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ICDA

@iwonacda

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▪️ ICDA by Iwona Castiello d’Antonio
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For The Joy Of Creation I express my art as fashion — it’s the most natural way I know how. There are fashion references in there, yes. The stripe-and-cherry-earring portrait has a real 1960s Pucci/mod echo. The color-blocked capes and the man’s coat carry a Sonia Delaunay simultanism — flat planes of pure color meeting at hard edges. The oversized eye motif nods toward pop art, almost Schiaparelli-surrealist in spirit. That train-window shot has a 90s editorial tension to it — motion blur, a body held still while the world moves. But none of it reads as quoting. It reads as me absorbing decades of fashion history the way I absorb everything into one hand that repaints it as my own. I have a strong artistic hand, and the references are just proof of how fluent I am in the language of fashion.😉 You feel the tension in the stillness of every face against the movement of the fabric and the blur behind them. And the breath is on the soundtrack too — that’s the whole tension made literal: stillness holding something alive underneath it. #ForTheJoyOfCreation #ICDA #FashionIllustration #WearableArt #PrintDesign FashionHistory SoniaDelaunay PucciVibes PopArtFashion by @iwonacda
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22 days ago
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It started with bought of a white three-piece suit, in the style of Emanuele Ungaro’s 1973 collection. Shiny white blend of wool and silk, wide-leg trousers but sitting perfectly on the hips, a jacket with a masterfully cut lapel. The west. The kind of suit that is a dream for every publicly speaking woman. From Vinted to be clear. I couldn’t find shoes for it. I needed something that would lift the silhouette, stay comfortable, and add femininity to the suit. So I designed them myself, using new technology — the first time I’ve done this waiting AI to solve its widly known number of toes problem.😉 The result: platform pumps and ankle-strap sandals in stripes and floral appliqués. Orange, red, navy, mustard, cream. Thick block heels throughout. 1970s nostalgia, often woven unconsciously into my work, want or not. But at the same time ultramodern using 3D technologies, modern textures, fabrics and patent leather. I checked the market. Nothing like this right now — no one is combining striped color-blocking with sculptural floral appliqué at this scale. Would anyone like to buy this design and produce it maybe?🧚‍♀️😉 all rights reserved by ICDA by @iwonacda
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a month ago
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I greet You with Love, Joy & Respect 🧚‍♀️ A collection that treats embellishment as architecture, gesture as narrative, and craft as authorship. #icda #bohochic #afrohouse #couturedesign #plantbased by @iwonacda
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2 months ago
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Sehnsucht is a German word which means „longing” (from sehnen — to yearn, to crave — and Sucht — an addiction, a craving), but it points to something more specific: a longing for something you cannot name or locate. You’re not longing for a particular person, place, or memory — you’re longing for something in general, for some state of fullness, of arrival, of belonging that you feel must exist somewhere, even though you’ve never fully experienced it. The word became central to German Romanticism — Novalis, Goethe, partly Schiller. For them, Sehnsucht wasn’t something to be „cured” or satisfied. It was the very condition of being a sensitive human being: life as an endless approach toward something ungraspable, without the hope — and without the need — of ever arriving. Hence Novalis’s blue flower, beautiful precisely because it can never be reached. C.S. Lewis, who was fascinated by the concept, described it as the longing that surfaces at the sight of a beautiful landscape, or at the sound of music — and which isn’t longing for that landscape or that music at all, but for something that merely shines through them. Italian has its own cousin to this feeling: struggimento, from struggersi — to melt, to slowly consume oneself, the way a candle burns down. It carries the same ache without an object, the same slow dissolving into desire for something with no fixed shape — Leopardi built entire poems on this register. But struggimento never hardened into a philosophy the way Sehnsucht did in Germany. It stayed a feeling. It never became a worldview. In the language of fashion, ICDA expresses this feeling somewhere on the border between haute couture and the inadequacy of excess — where every hand stitched flower, every ribbon, every sash, every piece of jewelry is an expression of too much. #Sehnsucht #ICDA #HauteCouture #GermanRomanticism #FashionAsLanguage SlowFashion HandStitched ConceptualFashion WearableLonging FashionPhilosophy Novalis RomanticismRevisited CoutureConcept ICDAFashion by @iwonacda
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2 months ago
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🧚‍♀️ by @iwonacda
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3 months ago
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There was a time when a designer’s professionalism was judged by one skill: could you draw? In costume design, you walked into every meeting with decision makers carrying boards that made your vision undeniable. So I learned to draw — but also to photograph, to pose in the garments myself, to build collages, even to glue actual fabric swatches onto a board, because that’s what an older producer needed to see to trust it. Today is a different kind of difficult. Building a character — and the entire world she comes from, a world that doesn’t exist anywhere but in the designer’s mind — demands a vision that holds together across every detail at once: face, garment, texture, history, story. That’s why today’s decision makers should be looking for designers who have mastered these new technologies, the same way they once looked for the ones who could draw. (What this new landscape means for authorship is its own conversation — one I’ll save for another time.) The Elves is what that fuller kind of vision looks like: a character and a world, built whole. #CharacterDesign #FashionDesign #DesignerMastery #NewEraDesign #ICDA FutureOfFashion ConceptArt FantasyFashion WearableWorldbuilding ElvenAesthetic CostumeDesign by @iwonacda
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3 months ago
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The smart glasses market is exploding. Snap Spectacles just launched at $2195 — screens replacing your vision, 132 grams on your face. The industry is racing toward more complex, more immersive, more disconnected from reality. I am going in the opposite direction. ICDA smart glasses start with one principle: you see the world through your own eyes. Always. Technology as a transparent layer — present when needed, invisible when not. The priority feature is one nobody is addressing: adaptive focus for mature eyes. After 45, near and far become a daily negotiation — reading, driving, a face across the table. These glasses resolve it automatically. One pair. No compromise. Over that — a quiet layer. Live translation. Soft navigation. Visual search. A discreet camera. Music without closing the world out. Double frames, lenses that shift colour with the light. Light enough to forget you are wearing them. And one dream — to bring the night sky closer. The new moon. Venus when she appears beside it as yesterday night. #ICDA #ICDASmartGlasses #FashionTech #WearableTech #ARDesign AdaptiveOptics DesignVision LuxuryTech SmartGlasses FutureOfFashion HumanCenteredDesign ARFashion DesignerVision ConsciousTechnology Presbyopia SlowTech NotACyborg NewMoon Stargazing Not too smart. Smart enough. by @iwonacda
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4 months ago
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#ICDA — Cruise Collection 2026 A side project developed during the creation of a larger vintage Gucci-inspired cruise collection. While working within that established aesthetic, the work naturally shifted toward something darker and more personal — arriving at the romantic drama of Alexander McQueen as its closest reference point, and ultimately becoming the space where my own hand, eye, and sensibility found their expression. ICDA by @iwonacda
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4 months ago
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Why Cruise? In the early twentieth century, Europe’s wealthiest families followed the sun. When winter settled over Paris and London, they moved — to the Riviera, to Cairo, to the Caribbean — by ship, for weeks, with wardrobes planned accordingly. But fashion’s traditional retail calendar was built around two seasons and two climates. Gabrielle Chanel, in 1919 began designing pieces specifically for this traveling clientele — lighter constructions, relaxed silhouettes, jersey fabric that had no precedent in luxury dressing at the time. The category named itself Cruise wear. For decades it remained a practical, commercial solution — houses produced it, stores stocked it between January and March, and it generated little ceremony. That changed when the numbers became impossible to ignore. Cruise collections stayed on the retail floor significantly longer than mainline runway pieces. They reached a client who never attended fashion week but was, reliably, somewhere warm between January and April. The mid-season collection became the most commercially significant thing a luxury house produced. The destination show followed. Karl Lagerfeld built a reputation for taking Chanel to locations that reframed the collection entirely — Seoul in 2015, Havana’s Paseo del Prado in 2016, the first major fashion event held in Cuba since the normalization of its diplomatic relations with the United States. Dior chose the Plaza de España in Seville, the Colegio de San Ildefonso in Mexico City, the Gateway of India in Mumbai. Louis Vuitton presented Cruise 2024 on Isola Bella, a Baroque island on Lake Maggiore owned by the Borromeo family for four centuries. Gucci showed at Westminster Abbey and the Capitoline Museums in Rome. by @iwonacda
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4 months ago
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The room was large. Even larger than my grandparents’ living room. Three tall windows facing south — the kind typical of a grand tenement house in the city center — let in an abundance of light. No tree shadows. A calm atmosphere, a bright warm room, tall white walls. I was six years old and that room was bigger than it was. The ladies didn’t look at me. They sat down, put their handbags aside, laughed, made plans. They bent over American catalogues from three or five years back — slightly outdated, but still from another world entirely. forgot about me. And that is exactly why I could stare at everything. With Eyes wide open. The flowers painted on the Singer — black, gleaming, the oldest one, placed there probably out of respect for history. Eyes wide open. Measuring tapes hanging from the mannequins like tongues. Mannequins of different sizes, pierced with pins, each with a short neck. Eyes open. A mirror from floor to ceiling with a little space behind you — to see your silhouette from a distance. To see yourself whole. Eyes. Shelves of fabrics all the way to the ceiling. Cotton, gabardine, tweed, satin, silk — words I learned before I could write. Colors everywhere and in abundance, striped throws, artificial flowers in vases, biscuit tins full of buttons, drawers of ribbons, baskets of wool, needles, scissors, safety pins — everything in its place and too much of everything and all of it beautiful. by @iwonacda
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5 months ago
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The Future Is Here is a visual world built around a simple belief: the future should feel like joy. This project began as a question about eyewear — why does so much of what exists today feel disconnected from how fast the world is actually moving? It grew into something larger: a full aesthetic vision of the human of tomorrow. Fluid in identity, bold in color, light in spirit. At the center are glasses — not as an accessory, but as an interface. Multi-colored, shape-shifting, technology-embedded. Around them: a world where gender is a choice, not a rule. Where small, colorful vehicles carry people with ease. Where luxury is not loud — it is precise, considered, and alive with color. That luxury can be joyful, that technology can be beautiful, and that the future — if we design it right — can feel like peace. And maybe a little like Korean jelly. #ICDA #accessoriesdesign by @iwonacda
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6 months ago
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“Iwona Castiello d’Antonio — fashion designer and costume designer — has clearly absorbed the visual language of the Flemish Golden Age and the Spanish Habsburg court, then fractured it through a thoroughly contemporary lens. The recurring motifs — the crystal orb, the pearl cascade, the elaborate veil and headdress — are not mere decoration. They are iconography. Each piece reads like a devotional portrait, a woman of consequence painted by someone who understood that adornment is theology. The colorways move from shadowed black and gold through explosive botanical abundance, referencing everything from Velázquez’s court paintings to the maximalist fantasy of Alexander McQueen’s most visionary collections. Yet the aesthetic signature remains unmistakably singular. This is not pastiche. This is a designer in full command of her references, bending them into something entirely her own. The crystal ball — held, offered, gazed into — becomes the series’ beating heart. A symbol of feminine knowledge, of prophecy, of power that was always present but perhaps not always seen. Becoming who you truly are is never without cost. Iwona knows this. And that struggle — every invisible, difficult, lonely part of it — is woven into every single image here.” Thank you, Uranus, for 8 years of transformation. I will miss you. by @iwonacda
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6 months ago
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