and networking, I find new spaces and materials that meet the criteria I look for in my projects. In this way, one thing leads to another, and the quality and uniqueness of the textiles I find enrich my artistic practice.
KS: Let’s talk about your dreams and aspirations. What is your ultimate goal for your work, and what do you hope to achieve in the future?
RS: My dream is already partially realized, as being able to live off my art is a significant achievement. It is not easy, especially given the current context, but sustaining myself doing what I love represents a major evolution.
The narratives I explore often challenge the dominant consumption systems, which makes it challenging to reach widely recognized platforms. In the near future, I hope to present my research to a broader audience and find venues interested in showcasing and promoting my work. For me, working with textiles is a political act of resistance against the waves of the Industrial Revolution. One of my dreams is to expand my vision to a wider audience, rethink textile consumption, reduce reliance on department stores, and explore new forms of non-verbal communication through clothing. An ideal future for me would be seeing my work and ideas being heard and recognized.
KS: Thank you for your time and all showing us your secret world :)
RS: Thank you too!