Season V – AlexSobronJewelry.com

Alex Sobrón presents the campaign for his upcoming collection “Season V – Sebastià,”

which draws inspiration from the figure of Saint Sebastian, reinterpreted over time as a

symbol of resistance, identity, and rebellion against the norm, influenced both by its

depictions in art and its connection to popular culture. The collection revolves around the

arrow as a multifaceted symbol of power, desire, and sacrifice. This modern

reinterpretation transforms jewelry into a vehicle for personal expression and deep

reflection.

Alex Sobrón presents the campaign for his upcoming collection “Season V – Sebastià,” which draws inspiration from the figure of Saint Sebastian, reinterpreted over time as a symbol of resistance, identity, and rebellion against the norm, influenced both by its depictions in art and its connection to popular culture. The collection revolves around the arrow as a multifaceted symbol of power, desire, and sacrifice. This modern reinterpretation transforms jewelry into a vehicle for personal expression and deep reflection.

The campaign moves away from traditional jewelry, presenting three stainless steel

sculptures that incorporate the arrow symbol, an emblem of martyrdom and resistance,

alongside thistles that pay homage to a family legacy. The pieces are revealed on a day

rich in symbolism, February 14th, Valentine’s Day, inviting contemplation through the

contemporary and transgressive lens of the collection.

The photographic campaign, directed by Biel Capllonch, perfectly captures the essence of

the collection, blending a bold, surrealist style with the representation of Saint Sebastian

through a female figure. This transformation strengthens the idea of defiance and reflects

the evolution of Saint Sebastian’s figure as an emblem of struggle and autonomy in the

21st century.

The campaign moves away from traditional jewelry, presenting three stainless steel sculptures that incorporate the arrow symbol, an emblem of martyrdom and resistance, alongside thistles that pay homage to a family legacy. The pieces are revealed on a day rich in symbolism, February 14th, Valentine’s Day, inviting contemplation through the contemporary and transgressive lens of the collection.

The photographic campaign, directed by Biel Capllonch, perfectly captures the essence of the collection, blending a bold, surrealist style with the representation of Saint Sebastian through a female figure. This transformation strengthens the idea of defiance and reflects the evolution of Saint Sebastian’s figure as an emblem of struggle and autonomy in the 21st century.

Saint Sebastian, beyond being a Catholic saint, has become a

constantly evolving icon, appropriated and reinterpreted over the

centuries in both cultural and countercultural ways. My first

connection to this figure was as the patron saint of my hometown,

Palma. As far back as I can remember, every January 19th I have

participated in a celebration where fire, “dimonis” (demons), and

music take center stage, yet the figure of the saint is rarely mentioned.

In fact, many of those who participate in this celebration are unaware

of the history behind Saint Sebastian.

With the title Sebastià, this collection nods to both my roots and

Derek Jarman’s cinema, specifically his film Sebastiane (1976),

which forms the basis for the non-religious interpretation of this figure.

The collection centers around the arrow, the weapon with which Saint

Sebastian was martyred, and explores the appropriation and

decontextualization of popular icons. Over the course of history, Saint

Sebastian has gained prominence not only for his role as a martyr but

also for the many artistic representations that have emerged, imbued

with profound symbolism.

My interest in this saint deepens through his portrayals in literature

and art. In Confessions of a Mask by Yukio Mishima, for example,

the saint becomes a cathartic symbol, a point of intersection between

personal identity and marginality. Writers such as Oscar Wilde,

Federico García Lorca, and Tennessee Williams have used the figure

of Saint Sebastian to address universal themes of identity, desire, and

marginalization—not out of religious fervor, but as a tool to explore

more complex aspects of the human experience.

It is precisely this multiplicity of readings that inspired me to

reinterpret the figure of Saint Sebastian, not just as a religious symbol

but as an emblem of resistance against norms and oppression. In this

collection, Saint Sebastian becomes a patron of artists, intellectuals,

misunderstood individuals, and rebels. Following the evolution of his

iconography from the Renaissance, where his figure took on tones of

ambiguity and sensuality, I decided to represent him through a female

figure. In the 21st century, resistance does not take a single form, and

this representation captures that transformation.

The Sebastià collection moves away from traditional jewelry and is

presented through three stainless steel sculptures that incorporate the

arrow—symbol of martyrdom and resistance—along with thistles, an

emblem of the family that recalls a series of sculptures created by my

grandfather, Juan Solivellas. These sculptures are the continuation of

a series of pieces I made in 2021, which were later included in the

work Study of a Defeated Warrior by Filip Custic. In this way, the

collection not only honors a family tradition but also frames a

reflection on art and resistance.

The jewelry pieces, which explore themes of power, desire, and

resistance through the symbol of the arrow, will be presented on a

date full of meaning: February 14th, Valentine’s Day. This date, like the

arrow, is rich with symbolic connotations and personal interpretation.

The power of the arrow as a symbol of love, sacrifice, and struggle

unfolds in this collection, inviting the viewer to reflect on its own

meaning.

The photographic campaign accompanying the collection has been

directed by Biel Capllonch, whose bold and surrealist style perfectly

complements the spirit of defiance and transformation that permeates

the entire proposal.

Saint Sebastian, beyond being a Catholic saint, has become a constantly evolving icon, appropriated and reinterpreted over the centuries in both cultural and countercultural ways. My first connection to this figure was as the patron saint of my hometown, Palma. As far back as I can remember, every January 19th I have participated in a celebration where fire, “dimonis” (demons), and music take center stage, yet the figure of the saint is rarely mentioned. In fact, many of those who participate in this celebration are unaware of the history behind Saint Sebastian.

With the title Sebastià, this collection nods to both my roots and Derek Jarman’s cinema, specifically his film Sebastiane (1976), which forms the basis for the non-religious interpretation of this figure. The collection centers around the arrow, the weapon with which Saint Sebastian was martyred, and explores the appropriation and decontextualization of popular icons. Over the course of history, Saint Sebastian has gained prominence not only for his role as a martyr but also for the many artistic representations that have emerged, imbued with profound symbolism.

My interest in this saint deepens through his portrayals in literature and art. In Confessions of a Mask by Yukio Mishima, for example, the saint becomes a cathartic symbol, a point of intersection between personal identity and marginality. Writers such as Oscar Wilde, Federico García Lorca, and Tennessee Williams have used the figure of Saint Sebastian to address universal themes of identity, desire, and marginalization—not out of religious fervor, but as a tool to explore more complex aspects of the human experience.

It is precisely this multiplicity of readings that inspired me to reinterpret the figure of Saint Sebastian, not just as a religious symbol but as an emblem of resistance against norms and oppression. In this collection, Saint Sebastian becomes a patron of artists, intellectuals, misunderstood individuals, and rebels. Following the evolution of his iconography from the Renaissance, where his figure took on tones of ambiguity and sensuality, I decided to tepresent him through a female

figure. In the 21st century, resistance does not take a single form, and this representation captures that transformation.

The Sebastià collection moves away from traditional jewelry and is presented through three stainless steel sculptures that incorporate the arrow—symbol of martyrdom and resistance—along with thistles, an emblem of the family that recalls a series of sculptures created by my grandfather, Juan Solivellas. These sculptures are the continuation of a series of pieces I made in 2021, which were later included in the work Study of a Defeated Warrior by Filip Custic. In this way, the collection not only honors a family tradition but also frames a reflection on art and resistance.

The jewelry pieces, which explore themes of power, desire, and resistance through the symbol of the arrow, will be presented on a date full of meaning: February 14th, Valentine’s Day. This date, like the arrow, is rich with symbolic connotations and personal interpretation. The power of the arrow as a symbol of love, sacrifice, and struggle unfolds in this collection, inviting the viewer to reflect on its own meaning.

The photographic campaign accompanying the collection has been directed by Biel Capllonch, whose bold and surrealist style perfectly complements the spirit of defiance and transformation that permeates the entire proposal.