“Who wants summer?”. The question in the last post of @mtc_mariateresacampos received the troll in response. Pictured, published in March 2018some pumps with tropical print and leave pin up; in the comments, barbaric. The Instagram account that promoted the María Teresa Campos shoe collection has remained silent since then. And it is still there, frozen in time, a metaphorical testimony of its creator herself. Someone had to have told him: shoemaker, to your shoes.
Of all the professional successes of the journalist and presenter, who died this Tuesday in Madrid at the age of 82, MTC happens to be the only one that was not. An ambitious line of footwear (under the financial protection of Teteco SL, an audiovisual production company at the time related to the family and investigated by the Treasury in 2014) that crashed against socio-commercial reality. Launched to great fanfare in 2016, it lasted a year, barely two seasons, dispatched in El Corte Inglés de Castellana, in Madrid, and in her native Malaga. And that was advertised “for all types of women, of all ages”, conveniently assisted / advised by her influential granddaughter, Alejandra Rubio, they said. Curious: the journalist who managed to connect with the bulk of the domestic female audience, awakening them to current information, including politics, failed, however, to put herself in her shoes. What you have to go through life enthroned in some manolos while you saddle the others with some fields.
“María Teresa, please, make the heels lower”, “María Teresa, are they comfortable?”, “María Teresa, I can’t buy them, I wear a 37 in good faith and give them to me”, the followers wrote to her at the beginning, when the community managementr still responded with a “Thank you very much, regards”. Of all the factors that explain that shoe debacle estimated at almost 175,000 euros of unaffordable losses, including a low public image from 2018 —among the bursts of arrogance after leaving Telecinco and the bickering of the family clan—, at of the class jump he has never wanted to sink his teeth. There is nothing wrong with acknowledging it either: no, Campos was not his audience. It never was, not even when she was the back of the rojeras (socialist, republican, feminist) of Encarna Sánchez, nor when she brazenly snacked on Jesús Hermida, much less when she was crowned queen of cathodic mornings in the nineties (first on public television, later in the other time friend chain). Although the outfits ventured yes.
The skills as a communicator of the journalist from Malaga also reached, of course, the handling of her clothing. She gave the type of average woman, attached to the conventions of well-dressing (and better styling), daring in colors and patterns without going overboard, elegant in her own way and, at one point, aspirational in professional terms. Tailored suits, blazers marked with shoulder pads and line jackets box Chanelista were a constant while she had to measure herself against her male colleagues on the screen and the executives in the offices, the choice power dressing of any woman who had to struggle in the liberal workplace at least until the late nineties. In the form, it could be easy to identify himself, to look at himself in her mirror; basically, not at all.
That the Campos acquire their tailleurs made/adjusted to measure, her flowery dresses and her polka-dot blouses in Dafnis is only a conjecture, although it is known of her friendship with María Rosa Salvador, creator of the legendary store and sewing workshop on Paseo de La Habana in Madrid —with a branch in Marbella— that dressed the well-behaved ladies of the jet nation for nearly four decades. What is clear is the display of international renowned firms and designers that he exhibited especially after his unbeatable leadership on television mornings in the early 2000s. It is said that, every time the season premiered, he did so dressed for the occasion by his fetish label, Dolce & Gabbana.
When she agreed to be photographed for the special Fabulous at any age of the Spanish edition of Harper’s Bazaar, in June 2015, she appeared wearing her own clothes: a set of top and Capri pants from the Italian firm. It was an exclusive adaptation for her of the capsule of that summer inspired by ceramic motifs. maiolica (either majolica) from the Sicilian town of Caltagirone. Thus, it was finally known what had always been an open secret, at least among the stylists’ union: that the close presenter, from hanging around the house, was a vip luxury fashion. Those total looks who had once passed unlabeled down red carpets and photocalls (from Missoni to John Galliano), suddenly they began to identify themselves in the webs of the heart. then came the fieldshe docu-reality in which he starred with his daughters, Terelu Campos and Carmen Borrego, with two installments between 2016 and 2018, and María Teresa fashionist was seen for sentencing.
The last thing we learned about the journalist’s extraordinary wardrobe was that she had two dressing rooms conveniently fitted out to store it in her residence in Aravaca, where she moved at the beginning of 2022. Two dressing rooms, two, in addition to her own room for her huge collection of shoes, there good of chanelles, pradas, jimmychoos and above all, manolos. In it reality She had already shown her pride when she lived in the fabulous chalet in Las Rozas. She also said that she did not mind spending more than 3,000 euros in one go in a shoe store (in New York, gifts for daughters). What was missing to perceive her detached / detached definitively from the audience that she had cultivated. Her privilege, of course. But it is convenient not to be deceived: in her shoe obsession, María Teresa Campos was always closer to Imelda Marcos than to a Carrie Bradshaw. The things of power.
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