Hello how about very good afternoon, I am Karran Ramírez and we are in one more broadcast dir radio design him in your ears here in the new season that we are recording in capo worked here in the show room that they have in San Luis, Potosí one hundred and three in the Colonia Roma. So come and take a turn, because there' s high- design furniture. So I wouldn' t doubt anything if they went for a ride, because they might like something for their case, for their projects. So come for
a ride. And because I am very happy because today is with me someone who I have seen his work countless times at Designe Wick, but I had never had the opportunity to interview her or decorate her in person. But there he is with me, Claudia Ramirez of Creative Iato. How you doing, Claudia, all right. Thank you very much for the invitation. No thanks to You. We were already made to meet you Jazz, we weren' t made to be here with you. Yes, we' ve done as
the liaison, but we haven' t hired him. Thank you very much, Axon No. Thank you so much for being here. I' m the biggest fan of your work, because I always see it in design Wick. I said she has to be with me and no more. I' m glad you' re here. Thank you very much. I feel like I' m here. It' s amazing the shown tay how good you like very nice things. Decapo will work such a sora that you might as well come this way. So little of course, some wink here, a
wink here would be very good. He' d be a pain in the ass. Va hey, so I, who I, would like to start this amazing conversation with you by asking you who Claudio Ramirez is. Claudia Ramírez is a rugged designer of literal design. Okay, I' m a graphic designer. Or I' m a graphic designer by profession. Uh- huh, but I did practice design for a year, a graphic design as such I didn' t love, it wasn' t, I think, what I expected and I started working a little bit on textile design. Specializes in
textile design. In fact, almost all my life, i e my eighty percent of my career has been textile design and design clothes, this one of lis brands said this and I had some line of clothes myself and there came a time when it was too many years tired and many themes and I left it, I suspended it and jumped here to the industrial design, to the interior design and, well, more than anything, to the Mexican or handcrafted design how interesting, but well you followed in the same line of design.
Yes, yes, obviously, yes he says, design is the basis, design is the answer. It said over there they say Wig no to this one. Yes, the design went to the base, you hear, but what a change or graph and then to textile design, then, then, already to interior designs or more and industrial design, you hear, what a father. Yeah, yeah, yeah, she' s been through all the designs. In fact, I think almost the amount is taken away. Yeah, yeah, yeah, it was from the automotive. Oh, yeah,
yeah, I see it' s complicated. Yeah, I' m into formula one, but I' m not supposed to design automatio while I' m there. Yeah, that' s exactly right, and it' s just that my dad is amazing and how were your beginnings just already in the design would induce here, that is, what was the parteagua to tell you I' m going down this line. I' ve always had this little taste for the theme of design or theme made by hand. The craft thing
I love. I always liked it a lot at some time. Obviously, like everyone else, I was a fan of Frida Kahlo and my bedroom and everything was like this the Blue House in Chiquito. So I' ve always been very interested in the local theme, the craft theme. And already after this lapse, as well as tiredness of the same textile design, I began to explore a little bit already in depth the handmade theme, but already with artisans and we began to probe Erick and I believe and that is my partner
husband, that is my spoof. It is possible, yes, so we know it with my espioo and we start looking, to do a little scouting with what we wanted to do, because we are both in little. He agreed that we were on a job issue, we were fed up, and then we decided to prescribe and start from scratch. Then we started looking for
artisans. What we can do, how we can do it, what could be returned with a local theme that was current or had a little validity, not how we could transform it, and so we began to look for artisans in warrior say. I remember the first Artesons, the ones that went to us make hats, but it wasn' t what we wanted. And so looking we arrived with the right artisans and started making these panels that we now make. We' ve moved on to other things later. But that'
s how we started this approach, with contemporary craft design. Let' s call him that, wow, what a father and at what point you said I' m going to sell myself out to participate in Design Wick. I wanted to participate from day one, that is, I was out there and participated. I could see myself if I didn' t. I always wanted to be in disign Wick. I used to say that in Disigne House it ' s got one thing from us, whatever a small panel or accessory or
whatever it wasn' t. Suddenly we start with unpublished. In fact, the Santwick. Our first participation was unpublished in the 19th and we started with an accessory with a basket that had like thousands of fibers, had zacate, had, was like a Freddy Kruger in basket Ok, was a basket that was like a sample of all the fibers that we wanted and we could work.
That was our first work in unpublished and from there we went like a little to make known the brand, to the capacities that we could do, that neither we had discovered them to a hundred and started to work and began to give new projects. It was a very good platform for us in exhibition script for iato and from there we started to jump to other segments that have say Wig not all the events that it has and suddenly one day vero González of VGZ that the noro and I love it is the maximum. He invited
us to participate in a house design. We have not participated and invited us to participate making a lattice of the pause space that did call him and we started there at disen House, making this divine lattice that was incredible, the combination of textures, muddled the palm. Of course, this was a space that was the center of all the spaces where converg was a convergence space and
we liked it very much and from there many things were detonated. I mean, we started working on that space when it came out well, it opened Design House And after that, I think there was a before and after An House sedis good there, yeah, yeah, there was a before and after. Yes, and yes, the truth is, I mean, he' s very grateful to see Design House with design Wick have always been very supportive
of us, they' ve always trusted our work. Disend Wick put the eye on us and the truth is that there is a big difference since we were in House design. So it' s a very successful bet and it ' s an amazing platform. I mean whoever wants to participate, the truth is he knows, yes, he knows how to play and he knows and he has a good no and you have a product that happens to become differential, not clear, because even if you want and you want to take advantage,
because you need to have differential, I don' t think. And then I think that' s what turned out to be to us, because we have a material that wasn' t very visible, that wasn' t in the eye of the hurricane, that we were as much as very researched already with the communities by us and people don' t know it, that is, they know the palm and they think it' s a basket or
they think it' s a fan or anything simpler. There he stays and I believe that all the skills and all these ancestral abilities they have in the communities have more to go. We need to get into research, work, do fieldwork. It is nothing more this design, because we have found in this scouting many products and many things that have incredible potential to be able to continue creating. Sure, then, if that' s coming back, I
swerved out, no, but that' s what happened. I mean, that' s why we started saying hous we already have unpublished in hous and last year it was like an explosion, because it just coincided that we had a community in querétaro invite us to vision and tradition. Then it was vision and tradition Design House unpublished. The containers, I mean, we were checking every event full yes, last year, if it' s all you do, I don' t know, I don' t know you look.
These leaves, I mean, they' ve been sotovías since October, the migraines that I can' t take away. The truth is, yes. It' s very rewarding, it' s very exhausting, very much because, I mean, all events require a hundred percent and you' re in five, that is, you have to kick this one out. But well, the truth is, very happy. I think the key was organization. We had an impeccable organization. If we hadn' t succeeded in this,
Chan Designe House, for example, we had seven spaces intervened. In that case no and already to the last this disin wick gave us this a corridor that connected just with everything we had, or eighty percent of what we had of intervention with other architects, not as tangible space, like MOVE, like several this several offices. Not then did they give us that space to make the connection and have as this dialog look what you' re going to see
as an intro to what came from the other offices. We haven' t got that space yet. So this one when we were told they have space and they can intervene. Degenitated. We are a few days away, because I don' t know what we did or it' s coming we did it and it came out amazing and we are very happy because it has been a great experience in all aspects. I mean, well- known people the
brand has known on the products. We mastered a lot of things have come out that' s an important asset of disignt Wick what you do after seeing a product for you. I mean, it' s a lot of times that you work with interior designers and they come up with things that weapons and you end up marketing a product. I mean, it' s a good expoltion, but it' s also a good market. No, I mean, yeah, it really sells is a later product. So for us we love it, we love the whole proposal is amazing. The truth is,
they did very well. And yes, the truth is that last year we were in design and as every year we did see iato everywhere. That' s how I see it, but it' s how they did it, that' s, like we didn' t ask. The last event was the container. Closing to the literal container I swear to you, closing the container we get in the car and I, with my grocer like this for days. I mean, yes, it was very intense, but very rewarding.
Not that good. I' m very glad that this platform that San Wick has been a catapult for you and that it continues to do so and that you continue to make a nice community. There at the hop Now, yes, the young man is amazing. The truth. The Hobbes has done independently of the proposal it has as gallery and the proposal as design space. It is a collaborative space, very collaborative. There is an environment of respect
for many interactions, some brands. We already collaborated with maco choir of buco wad We have already done several things together, but now we are doing some things with the pleasures of life, for example, not that it is also a Mexican design store, so we are doing some things with them. This silver read is serrasana, it is middle rooster that is basically contained and do
an amazing branding work with important and good parts. I think this interaction has also been made when there is some opening of laboratode exhibitions, for example, because we all open up for people to come to know the proposals, so it is a place of creative integration, very, very, very interesting. How cute, what a father you' re doing in that community, because many times you think you' re done saying Wood is all over, not until the year that comes in. I don' t think they do follow
him up and more now with the HOP. I feel that if you are as well as already bringing together more the creative community that you have managed to summon just. I think everyone thinks it' s two months or whatever' s of the year. But there is more right now with the gallery that
is on the second floor, which is the gallery territory. The truth is that the proposal follows or rotates the exhibitions and the same designers and interior designers who are during these periods of design Wick, which is October and a little bit of November, are exhibiting, not that there is continuity in the work of all designers and have been very interesting the very interesting exhibitions we carry. I think three or four, but they' ve been very interesting. And
that' s also a stage for all designers. They don' t have anything left in a month if they say Wick. The truth is, he ' s a seedling. A lot of us have done there. I mean, she' s raul of the pig. What I say raul of the pig, or so many marks that have been made there and that continues and continue to sprout still in the class is incredible. That' s good, it gives me a lot of taste and that' s good, that you, too, that part of it. Yeah, actually. Not very happy.
Space. They look wonderful. They changed it completely. It was a private security building. That was its origin and it is now transformed. The photos ahead of the after doing cement, now everything is green and before cement and now it is completely another something alive, another concept. Yeah, yeah,
actually. If we are very happy in the space How cute, what a father, and then I turn around to visit it, but when what you will do since I am not going, so already they are looking for you the calendar of creative hub events, they are all free, they are all open. He gets the truth. Well interesting performance, there are musical interventions, there is this good, all the events you can imagine. There ' s then it' s interesting. It' s a very interesting point
to visit. Now come activations, come new exhibitions. I also think we ' re going to pass the data on to them so they have them and they can go super a good spot. What nice, if you don' t miss it, because you do have very good proposals and tell me? What is your office doing, right now, because we saw very little of the work you did in collaboration with Jardin ostensible. Tell me, well, that' s a turn we didn' t have in interest in the view either. The truth is, Fer invited us. He' s got time
we' re willing to collaborate and do something. I think she saw him more than we did. She had the vision more than we could of what could be done and how we could integrate the two concepts. So, the idea we talked about before it was the whole fair prede. She wanted to make a garden that was for birds, a bird garden. So we thought that we, maybe with the tissues, could make that niche, that nest. No, because actually the nests. She' s doing all the conceptualization
of nests. It is a rescue of what the birds bas of different materials do in order to make a tarcoas a space for the birds to be born. Then they collect trees, they collect leaves, they collect everything they can. I mean, you don' t know. We were researching and it was a great job what they do, that is we did nothing, or wands, wands, three, wands, four, wands were arming their nests. No. So it' s awesome and we wanted to do that,
we wanted to dignify that work they do. So, what we did was adapt it or transfer it to what we do and we put together community materials, an example of waste, because that' s the idea. We didn ' t have to conceptualize it as I say, because the pros plus the origin as is the origin. No, then what we did. We talked to a community that is in Puebla, that contacted us, a foundation also called pneumatad, that are very dedicated to artisanal work in community, a great
work that does on site. And we went to see this community make petate. They make petate, they make this petatillo fabric in Puebla and it' s made of pure women. So we contacted them, we went and there ' s a specific length that needs to have the palm so they can make their rugs. This material we recycle is a smaller material. Then they no longer serve and have it. Then we have several plans with that material and between them passed this one of the nests. We couldn' t throw it
away. So we didn' t bring him in to occupy him like this lining this foliage that was going to carry the structure. We made a structure of our lamps, that is to say it derived from our lamps that we have called nest that we have made to assemble artisan in a smaller format,
in a jumbo for another project in crétaro. Then we made these structures of our source lamps and we woven how they weave in tequisquiapan our artisans of tequis quepan, but with recycled materials from us, I mean, it was a whole bouquet of technical materials of tequis for materials that we occupied, for the panels, that is the Papercourt and the Palma de Puebla, that was waste, and then made a wonderful nest. This whole yes was made as the
same dialogue as what birds actually do when they form their nests. It wasn ' t clear and it was just the same, that is, it was an incredible fabric. It surprised us. We did not think it could be done that way, that it would be exposed to a subject of landscaping. I' m telling you the one who saw it for sure since he said we can do this was fer us already until we saw it materialized. Worthy
City. You' re right, that is, it was amazing instead of having those materials wasted and thrown away or to literal garbage are dealt with in an aesthetic way. Yeah, of course, it' s amazing and the beef in field marte and it was amazing. I was just talking to him. It was because a little while ago I was also here Andy Radio and I was talking to them and I, like you' re gonna figure it out for me until I didn' t see them a week later I said WOW. You' re really amazing the way you' re creative. I
think it was an accompaniment. I' m telling you, Fer saw it, I mean, it happened to me what he wants to do, it ' s not, and when we put them to be and knit, we said WAW, we understood she saw it and then these platforms he put them and these shapes as more organic, as he arranged it. The truth and all the accompaniment of everything else, of all the other plants and everything that
intervened. The truth is that we didn' t think we could have a space on the subject of landscaping, that is, if it' s another world. Many landscapers began to follow us completely now, and we did not really think that the project would have a place. It always surprises us. We start with one thing and start drifting four or five more and that makes us so happy. I mean, we started by creating something to count for a client and ended up getting five options between them. We' ve already
put in something unpublished. I don' t know things like that, I mean, it' s so versatile and it has so much power in the material and that there' s always more options. Oh, my father, you give me a lot of pleasure for you so if you incredibly leave your connections as well. Just, just me, that' s amazing. I ' m gonna take it, I' m gonna copy it. That was
my slogan, it' s very cute. Exactly. Yeah, we' re weaving other scenarios that we didn' t have in mind, not that it was like when we started, we didn' t have in mind, that none of this was going to happen completely zero. We were going with another expectation. No wow, which father gives me a lot of pleasure that as much creatively as already in business model, as they continue to weave those
connections and keep it growing. I' m really glad about that. Thank you very much and well, tell me how this is for your design process. Well, there' s just a project coming to your office, how you' re handling it with your team until they get to the point of delivering look. Regularly much of what we do is personalized and cost- effective, because every architect, every project, every interior designer, brings his idea
already very clear. So we try to tropicalize what they want or what they have in mind and land it with materials and communities because a lot of the work we do, because obviously it is in community. No Sometimes we don ' t have the solution. And when we get to the Community and work in collaboration with them, all the options and all these proposals or solutions for
customers come out. Sometimes we work with them, sometimes we do it from the studio with a design, it can be in those two scenarios with the Community, we with design or together we are doing show and we do many samples, we make many prototypes until it is tested or both budgets and conceptual, like all the plans and all roasted and everything and we already started to
execute the production. It does not happen that when they are small productions we do them here in the workshop or when they are already much bigger productions, more meters, and all this we already send to the Community, not because it exceeds us. We don' t have enough people in the workshop yet
to be able to make mass productions. And that' s what the design process is like when the interior designer arrives with the project already very clear, when we design our things and our products, we have done a lot of good, not much. I would tell you that half of them have been designs, that we have thought, that we have conceptualized, that we do have in mind to develop them or create them. But the other fifty I
' d tell you it was an accidental design. And that we' ve been recapitulating in these months a lamp that we present in the innerito called Miche. It turned out from some lamps we made for Drago hectors a long time ago in mashall were some lids that we had to put in a system of structure and suddenly all the structures came together. I grabbed them and built a divine cylinder with all the structures and from there came the lamp for example,
that is to say wow. This is something, this is something good, this tells me something you don' t already know something that calls you and we saw it clearly then came out of a product. That' s why it was said regularly that' s a product and they come out like ten. Yes, and then we also have a fabric that we present right now in disign House with tadeo and until we present it is a fabric as in
a metal structure, and that metal structure has origin. In a cellar that we were a long time ago, it was a warehouse that repaired motorcycles. Then they had a just screen of that horrible metal structure, that is, hideous silver color. No. Then I saw her every day and said what a horror structure, that is, what a horrible kit in the looks horrible. They' re black, they paint black. Then they painted it black looked, I think worse. Then I said no what horror. Then we
started weaving and I said tape. We grab tape and we' re going to weave and then you have us all intervening, making a hole and everything until we get a pattern and there' s a divine beembo that cuts. We have a line of bimbos and pictures with that structure and with that same base. So many things have been causal. I mean, we' ve
done some of something that' s not meant for that. We have made it a product no or yes, and from there we have drawn three variants, for example, I, father, or you are many things of it all the fifty, if we want to put number, have been so of things that we have, that we see, that we want to master or that we believe have another use beyond that we are seeing at the naked eye
and we manage to create products that are intervened with our fibers. How nice that father, how nice the process that is accidental in some way, but that of following it and seeing what else you can do and take advantage of it, because to r the results of yatro and have incredible products. I think a lot of things, a lot of times we already have things that can be, but we don' t have like that vision or that eye
so trained that we can see what you can serve. I don' t mean, I think that' s what happened to us, that' s sometimes you want to create something out of nothing and something amazing that nobody has, that nobody sees Sometimes the simplest things that you have at hand are what they can be. Sure. Just take a little coconut to see how you
can transform them and how you can really reach the creative goal. Yeah, sure, wow, because what vision they really have is amazing the vision that yato has hears me practice what are your five favorite designers or everything that right now you have in your sights, because look at favorite designers. It' s just that there I have as a mixture, because as my origin has always been textile. Of course, I also have designers who I admire a lot on textiles or brand topics. No, but for example, I don
' t know what I mean. I don' t think I' ve ever wondered if I have fan designers, so I say wow wow wow. I don' t die. I think I admire a lot of people, for example, good Mexicans. For example, I love Raul de la pig ' s work. I love it both in interiorism and in object. I mean, this new line of male and vicar that made it versatile. I see it as good, chromatic, but they see it as colors. But I see, I mean, I see the whole fan that has options. I love not. I also love what he does, what he does to
Dock. I also very much like what does fun h I admire and I love fervently here choir that is, they are not the maximum they can know, They have such a trained eye because they can see in what we do palm and see twenty things that we didn' t even see, that they have an eye so waiting for. See this one I don' t know anything about olin wing they see the technique of linears. This is an urn and I, like, didn' t see it, I didn' t see the urn where you saw it. You know that kind of thing.
I admire them so much. I admire a lot. I mean, they ' re not designers, but I admire Andrea Marco and Emilio very much, because they have the eye of everyone I just told you for three, because they' re the ones who select and come and I mean, I admire them fervently. No, I mean, previous designers, because I really admire Kelly Wester who, by the way, went to the Hut and I know the most wonderful thing. Yeah, it was the hobb that was there and we didn' t believe it, I mean, we didn' t think
he was there looking at the fibers, I mean, amazing. Not among other designers, that is, there are many people to admire, many people in which you are inspired by which you return. That inspiration is that ability to transform, to transform a space, to transform a matter, to transform material. Not clear, I mean, the truth is that I think so much international, but I would go more local, it' s being a great seedbed or Mexico design, I mean, I feel that way for five
years that we almost started has been a great seedbed. I see many brands that are growing exponentially with a different proposal, with a proposition of value in many ways. Now I' m in an icaro training, i e, yoma icaro is a salt group proposal, because we spend all the creative companies and we are several brands and frameworks so interesting. This her hand maguey trying to rescue the fiber of maguey and make it product and make it that has not been wasted, i e, it is ball, sheep, it is,
there are so many my brands so interesting that you say wow. I can' t believe it, I mean, yeah, I really think we ' re going. Come on, I mean, I' m hanging on to everybody, but come on. We' re going very well, it ' s going very well by changing the design. I think it' s
a very good sustainable proposal. I mean, we' re being more social, more friendly, more conscious, totally aware, and that also makes all the projects that have this base much more interesting and not to tell a story anything else that I tell you and the craftsman, no, no, no, I mean, it' s a comprehensive proposal. Yes, the work
of the communities, but it comes with design. But this comes with the ecological issue, the theme, I mean, it' s a lot of things that I think we' re integrating and that a lot of projects are doing it. And that makes me very happy Of course, well, it gives me a lot of pleasure because I think Mexico finally saw it, too I' ve noticed that change that it' s growing a lot like a seedling and that it' s finally looking inside out and from before it was
from outside to like this. Let' s see what' s in Italy. Let' s see what' s there. I don' t know what brand to make our version. And now the versions are being created by us from here, from home. Yeah, that' s amazing, that ' s phenomenal, I mean, that' s what we had to do right from the start. I think if we had started like this, I would have already, I mean, I think I' d already be super - positioned, agic in design completely. But by one things go through something
and it is good that somehow he has already woken up. Yeah, and he' s on the right track. Yeah, I think so, too. I think so, too. I am very happy here, for example, unpublished past there were many new proposals, totally many proposals and it is new blood and they are new visions, they made new procedures, new processes, new materials and you learn. So much, yes, I think that every day people are interested. It' s my turn to give talks at
universities and the boys are very interested. I mean, it' s not what craft is anymore being a little tepachesque. No, no, no, no, I mean, if people are taking it. The boys are having this new channel of interest in the local, their origins, to try, to dignify and to rescue all those skills that are being lost with the generations totally and that can become contemporary and that can come to have a new use, a new dialogue. Not sure, of course, it' s amazing.
Hey, it' s amazing what you' re doing now Everything really that I' m the fan is a job. I love to see them every year and suddenly there' s like yato winks during the year. I also love and right now learn from the palm too when I say I want to keep learning with you from quarterbacks whenever you want to welcome, let'
s do a course of knitting something like that so parents. Yes, it is amazing and there is no time we want to do, as well as courses, because they ask us if we give courses to weave and learn to weave, that is, we would love to transmit it. We' re not the loosest. Eric and I, for example, don' t, but yeah, maybe we can organize some interesting course to stop you from giving a press and put it together. Sure, sure, sure, that'
s not me the most focused on making it great. Hey, I love talking here with you, and I hope it' s not the last time. It' s definitely not gonna be the last time, because I want you to keep telling me more. I hope not. No, of course it' s also made worth for I love the talk. We' re gonna get like ten episodes, no yeah, yeah, part two days, like fourth twenty- four. Hey, what would you say to the new generations of designers, architects who, just like you are launching themselves into their
own office or who are starting? What would you say to them? Well, we' re not that young. But if we' re not so young, that' s the reality. We' re eating years, but, well, what I' d tell you is that you do get encouraged. I know that this theme of cheering up and that there are no mistakes, there is experience and blah, blah, blah, blah, I mean, do it. Time passes. That' s right, it' s
real. Time passes. Don' t miss the opportunity to do something on your own, to undertake research into something that fills you, which is what happened to us. We said enough, I, you' re fed up with how we get together and do what really fills you up. That' s it, I think the main engine that you do something you say.
This is my thing, this is calling me. In this I feel full, I feel happy and in automatic the rest will be made clear, that is, in automatic your product, your concept or your idea carries your essence. So, if you' re happy and happy with what you' re
doing, you can do anything. But if you' re doing it motivated, you' re going to have all the success in the world and they do it, they try it, they go to the communities, they work with people with all the respect, because that' s a subject I had, so, they have to go with the communities, they work with respect both in creation and in payment, as in everything in credit, in everything,
they do a good collaboration with the people who are assiduous. Craftsmen are always aware of learning things and always want to collaborate because they don' t work for you They work with you. So they' re always born of having this contact and they' re surprised and they love it. They don ' t say wows it fascinates me and I want to understand it and then, when you get there, they already have twenty different things and you say ah I mean, they turned me around and he' s crazy about it.
It' s about us all getting something clear. Then they are encouraged, they are encouraged, they plan it very well, because to undertake is not if I have already started tomorrow. This whole thing works. You have to have an administrative structure, a design structure, you have to have for an entire structure that plans well and having good foundations and foundations and motivated to
achieve it. That they don' t stop, that is, that they don' t stop and that they see beyond what we see regularly with things and objects and And yes, the producer heals you that it' s the one we focus on the most, that they see beyond, that is, that they don' t see simple things or that they see us baskets and I say I have nothing to notice the baskets, but that is, there is beyond, of course, yes, there is beyond, so don' t settle. Not exactly. All right, Claudia, really. Thank you
so much. Thank you your no man, thanks to you happy to be here, that they know, that we do, how we love them and who we are not yes, of course and that it is not the last time, please, that you continue to tell me pawn, who you are collaborating with, what else you are doing. I know, I know we ' re doing a lot of things. Yeah, there' s another 20 chapters coming. I' m supposed to talk to us. Of course, we have the rest of the year. Yes, exactly, we' ve
taken a month' s notice. Thank you, please Thank you very much, Clau. I hope that everything continues to grow the same with jato and that they continue to do a thousand things as they are doing now. You don' t get the slogan. All right, yeah, I' m already Madrid and what I saw is the mother, not the engraving. It ' s very filmed and if you don' t forget, you listen to
it on the podcast. Perfect. All right, well, very soon we ' ll see each other,' cause summer' s coming, and then fall, and then we' re going to go to desn Wake Come design Wick Jack Okay, okay. Thank you very much, not you, Claudia, and thanks to the audience for listening to us. Remember that you can listen to us on all platforms of your m in music, Spotify, Apple Podcast, Google Podcast deazer ihoart Don de se listene podcast. There we are. So there' s no reason they can' t hear us. So
that' s where we' re waiting for you. Thank you here for the work, for the great space, thanks to everything creative, for being here with us for the first time, but not the last time. Thank you, Bye By.