A tradição ainda é o que era e nos tempos que correm ainda se vai ao barbeiro… e ainda se oferecem calendários.
A marca Antiga Barbearia de Bairro, a agência de modelos Central Models e o estúdio Flying Studios juntaram esforços e lançaram um calendário que reproduz o imaginário das barbearias com a ajuda de alguns actores e modelos mais conhecidos do País. O resultado são doze fotos brilhantes, uma para cada mês. Este calendário foi apresentado no dia 12 de Dezembro no Purista Barbiére em Lisboa e contou com a presença de grande parte dos intervenientes nesta grande produção, nomes como Raquel Prates, Virgílio Castelo, Paulo Pires, Adelaide Sousa, Francisco Cipriano, Astrid Werding, Fernando Luis e Joana Aguiar entre outros. A ideia de lançar um calendário deste tipo surgiu à mesa de um café numa conversa entre três amigos que se juntaram e cujos percursos profissionais acabariam por agilizar a produção deste calendário. “O olhar atento para as antigas barbearias nos bairros típicos portugueses, tem sido o mote de inspiração para o recuperar de hábitos e produtos meio adormecidos no tempo”, afirma Luis Pereira, fundador da Antiga Barbearia de Bairro, marca 100% portuguesa que há uma década vem lançado toda uma serie de produtos em Portugal e no estrangeiro, que remetem para os aromas das barbearias e cujo packaging se inspirou nas formas e cores dos bairros típicos de Lisboa e do Porto. “Depois do pincel, creme e sabão de barba chegou a vez do Calendário, que sempre vimos pendurado nas nossas barbearias, ter também o nosso olhar”, afirma. São várias as barbearias representadas nestes calendários, escolhidas a dedo como o cenário para as produções que ilustram cada mês. Tó Romano, director da Central Models, a mais antiga agência de modelos do país e um homem dado a estas coisas que recuperar o que é bonito e tradicional sem desviar os olhos do futuro, é outra das caras à frente deste projecto que retoma a tradição dos Calendários da Central. “Este projeto primou pelo entusiasmo geral de todos quantos nele participaram, pelo sentir da relação entre Imagem / Tempo / Beleza e pela importância que a esta atribuo de sabermos caminhar para o futuro com o melhor do nosso passado”, disse. Tudo isto não seria possível sem a preciosa colaboração dos modelos e actores que aceitaram prontamente o convite para darem a sua cara e corpo a este verdadeiro manifesto, ajudados por uma equipa liderada por Ricardo Santos dos Flying Studios, para o qual “este projecto está cheio de desafios que, com uma linguagem despretensiosa, ajudámos a realizar. Uma experiência única, que transformámos em oportunidade.”
Carlos Tomé Sousa
Charo Izquierdo with her background in communication and a large experience working in the fashion media is the new director of Mercedes-Benz Fashion Week Madrid.
IFEMA, the institution behind Mercedes-Benz Fashion Week Madrid appointed recently Charo Izquierdo new director of this event showcasing the best in Spanish Fashion. This appointment comes as no surprise if we consider this vibrant woman’s experience in the area of communication and fashion. Holding a degree in Information Sciences by the Complutense Univeristy of Madrid she started working as journalist in 1980 at Junia GyJ magazine and four years after took on the role of chief editor of this magazine. After the turn of the 1980’s and until now she took a number of positions in renowned fashion magazines in Spain, having been in charge of launching the first fashion supplement ever distributed in Spain with a magazine: Yo Dona for the newspaper el Mundo. Yo Dona has close ties with Madrid Fashion Week: this event kicks off and is usually preceded by a big Yo Dona party attended by the organisation of the event, designers and journalists and covers the event via a daily free magazine providing insights and helpful information for both the audience and the media. Grazia, the first weekly fashion magazine to be launched in Spain, and Elle Spain relied also on the work of Charo at the helm, along with a number of publications where the new head of Madrid Fashion Week played a relevant role. Charo Izquierdo replaces Leonor Pérez-Pita, better known as Cuca Solana, the woman who was the head of this event since its creation back in 1985. This event previously known as Pasarela Cibeles relied on this woman’s guidance since the beginning and those who are familiar with the event surely retain the image of this woman with the quiet look and gentle walk attending each and every show and walking each designer afterwards to the social area. She had obviously also her word as regards new designers that would later show their work at Madrid Fashion Week. Her work in fashion dates back to the 1980’s when she held a position of deputy director of the New Designers department at the Galerias Preciados, a huge department store that was located right in the centre of Madrid. Cuca Solana will remain linked to Mercedes Benz Fashion Week Madrid as president of its Fashion Committee, a body formed by a group of experts providing advice in a number of management issues. As for Charo Izquierdo she is already preparing the coming edition scheduled for 17 to 21 February 2017 as new director. It will be her task to keep the show running in an event showing on average collections by 42 Spanish designers. We are curious to see what changes will be operated in an event that has often been criticised for both the location away from the city centre and for not having a bigger international projection and whether she will fight a certain tendency in Spain, a large country that often and because of it keeps too much to itself.
Carlos Tomé Sousa
United Colors of Benetton celebrated 50 years digging deep in its archive and bringing back to life some of its most iconic items. The result is there in a number of capsule collections launched as of 2015.
Our story begins in Milan in 2009 on a cold Winter afternoon at Opening Soon, an exhibition on the best shop designs commissioned by Benetton. Part of the Trienale de Arquitectura this exhibition was there to present the best projects laid out by architects from all over the world for Benetton stores. And much to our surprise the jury chose the Portuguese architect Pereira, “whose design – Combispace – linked the different levels of the building with fluidity and originality, creating a flexible system of transformable spaces and product displays”. The ideas of the six architects were just amazing, bring new perspectives to retail spaces as we could see by taking a close look at the scale models on display in the huge rooms with high ceilings hosting the exhibition. We wandered the room looking down and upon looking up we came up with a new angle for the story, or better, we went there to write a story and we ended up with material to write a new one.
Decorating the room, hanging from the ceiling dozens of jumpers in different colors showed some of Benetton’s most iconic models. The brand had searched the archives and came up with this amazing display of its art and craft. While below was what the brand considered to be the future of its retail stores, above was his legacy in that room. And so was the man who made all of it, Luciano Benetton, who had just entered the room. The future the past and the man who had reinvented knitwear all in one room. It is now 2016 and much to our surprise some of these iconic items hanging from the ceiling are to be found in stores worldwide. Using new knitting techniques thanks to the re-adaptation of existing machines some of these iconic models have been brought to life in new capsule collections as of 2015 and to mark the 50th birthday of a brand whose story began when Giuliana Benetton offered her bother Lucciano a yellow jumper, a brand that is now a household name everywhere in the world.
Carlos Tomé Sousa
Street style is increasingly stealing the limelight at fashion shows, as if a bunch of kids and not-so-young bystanders in fast fashion and odd looks were far more important than what is shown on the catwalk. Everybody, from the general press to the fashion press is engaged in this glorification of street style to the detriment of a true and informed fashion coverage.
It’s 11 a.m. and outside Petit Palais in Paris an odd number of Asians, with modern cameras catch the attention of professional photographers. Some of these people have composed the most fashionable and expensive looks just for the occasion. Some of them are bloggers, others just people trying to enter somehow a word they see as glitzy and beautiful or are there just to get a glimpse. In Prada shoes, H&M trousers and Zara tops they will be the ones featured in the pages of magazines and newspapers as if they were the true trendsetters which more often so they are absolutely not. Should you wish to sense the atmosphere of the place and to plunge in the world of a certain designer, focus rather on the people inside, on the changing human landscape at each show as they are the ones you can better identify with the brand. As for the bunch wandareing outside, they wont tell you much about the designer, the show or the city where the fashion show is being hosted, contrary to what some witty texts and captions attached in the press might suggest, some of them written by people whose main focus is to portray fashion and just something vain and ridiculous.
It’s 11.30 and the designer is working hard and hastily preparing her fashion show. The room is already filled with guests, press and buyers. Some are wearing items from the designer’s past or current collection about to be shown. It is up for those covering the show to talk to them, ask them what they are wearing and why they buy and wear the designer’s stuff. Photos will be taken and send to the newsroom to make the grand picture of the show and the garments. For the reader it is important to see both the looks being shown and to know the kind of people wearing the garments from that particular designer. But once you buy the magazine or the newspaper or read the blog days or weeks after quite often you get to see nothing, zero, zilch, nada, from the designer. Instead you will get two or three pages filled with photos from young people dressed extravagant or wrong with ironic or not-so-funny captions attached. And suddenly the work of dozens of people working with and for the designer and the work of those who took months preparing the fashion shows vanishes in thin air.
Carlos Tomé Sousa
They’re there and everywhere and never left our feet ever since they were launched as we know them in the 1960s.
Used by workers and the military Dr. Martens shoes are a true tale of a success story when they were adopted by the youth culture, particularly after the mid 1970’s by those affiliated to punk music and pogo dancing. Along with trench coats and hair gel they became a symbol of a generation who started wearing them for both their comfort and design. 71 years after they were invented the shoes with the distinguishing sole are still around, having been adopted in the process by new generations and youth and music movements. Doc Martens have always been synonym to subculture. In recent decades they made it to the high street, but never lost its alternative penchant and its strong link to music. The catwalk has long discovered them and Docs feature often in fashion shows as a means to reinforce the subculture nature of some collections and designers. 2016 is no exception to this enduring trend. During their recent presentation at Madrid Fashion Week a new Spanish design venture by Xavi Garcia and Franx de Cristal under the name 44 Studio used them to complement the looks and chose the classic boots with red shoelaces. Viktor & Rolf used also classic Docs in their Haute Couture SS16 Show, claiming they were “the ideal juxtaposition. Dr. Martens shoes have a punky feeling and are very down to earth.” And if look carefully at this year’s fashion shows you will find a handful of designers featuring them in their shows.
And while teenagers dig in the family’s closet, bringing old Docs to life, others are now discovering the brand in stores worldwide. Despite continued sales of their classic models, particularly the 1460 model, the brand keeps launching new models in colour block, with paint splash or flower prints. Two of the most striking and recent examples are the new Renaissance designs for this Spring, inspired in the painting “The Triumph of Camillus” by D’Antonio, an Italian painter from the 15th century; or the current Winter collection still in the shops with china and porcelain designs whereby the ageing process of coated suede leather mimics the porcelain cracks over time. Flower patterns have feature also in every Dr. Martens Spring collection, pretty like brogues in every winter collection. And should you wish to make a statement in a gala evening browse the Web and look for some old models of the brand in velvet burgundy. Most of these prints and materials are applied on classic models. Dr. Martens have made attempts at launching new shapes featuring new sole designs but once a classic always a classic and consumers still go massively to the classic shapes with or without yellow stitching, the very same stitching introduced by the Griggs family that gave Docs that distinctive touch in 1960 when the brand went global.
The story of this brand is closely related to the British Griggs family and to the German Dr. Klaus Maertens. The story of the cushioned sole dates back to 1945 when Dr. Martens created it while convalescing from a broken foot. Using a cobbler last, used by both shoemakers and shoe menders to mold or to repair shoes, and a stich he made a prototype which he later showed Dr. Herbert Funk. Fifteen years after the Griggs family, who had been making durable boots since 1901 in a small town in Northamptonshire came across these cushioned soles that had been produced since 1947 by the aforementioned German Drs. who had been making these shoes mostly for the military.
Carlos Tomé Sousa