I decided to participate in the program because I had been deeply reflecting on the value that fashion can hold in today’s world, a context in which not only is it increasingly unaffordable for many, but also overshadowed by wars and environmental catastrophes, where clothing inevitably takes a secondary role. This led me to question whether fashion could still be meaningful beyond consumption. I began to imagine an alternative approach: an agency that would not consider garments as mere commodities to be marketed, but rather as cultural objects, expressions of craftsmanship, aesthetics and political narratives, capable of fostering a sense of community. From this idea, I developed a business plan for Turchina Studios, a creative agency grounded in these values. Wanting to learn and gain real world experience in this sense, I applied to the Eye program and chose to carry out my placement at Maia Archive, a sustainable fashion product development and production studio based in Bruxelles.
I arrived at Maia Archive on a sunny morning in March. Contrary to the usual clichés about Belgian weather, the day was bright and welcoming, with flowers already blooming in the courtyard. I was greeted by my Eye referent, Margherita, along with the rest of the team. The studio itself is a beautiful, lively space in the heart of Brussels, filled with yellow cabinets, yarns, and fabrics scattered throughout, giving a sense of ongoing creation. It was immediately clear that the environment is dynamic and fast-paced: everyone is deeply engaged in their tasks and the rhythm of work is both intense and stimulating. I was introduced to the studio’s workflow through detailed explanations of their current projects, clients, products, and the various stages of development and production. This experience felt very different from working in a large corporation, where processes are often more structured and segmented. Here, I experienced a full immersion into their ecosystem, gaining a 360-degree understanding of how a small, independent studio operates.
From the very beginning, I was actively involved in the work. After being assigned a space, I started contributing right away, engaging in hands-on tasks on a daily basis. The experience is highly operational, allowing me to directly participate in the making process rather than observing from a distance. I also had the opportunity to have meaningful conversations with Margherita about what it means to be an entrepreneur in the fashion industry today, particularly the complexity of managing relationships with different stakeholders, from suppliers to clients and how this differs from being an employee within a larger organization. We discussed production techniques, as well as the importance of working with suppliers who prioritize sustainable and artisanal practices.
This exchange not only will expand my practical knowledge but also reinforced my initial reflections on the role of fashion today. I believe this experience will be extremely enriching, both in shaping my entrepreneurial perspective and in helping me further develop a critical and thoughtful understanding of what fashion can and should represent in the contemporary world.
