Helena and Jasmine Ammitzboell, the sister-founders behind ASTA RESORT, have long approached fashion as a deeply personal form of escapism. For Pre-Fall 2025, the duo invites us into PISCINA IN PUGLIA, a sensual study in slowing down, set against the sun-drenched stillness of Southern Italy. It’s a collection that embraces the luxury of leisure, combining grounded elegance with a modern, unhurried ease. Inspired by Jacques Deray’s La Piscine and the faded glamour of Mediterranean summers, this new chapter offers a quiet rebellion against urgency.
INTERVIEWS
In this exclusive interview for DSCENE Magazine, Editor Anastasija Pavic speaks with Helena and Jasmine Ammitzboell about the slow, sun-soaked rhythms behind Piscina in Puglia. From afternoons spent wandering quiet laneways to spontaneous poolside dancing and long, languid breakfasts, the sister duo shares how the visual poetry of La Piscine, their family’s travels, and their own creative contrasts came together to shape ASTA’s latest collection.
Why did you want “Piscina in Puglia” to feel like a slow, dreamy summer?
HA: We’ve been coming to Italy and Portugal and Spain for years, first for holidays, now also to visit our factories. Claude Lelouch said “I want to make propaganda about the things I love” so that’s just it. Swishy white skirts, peaceful villages, blue bikinis, fresh olives, good espresso and lots of sunshine. We are approaching more and more refinement and relaxation for the ASTA girl summer world. Where nightclubs are replaced with intimate poolside gatherings, bustling crowded streets are left for serene small villages.
In what ways did Jacques Deray’s La Piscine shape the feel of this collection?
HA: The film was shot at the one location – a villa on the Côte D’Azur – for almost its entirety. It lets you watch the character’s arcs and behavior very closely, and see how a day unfolds in this paradise. When Jas and I were ideating the type of day that our character would have wearing our new collection, we knew it should be a slow one, with not too much movement around town, in an Italian region known for quaint art and tranquility. So in the little film we made for this campaign, you see our ASTA girl start her day off in an empty art museum down a quiet laneway, followed by a slow day by her pool, that leads into a spontaneous dancing evening with lots of desert. Additionally we paid homage to the main color palette in Deray’s film… the perfect swimming pool turquoise, naturalistic olive greens and blues from the shrubbery and the clear skies. The orange came from the really beautiful shot where Romy Schneider is on phone wearing her tangerine colored pool towel.
JA: We loved the ‘lazing’ around the villa, having nothing in particular to do except escape the heat and enjoy a lavish breakfast. It reminded me of our holidays growing up, where we would do as little as possible and soak up every moment of it. We were also drawn to the 70’s pool party, thrown together in an effortless manner. Dancing your heart out with strangers amidst a pool-lit backdrop. Whilst shooting ‘Piscina in Puglia’, we had a small party ourselves, setting the scene so it felt real. I think the best results come from spontaneity and indulging in enjoyment.
Is there a memory from your time in Puglia that you kept coming back to during the design process?
HA: Puglia is one of our mother’s favorite destinations. She has kept some beautiful pictures of the villages, the sea and the traditional trulli huts and these aspects have always seemed very still and calming to me, from the natural colors and textures in the area.
“We loved the ‘lazing’ around the villa, having nothing in particular to do except escape the heat and enjoy a lavish breakfast. It reminded me of our holidays growing up, where we would do as little as possible and soak up every moment of it.”
How has the ASTA muse evolved for this collection, and where do you imagine she’s going next?
JA: This season, I see the quintessential Asta girl barefoot by the water, with a sense of curiosity as she is wandering around her local town taking note of new scenery or people she has never seen before. A minimal effort is key as the garments speak for themselves- just a book and basket in hand.
What inspires you to reimagine familiar silhouettes like Natalia and Ana in new ways?
JA: The colours and textures of the chosen destination always inspires me. I often imagine what I would like to be wearing in that particular place, and what my ‘character’ would be doing in her day-to-day life.
Can you talk about the craftsmanship that goes into the Yasmin series?
JA: Collaborating with artisans in India to extend the ASTA sparkle into a hand-beaded line was a natural evolution in materiality. Our “Yasmin Skirt” is close to my heart because so much went into its development and the hand-beading work took a lot of perfecting. Recently, I went to India on a sourcing trip which was incredible to see the work being done in front of me. It is truly an artistry skill that is passed down through generations of practicing. I hope to bring some awareness of the true craftsmanship that goes into these pieces, capturing slow fashion and styles designed to be worn season after season.
“Much of our inspiration comes from childhood memories and personal experiences—traveling together, vintage shopping, and chasing summers where we could dress up just to walk down the street and get gelato.”
What part of this collection feels most like you?
HA: One detail I love that we included in this collection is the knitted fisherman hats with crotchet flowers… I’ve been wearing these type of hats since being a kid. I guess we’ve made our grown-up version now.
What does your collaboration look like behind the scenes, and how does your sisterhood influence the work?
HA: Jasmine and I travelled a lot together growing up because our family is Danish and Australian. Much of our inspiration comes from childhood memories and personal experiences—traveling together, vintage shopping, and chasing summers where we could dress up just to walk down the street and get gelato. So much comes out of us creatively from faded memories we’ve shared, and we have a strong sense of place and time. In terms of materiality, I gravitated towards knits and yarn during design school, and Jasmine was always the cut and sew one, the one staying home by her sewing machine. Conveniently we have a nicely balanced skill set combination.
With so much talk about unplugging and “touching grass,” how do you bring that slower, more natural mindset into both your designs and daily routine?
JA: I think it’s something that comes quite naturally to us. We’re often a bit existential and believe we want to soak up the most of life whilst working hard to create our dream. We make sure to see friends regularly, going out for an aperitif and going to the beach as often as we can.
Is there a song or scent that captures the mood of this collection for you?
JA: Mahé by Piero Umiliani and Issey Miyake ‘A Drop D’Issey’ perfume, mixed with a bit of sweat.
