It's common to refer to garments as "wearable sculptures," but as a multi-disciplinary artist, you also create sculptures. How do you see these two disciplines? Do you find a clear division, or do the boundaries dissolve upon further inspection?

Bárbara: I can’t divide my practices there is no FRONTERA. Fashion is at the core of my practice. But it dresses itself in different mediums. It’s like costume shifts daily. New avatars, new starts. The different projects feed one another. Without even realizing it, one work gives way to the next. They coexist, they blur. The exploration itself is what nourishes me most.

Tell us about your inspirations from cultures of machismo, such as the military and the church. What is the process of deconstructing this through fashion?

Bárbara: Fashion has always served desire and many other times, propaganda for political agendas. I use it to expose and distort structures of power. It’s good to pervert the national hero.

 Uniforms or dress codes are mechanisms of control. I was wondering what is the silhouette that power likes?

 " Fashion has always served desire and many other times, propaganda for political agendas "

  SÁNCHEZ-KANE - 40th Anniversary Exclusive - Shot by Jester Bulnes

What is Sánchez-Kaneismo?

Bárbara: It was intended to be a portfolio of work. Maybe I was applying for a creative director job somewhere on the internet.

 " The exploration itself is what nourishes me most. "

          SÁNCHEZ-KANE - 40th Anniversary Exclusive, bts

What attracted you to H.Lorenzo? What were you thinking about, what were you inspired by, in the process of designing the cherub belt and boot key for our 40th Anniversary?

Bárbara: H. Lorenzo was the first store to believe in SÁNCHEZ-KANE.
I was in a showroom in Paris when Xochitl saw my first collection and placed an order, we’ve been collaborating since 2017. The cherubs are a gesture of hope: to imagine other worlds. There’s never just one key or passage only fragments, scraps of tailoring that open multiple doors.

          SÁNCHEZ-KANE - 40th Anniversary Exclusive, bts

" The cherubs are a gesture of hope: to imagine other worlds. "

You've described your work as "always in progress" or "alive" with no clear beginning or end. How does this philosophy affect your approach to collections and commercial fashion cycles?

Bárbara:  I don’t believe in commercial fashion cycles. I believe in building meaningful relationships, like the one with H. Lorenzo. There’s no set timeline or season.

Your background spans engineering, fashion, and fine art. How do these different disciplines inform each other in your practice, and do you find yourself thinking like an engineer, a designer, or an artist when you design?

Bárbara: Latinx can multitask. I’m drawn to what Gloria Anzaldúa calls la nueva mestiza: a consciousness that holds contradictions without needing to resolve them.

  SÁNCHEZ-KANE - Imagery shot I-D, Photography Ben Taylor

" I don’t believe in commercial fashion cycles. I believe in building meaningful relationships "

              SÁNCHEZ-KANE - 40th Anniversary Exclusive - Shot by Jester Bulnes

SANCHEZ KANE X H LORENZO 40TH ANNIVERSARY EXCLUSIVE

NOW AT H LORENZO

Photography commissoned exclusively for H Lorenzo by

Artist,  Jester Bulnes

Jester Bulnes is a lens-based Mexican and Salvadoran photographer and interdisciplinary artist. Born and raised in Los Angeles, California, they hold a BA in Fine Art from the University of California, Los Angeles. During their time at UCLA, they released their first ever self-published photography book, DENTRO, which puts three years worth of photographs from Bulnes’ archive in conversation with one another as an extensive, diaristic investigation surrounding Latinx identity and hybridization. Their work and larger artistic practice situates queerness* at the forefront. Rooted in the philosophy of queer theory, they explore the fluidity of identity and its capacity to resist categorization. Queerness, in this context, becomes an ongoing negotiation—a space of continual flux, where the rigid structures of gender, sexuality, and societal expectations are queered, destabilized, and expanded. Similarly, their interest and obsession with tagging as disruption, movement and dance, and the making of personal archives, furthers their departure in dismantling hegemonic structures and the questioning of hierarchies. These forms of disruption invite viewers to question not just the social and political systems that govern us, but also the ways in which we collectively define art, identity, and memory. Through these methods, they push back against dominant narratives, celebrating the fluidity of identity and the power of (trans)formation. Together, all of their works exist ritualistically as a happening or happened, allowing for both object and emotion to be considered and valued as knowledge."

Interview: Kai Todt

Production: Katy Shayne

Director of Special Projects: Aria Daniella

Date: June 18, 2025