São Paulo Fashion Week 


The Met Gala may still be dominating our collective consciousness, but south of the equator, by the final day of São Paulo Fashion Week, a seasonal statement of sorts had become clear: During a crisis—in this case, Brazil’s political tumult—inventiveness arises. Case in point: the wide and varied array of ideas proposed by the city’s designers.


“Pop couture is the mixture of streetwear with haute couture,” offered Reinaldo Lourenço of his lineup’s ethos. His latest collection recalled the flash of the ’80s, with sexy cuts and plenty of glittering stripes. For designer Gloria Coelho, architecture and asymmetry were the foundation of her collection, with pieces sharply tailored, almost to the point of extremity; those styles found their counterpoint in the organic creations of Paula Raia, a tropical answer to the aesthetics of, say, Azzedine Alaïa. Raia shows only once a year, at her beautiful home, surrounded by friends and family. Her one-of-a-kind dresses take time to be made, and she seems unhurried in her creative process, empowered by the freedom to do things her way—something that would turn many a designer green with envy against the current, uncertain fashion calendar.


On the note of independence: Designer Alexandre Herchcovitchcompletely reinvented himself this season. He left his namesake brand, now owned by Inbrands group, and created a ready-to-wear offering for his husband’s (Fabio Souza) vintage furnishings store, À La Garçonne. “I have sourced for vintage fabrics in both São Paulo and New York, creating the new with the old,” said Herchcovitch. “It’s a new moment [for me], with a lot of freedom.” Forget the designer who emerged from the nightlife scene, and who added a hint of fetish to so many of his creations; now he’s a family man (active on Instagram, he has even created the hashtag #familiasouzaherchcovitch, where he and Souza post images of their adorable kids). “In the collection, we have a little bit of everything. It’s like our own closets.”

Source Cowan: Vogue

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