Brasileirismos, or Brazil-isms, is admittedly a redundant theme for the already distinctly Brazilian collections at the Winter 2009 edition of São Paulo Fashion Week, which ended last Friday. The biggest change, compared to past seasons, was the massive influx of international journalists flown in (including our own Ami Kealoha and Greg Mitnick; video forthcoming) to provide coverage of an event whose organizers are pushing for it to stay on the fashion map.
2nd Floor was strong all around (above). Taking inspiration from the 40’s and 50’s era of aviation, the result as a romantic collection of skirts with plane appliques, bomber jackets and schoolboy looks.
Do Estilista bounced back to form after last season’s fantasy-fueled outfits. This year designer Marcelo Sommer used prints taken off tiles and dishrags from Holland (above).
The Cavalera show took on a mysticism and folklorism inspired by an annual festival that takes place on the Brazilian Amazonian island of Paratins. Animal prints appeared among colorful, saturated pieces (below left).
Oestudio came through again with their expected element of surprise, integrating social commentary into fashion. This year they seemed to criticize society’s tendency to turn a blind eye to serious issues (above right).
Always intriguing and fascinating, Osklen’s collection used cotton sweatsuit material to create rather conceptual pieces. Playing with volume and unexpected pinnings created interesting silhouettes. Proving that function need not come at the cost of appeal, I especially enjoyed their rubber items (above).
Also on Cool Hunting SPFW Summer 2009 and SPFW Winter 2008.
The concept of designers in tropical Brazil creating winter wear might seem like an oxymoron akin to Icelandic designers pioneering summer styles. Though not entirely off the mark when it came down to execution, the fashion on the catwalks at São Paulo's Fashion Week ended up being, for the most part, mild. But credit should be given to a few choice designers who brought up the temps, plus those who took extra effort in arranging creative shows that veered from the normally staid runways.
But first, the hype to the lead-up. By far the most thrilling moment of the week was Vivienne Westwood’s appearance in support of two synthetic versions of her signature shoes she’s releasing with Melissa (pictured at right), Brazil’s hugely popular plastic-injected shoe manufacturer, accompanied by a retrospective exhibit featuring 147 pairs of the British designer’s over-the-top creations. Also, Minister of Culture/singer Gilberto Gil announced the government’s new dedication to pushing fashion in Brazil, which will affirm the country’s up and coming designers as bona fide resources.
On the runways, plaid and flannel were staples, and while many used their own palette of colors, black reared its dark head. A variety of prints and strategically placed ruffles made everything more interesting too. When it came to size, trouser pants and other high waisted bottoms, like in the U.S., were responses to the skinny movement, and dresses and skirts took on all lengths. What follows is a more detailed rundown of the runways.
Alexandre Herchcovitch/Zoomp
Alexandre Herchcovitch was called in to manage Zoomp’s winter season, and the results were unanimously splendid. Crocheted designs starred on women’s black Cat Woman-like jumpsuits and light baby doll dresses took on different translations. The men’s line was marked by large, shiny parkas with oversized hoods.
For his signature collections, womenswear proved to be another exercise in which he could do no wrong. Pretty dresses in black and color blocks were cut generously and then attached in a way to play with movement. Urban cowboy was his theme for men’s, with open-back vests, fringes and leather galore in the form of hooded jackets and even a chaps entry.
Ellus
The
Ellus show, set in a beautiful, old train station in the city center, featured a collection as solid as rock. Its cheekier 2nd Floor line (above) was charming and playful, with scarves made from stuffed toy art pieces, oversized and voluminous everything and prints that ranged from chevron stripes to more elaborated artful takes, some of which were created by Brazilian artist Bruno 9Li.
The Ellus line itself brought 21st-century punks and rockers with great hair via train, dressed in the brand’s signature denim. Dresses had suggestive cut-outs, overlayed with black framing and metal hardware from the punk uniform (spikes and studs) embellished jackets of both sexes.
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