From the inside-out

A great story begins with the introspective moment of birth. This is how one graceful and elegant brand DENTRO arose. Instead of going outward, its founder, Isa Kauffman, invited everyone into the depths of the “inside-out” concept. The inner and usually mysteriously hidden part of the label’s functional bags is brought to light in all its details.

The craftsmanship of the process can also be witnessed as DENTRO extends its artistic influence in the form of short films. The inspiration for the series came from a desire to delve deeper into the process of creating DENTRO accessories while showcasing the brand’s unique aesthetics. The final cinematic masterpiece was developed by a team of three, including Kauffman, the designer, Constanza Lopes, the art director, and Camila Freiha, the film director. Each film is treated as a distinct genre and expands further in the new episodes that are still unfolding.

Following the exploration of the brand, hube could not resist immersing itself in the inspiring conversation with Isa Kauffman.

hube: There are some elements that can make a bag both functional for urban living and visually appealing. Are there any specific elements that you find necessary to include in each Dentro model?

Isa Kauffman: I’ve always enjoyed playing with what we consider visually appealing. Mixing rawness and strange elements merged into traditional codes of beauty has always interested me. The concept behind the Dentro bag is to appear “normal” at a distance, but as you approach, you’ll notice something subtly “off” about it. This distorted aesthetic will remain a prominent theme in my designs. In the case of Dentro, it’s crucial to anchor it within the context of traditional archetypes for the disruption of the object’s construction to be effective. So, there aren’t specific elements, but a logic of design to be applied.

h: Could you elaborate on the “inside-out” and the meaning behind the concept of revealing the layers of the bag’s construction?

IK: Two aspects resonate with me in the context of the “inside-out” concept. Within the luxury bag category, the prevailing perception centers on the idea of a traditionally crafted product, with its value vested in its logo, gleaming metal accents, and impeccably painted edges on traditional leather. To me, it was imperative to subvert the notion, which, in my perspective, luxury is about craftsmanship and storytelling. By revealing the hidden layers intrinsic to the creation of traditional leather goods and giving them a twist, I aim to spark a conversation about process and concept.

The second facet that intrigues me is the irony of realizing that the perfect bag lies concealed on the inside, visible only to the owner, like a well-kept secret. While I am fully capable of designing the quintessential traditional bag, I simply don’t want to.

h: How has your experience working with Prada, Bottega Veneta, and Acne Studios influenced your brand’s design aesthetic and your approach to building your own brand?

IK: The know-how of accessories making is essential knowledge to be able to disrupt the construction of leather goods like I do in Dentro. All these years of experience going to factories and having close relationships with highly skilled artisans were extremely valuable and enjoyable also. I think Prada was a great school in understanding the archetypes that make into a collection of bags and Acne Studios was where I was given freedom to learn how to disrupt them and experiment with different techniques and volumes.

h: The architectural aspects of your designs, such as their forms and construction methods, are particularly striking. What is your relationship with architecture?

IK: I was born and raised in Sao Paulo, Brazil. I moved to Paris 10 years ago, but my passion for brutalist architecture has never waned. It remains a significant source of inspiration for me, with the purity of each material, its rawness. There’s a correlation between concrete and foam, the rigid handles of the Dentro bags as windows in a building that frame empty space, for example. This aspect of my work strongly references the Brazilian modern aesthetic I know and have lived in, standing in contrast to the more common perception of Brazil.

h: Are you following what’s going on in the world of digital fashion, AI, and metaverse? Do you believe that those technological advances can somehow impact your creativity?

IK: Yes, I do my best to keep up with these developments. I have to say that the one that fascinates me the most and that I’m learning how to use is AI. Just like any other tool developed in recent decades, such as Photoshop or 3D printing, I believe in its power to enhance our creativity rather than restrict it. The links between our individual repertoire and personal references are what nourish our creative universe, so why not use every tool available to express ourselves?

h: This summer Dentro collaborated with Edward Cuming. How do you envision further expansion of Dentro into other creative realms? What should we expect?

IK: I loved collaborating with Edward Cuming, for us it was such a natural fit, as our creative universes are close to each other. I would love to expand Dentro into other collaborations with other creative independent brands, hopefully with jewelry, shoes and eventually ready-to-wear, but that’s a bit in the far future still. I think is wise that Dentro expands in an organic way considering the current economy and market.

h: What frustrates you about the modern fashion industry and what gives you hope?

IK: That’s a tough question, as I must admit that there are currently more things that frustrate me than offer hope. The lack of diversity among creative directors in major brands continues to be a source of disappointment for me. It’s even more disheartening when you consider how deeply ingrained this issue is within their entire design teams. The timeline to achieving an inclusive industry seems incredibly long and challenging. The dominance of large fashion conglomerates also alarms me, especially in the face of the current market saturated with products, large collections being drop every 2 months and the concerning state of the world economy.

However, what does give me hope is the emergence of independent brands with unique, original designs. These brands are often led by creative directors with backgrounds vastly different from those at the helm of major luxury brands. Since I started Dentro, I’ve had the privilege of meeting many remarkable designers who run their own brands, and together, we explore this facet of fashion that yearns for change.

h: Your designs are an artful combination of playful proportions, clean silhouette and thoroughly placed detailing, empowering bag’s owners with invented character traits. How would you describe a Dentro bag customer?

IK: It’s very funny that when I started Dentro, I had a rather naive and limited notion of the Dentro customer. I initially believed it would be exclusively the customer associated with the art world in some way, connected to music, theater, cinema, and, of course, fashion. In reality, the customer base is more diverse than that, and I genuinely appreciate the fact that the concept translates to a costumer that not necessarily takes big fashion risks but buys a Dentro because they appreciate the idea of objects with a story-telling, items that hold a sense of preciousness to them. So, I’m very happy that the concept translates beyond my own social bubble, which was of great importance to me.

h: Dentro’s latest film series intertwines captivating visuals that appear deceptively straightforward with a compelling narrative. Can you share your source of inspiration? 

IK: The film series held immense importance for me, and it was a dream come true to create them. The concept initially emerged from a desire to delve deeper into the process of crafting the bags while being true to how I see Dentro in my head, seamlessly blending the conceptual and craftsmanship aspects, erasing any clear boundaries between them. It was important to establish analogies among the factory, the bag components, and the human body.

The final concept was conceived by myself, Constanza Lopes, Dentro’s in-house art director, and Camila Freiha, the film director. Camila understood our vision perfectly and elevated it to the next level. We grew-up together we have known each other for almost 30 years, so we used the cinematic references that have been a part of our history and that we both love to this day. Each film was treated as a distinct genre. For instance, the chapter about the handles leaned towards comedy, while the threads evoked a sense of mystery akin to a thriller. As a result, we drew inspiration from a wide array of references, ranging from Almodovar to Lars von Trier, Pier Paolo Pasolini to Lucretia Martel.

h: Music is a remarkably emotional art form. Although we rarely consciously dissect its nature, our musical preferences can reveal a lot about us. What genres or artists are you currently listening to?

IK: If there’s a constant in my life it will always be Brazilian music: Caetano Veloso, Gilberto Gil, Chico Buarque, Os Mutantes,Rita Lee, Gal Costa,Maria Bethania and Tom Zé will always be there. I’ve been listening to a lot of Marina Sena, she mixes Brazilian music with R&B and electronic music. Also, I’ve always mixed my days in between things I’ve always listed to, like Led Zeppelin, Pixies, Blondie, Patti Smith, Velvet Underground, Joy Division and more current artists like Doja Cat, Rosalia, SZA, Shygirl, Arca, FKA Twigs, Eartheater, Caroline Polacheck.