The starting point of this collection lies in a tension: the desire to recognise oneself in other selves, and the feeling of exclusion within a society that rarely grants value to difference when it speaks of identity. What is anomalous disturbs because it exposes the arbitrariness of a community built upon the illusion of normality.

We often search for empathy, familiarity, simple social acceptance. Yet perhaps what we are really trying to create is a space where women no longer need to hide or replace that strangely intimate core that defines them. To accept one’s own strangeness is also an act of self-affirmation, a quiet form of resistance.

This is a story of friendship between women who have learned to embrace their inner monsters—those unconventional ways of being—and to project them outward without shame. Monsters that transcend gender: figures we tend to hide or fear, but also love, and sometimes even take pride in. They are our true inner selves, our irreplaceable mark of distinction. In short, they are our most weird girl selves.

A Short Story of Weird Girls sets out to subvert the stereotypes that weigh upon female identity and to dismantle the clichés that threaten the very idea of collectivity. To do so, I construct a visual conversation between five women, embodied through five distinct aesthetic silhouettes. Each one writes a fragmentary narrative through her presence; together, these fragments form a complex unity—layered, nuanced, and unresolved, like the many unanswered questions surrounding the freedom to be, to act, and to choose.

The collection is driven by a strong sense of community and connection. For this reason, I invited other women creators to collaborate in the processes surrounding its presentation. The runway set was conceived by artist Eva Fàbregas, whose installation Tangles—designed specifically for this show—features soft sculptures with contorted, protruding forms that invade the space and establish a dialogue between the organic and the inanimate. A mutable, bodily, expanded sensuality.

The press kit takes on a singular role. Conceived as a fanzine, it embraces an underground identity: handcrafted, marginal, artistic, with limited circulation and a free voice. Curated by MadameL (Laura Suárez), it gathers the perspectives of women from the cultural sphere whom I deeply admire for their compelling strangeness and singular universes. Eva Fàbregas, Rossy de Palma, Ángela de la Cruz, Topacio Fresh, and Olvido Gara inhabit this container of strange stories, in dialogue with one another.