Cuando la moda cuenta historias que importan: así está conquistando Genaro Rivas la escena global
Desde los hilos sagrados del Perú hasta las pasarelas vanguardistas de Londres, el viaje de Genaro Rivas es mucho más que moda: es una declaración de propósito. Forjado entre memorias de ceremonias, textiles cargados de historia y una pasión por la narrativa visual, su trabajo se convierte en un puente entre lo ancestral y lo contemporáneo. Inspirado por la teatralidad de McQueen, la osadía conceptual de Kawakubo y el compromiso ético de Gabriela Hearst, su visión trasciende tendencias para tejer historias de identidad, resiliencia y justicia social. En su universo creativo, la música, la migración y el arte dialogan con los bordados, las comunidades y los paisajes que lo vieron crecer. Más que un diseñador, Genaro Rivas es un narrador del alma, un historiador de los invisibles y un innovador con los pies en la tierra y el corazón en su gente.
FEATURE INTERVIEW:
Who are the designers or creative figures that have most inspired you, and what qualities about their work resonate deeply with you?
I grew up in Peru, where textiles are deeply rooted in our culture, so from an early age, I was surrounded by craftsmanship and stories woven into fabric. My journey began with curiosity and a desire to tell stories through garments. Over time, I became deeply inspired by the works of designers like Alexander McQueen for his theatricality, Rei Kawakubo for her conceptual boldness, and Gabriela Hearst for her commitment to sustainability. I also draw a lot from the works of contemporary artists like Jesse Draxler or Tishk Barzanji, all influence the world I try to build through fashion. I see clothes as portals, ways to carry feeling, memory, and meaning and that has always kept me close to the art world as well.
Music inspires me a lot too. Whenever I am planning a new collection, product, or look, I start imagining how it would move which is why rhythm is quite important. Musically speaking, I’m really into film scores and instrumentals. Michael Nyman, Philip Glass, Martin Phipps, Trent Reznor and bands like Deftones, Chevelle, Muse, Placebo, Smashing Pumpkins, White Lies, Cake, Franz Ferdinand. Also artists like Artemas, Asal, Lana del Rey, Saint Avangeline, and Nessa Barrett. I also get inspired by imagining how I would dress some of them. There’s a vulnerability and rawness, and boldness as well in many of them. Those qualities resonate deeply with my work.
Can you share your earliest memories of fashion? Was there a specific moment or object that first sparked your interest in clothing and design?
Yes, I do. I remember this vision of me entering my mom’s sewing room while she was sewing a red dress for herself, which she later wore to a ceremony for my dad. There’s a deeply rooted, almost ceremonial or military aspect in those memories, as I often attended such ceremonies as a child. As for objects, I remember at age 7 destroying a pair of jeans, painting them, scratching them up, bleaching them completely distressing them. I wore them proudly even though my mom didn’t like them at all. God, I wish I had kept them. I remember them vividly the colors, the textures. So I’d say my earliest inspiration came from a blend of ceremonial uniforms, well-made suits, and distressed denim. That mix continues to define my aesthetic.
Was there a defining moment when you realized you wanted to use fashion as a platform for cultural storytelling and social impact?
Since they one, however, it took me a few projects finding exactly how I could use fashion as a platform. In the beginning all of my fashion shows were dedicated to a certain cause, whether, the voluntary women from the child’s hospital in Lima or Multiple Esclerosis NGO’s. Later, as I was developing my practice I would have in a trip to Cuzco met a team of artisans, and it was during Covid 19, that I decided to use my platform, not just for getting donations, but also to give access to fair paid work opportunities as well as developing my brand and expanding the production methods and techniques.
How do you reconcile the desire to preserve traditional Peruvian craftsmanship with the constantly evolving nature of fashion and personal expression?
I believe there’s nothing to reconcile in my practice, Peruvian craftsmanship will always be part of my process. It’s not just about preserving; it’s about reinterpreting. My country is full of highly skilled, talented people and endless inspiration. Last month, I did a one-day express trip to Cuzco to visit three churches I’d never seen before. The murals, their stories. It was eye opening. Personal expression is important, and moving to London helped me become more confident in it. As a recent graduate, an artist, I’m in constant evolution, discovering new parts of myself and the world. I see Peruvian traditions through my own lens, which is what makes my work unique. Preservation matters, but reinterpretation keeps it alive.
What personal experiences or moments in your life have most profoundly shaped your perspective on the cultural significance of textiles and craftsmanship?
The moment I realized that a fashion collection isn’t just a group of garments. A collection it’s the embodiment of people’s energy, labor, and creativity. One moment stands out: after a collaboration with a retail store in Peru ended, one of the women-led teams I worked with kept working with them. That’s what “fashion with purpose” is about. It’s when your creative process continues to impact lives even after the spotlight fades.
In your journey as a designer, what internal struggles have you faced in balancing cultural authenticity with commercial success, and how have you navigated them?
Cultural authenticity is as important as commercial success. Studying and working in fashion is expensive, you have to make a living from it. I’ve learned that others rely on my success too teams, artisans, collaborators. I navigate that balance by listening to my inner voice. I seek commercial opportunities, but always through the lens of sustainability, circularity, and cultural respect. Staying grounded in my values helps me make choices that are both authentic and strategic.
How does your identity as a Peruvian influence your understanding of beauty and aesthetics within the context of global fashion?
My Peruvian identity is always present, though not always in obvious ways. My understanding of beauty is about creating from the heart. Something that resonates deeply with me first. I’ve been lucky that others resonate with it too. I had to “eat my heart first,” so to speak to find the boldness to accept my rawness. Peru is in the stories I tell, the materials I use, the techniques I explore. It complements my vision, giving it more depth, more authenticity.
What philosophies or values do you hold most dear that guide your creative process and your vision for fashion as a means of social impact?
Fashion is a platform, a way to create dialogue and spark social change. Every collection I design starts with questions: What do I want to talk about? How can I make an impact? From the early sketches to the collaborators I involve, everything is intentional. Whether it’s co-creating with communities, giving a platform to emerging artists, or designing with sustainable materials, I believe that fashion should generate positive impact, beyond the runway.
How has your migration to London affected your sense of identity, and in what ways does this duality influence your designs and storytelling?
I love London, it’s taught me so much. Its hard edges, its rawness, it’s beauty, is distressed but dapper. That contrast nurtures me. My master’s at LCF, the multicultural city, the creative community, it’s all shaped me. It’s helped me see my Peruvian identity through new eyes. Having my peruvian upbringin, mixiingin with my discovery in London, and also, how many opportunities of upcoming designers there are, such as the support from the Goverment, the British Fashion Council as well as London Fashion Week, its important. But this also brings a sense of reflection, sometimes sadness, knowing how much talent in Peru goes unsupported. I carry that duality in my work. The warmth of Peru and the edge of London coexist in my designs. That contrast helps shape the designer I’m becoming.
When you create, do you see yourself as a storyteller, a historian, or an innovator? Or perhaps all three?
A bit of all three. I’m definitely a storyteller—through the clothes, but also through every element of the project. When the collection includes innovation, I rely on collaboration to make it happen. I’m like a Chrome browser with too many tabs open—ideas everywhere, always evolving. Depending on the piece, I shift between historian and innovator, allowing the story to guide me.
What is the most unexpected lesson you’ve learned about yourself through your work in fashion and collaboration with artisans?
About myself, that resilience is well deepened within me. Living abroad is challenging, and you have no idea, about the multiple experiences and part times jobs one has to take in order to been able to create something to open something new. Hopefully some Netflix executives get these one, there’s a lot to unpacked lol. When working in fashion and collaboration with artisans, I would say that, with many different circumstances, we are all looking to show our talent and our art, and we want to have the opportunities to show it to the world, there’s a lot of history, a lot of centuries behind one technique and a lot to discover.
If you could envision a future in which fashion fully embodies the stories and cultures it draws from, what would that world look like to you?
It would be a world where fashion isn’t extractive but collaborative. A world where artisans are not just suppliers but co-creators. Where sustainability isn’t a trend—it’s the standard. Where craftsmanship is celebrated, not commodified. But I also believe that diversity of perspective is key—we don’t all have to approach fashion the same way. A thriving fashion industry includes different voices, different visions, all grounded in respect, ethics, and creativity.
How do you hope your personal journey and cultural background can inspire others, especially young people from marginalized or overlooked communities, to pursue their passions?
Inspiration is one part, but I want to go beyond that. I want to build real opportunities. I dream of creating an ecosystem where everyone wins: students, artisans, makers. A place where people from marginalized communities can see that success is possible. I would tell them: You don’t know how many sacrifices you’ll have to make, but staying true to yourself and your vision will eventually get you where you’re meant to be.
What does “legacy” mean to you as a designer, and what kind of legacy do you aspire to leave behind?
Legacy, to me, means building something that lasts. Something that goes beyond trends, beyond seasons. Being the first Peruvian designer to showcase at London Fashion Week is a huge milestone. Receiving the Visa x Vogue Business Award last week in London was another and my first one abroad I must say. I want my legacy to be about opening doors for other migrant designers, for overlooked communities, for young creatives in Peru. I want to be remembered not just for the clothes I made, but for the change I sparked.
I would love to spark the conversation on how the Peruvian Goverment as well as institutions such as Promperu, can give support to designers. I am privileged enough to study abroad, but this is not just because of my efforts, but people who believe in me, my talent and my vision of giving fashion a purpose. I would also like to leave a legacy of showing that there’s a way to equilibrate business revenue, with sustainable, circular and holistic approach to fashion, an approach where everyone involves is highlighted and everyone wins.
In moments of doubt or difficulty, what inner thoughts or philosophies help you stay committed to your vision?
I remind myself why I started. I go back to the people behind the work, the mkers, artisans, the students, the communities that have trusted me. I think of the impact I want to make, and that keeps me grounded. I’ve faced a lot of rejection and uncertainty, but I’ve learned to see those moments as part of the process. I ahve a copuple of mantras,one ´Where there’s a will, there’s a way’ and “The fire refines, not destroys.” Even in the hardest moments, I believe something meaningful can emerge. That belief keeps me going.
TEAM CREDITS:
Editor-in-Chief: Prince Chenoa
Feature Editor: Taylor Winter (@taylorwinter)
Writer: Frida Garcia D’Adda (@fridadda_)
Photographer: David Ayllon (@davidayllon)
Casting: Ray Rehman
Hair Stylist: Richard Phillipart (@richardphillipart)
Makeup Artist: Joanna Mitakidou (@jo.mitakidou)
Accessories: Thomis Papadimitriou (@thomispapadimitriou)
