The theme for this season of ModaLisboa | Lisboa Fashion Week was KISS; it was ModaLisboa’s 25th anniversary, which was a time to celebrate and to share the joy and the love for fashion.
ModaLisboa’s fashion shows started March 10th at 6 p.m. with Banda, by the hands of Tiago Loureiro. He presented “Brazil Not Revisited” for his AW 16/17 collection, where he took inspiration from three Brazilian modernist artists: Oswald de Andrade, Lina Bo Bardi and Mendes da Rocha. From the first, the anthropophagy, the rite of cannibalism practiced by the Brazilian indigenous tribes present in his Manifesto Antropógrafo (1928); From the second, the interior/exterior ambiguous relationship of the artist architectural work and from the third, the dazzling strongholds through a more subversive space usage. “Brazil Not Revisited” is the result of Tiago Loureiro’s interpretation of the work of these artists as well as his own experience of growing up surrounded by the culture, arts, tv and Brazilian history on a daily basis, due to the strong links between Portugal and the ex-colony, Brazil. The collection resulted with men and women’s clothing, where a mix of symmetrical and asymmetrical shapes are used in fabrics that allow the pieces of clothing to move and have fluidity. The predominant colors used were red, shades of grey and camel, with notes of metallic, white, blue and where is also very notorious the use of print in several looks.
David Catalán presented “Club Ska 67”, where he reinterpreted two urban cultures: the Suedhead movement, which shares similarities with early London’s Skinhead culture and another urban movement from the London 70’s. The result was an urban and current collection, where the silhouettes were a contrast between rigid and fluid shapes where gender takes second stage, a reflection of the similarity between the male and female clothing of the urban cultures used as inspiration.
The color palette was a reflection of one of the most remarkable bands of that time, The Who, where white, black, yellow, red and blue take center stage as solid colors on the pieces of clothing or through the application in sashes and lines of the different colors in order to create various prints throughout multiple pieces. One detail that was also present in most pieces is the parallel vertical and/or horizontal lines made of stiches that contribute to the cohesion of the collection.
Tânia Nicole presented “Melting”, a collection that took inspiration from the work of British artist Alex Chinneck, who specializes in architectural installations featuring optical illusions. His main projects include a row of upside-down shops in London and a house of wax bricks that will slowly melt over the course of a summer.
In “Melting”, the silhouettes and details of the collection such as the use of garments like overalls and upside-down jeans were a direct influence of the architectural side of the Chinneck’s projects, where Tânia Nicole interpreted into a workwear look associated to the work on the construction industry. Tânia also used multiple denim tones simulating a gradient effect in an attempt to mimic the melting process of the house of wax bricks project as well as vertical tears on the front or on the back in several pieces, resulting on unexpected details throughout the collection. Beanies, turtleneck, extra-long sleeves and rolled up jeans were also design choices made by Tânia Nicole in “Melting”.
For AW 16/17, Carolina Machado presented “Open”, an attempt of exploration of an identity; the definition of self-being, it’s authenticity, the several elements, events and changes that influence directly or indirectly it’s personification, resulting in a more intuitive act. In this sense, the collection conveys a certain softness and femininity, still influenced by some details and masculine lines. Allied to this ideal, is a surrealist, psychedelic and sensory work by the director René Laloux: “La Planète Sauvage”, 1973.
“Open” explores the silhouette of the 70’s, as well as the changing shapes of the characters called “Draggs”, an extraterrestrial race with red-eyes and blue skin from René Laloux’s work mentioned above, with high waist cropped wide leg pants, trumpet sleeves and deep V necklines.
Aside from the 70’s presence on the silhouettes, one of the main features in the collection was the application of eyelets, either along the necklines or as a standout feature on the pieces; an expression of the importance of clarity and transparency of self-being.
Carolina Machado’s collection featured a palette of earthy colors as oranges and burgundies and a range of deep blues and black.
Inspired in the “Rumspringa”, which means “wander around”, Ruben Damásio presented a collection with the same name; a collection that portrays the time when young Amish, aged sixteen to twenty-one, break away from the community and move to bigger cities to explore new sensations and realities. The collection resulted on the mix of the two realities: the experiences in daring, urban and modern environments that add more knowledge and new values, and their past inside the Amish community. The first was translated into the collection with the use of bold colors such as the yellow, seen in almost whole looks and the blue, present in pops of color on socks, trims and linings; the second was represented by the black, grey and beige present in the collection as well as in the hats used, that evoke a dry, dark scenario, evidenced in their traditional Amish costumes.
The collection used mostly natural fibers, such as cotton, wool and cashmere and had the collaboration of Solaris’ sunglasses.
Patrick de Pádua
Patrick de Pádua presented “On the Hunt”, a collection that was not only a reference to the hunting universe but also a reflection of the constant search of the individuals for something that completes them. The collection explored this search for a feeling of personal realization, satisfaction and comfort in their own skin.
The result was a streetwear collection where the coats and specially the trench coat take center stage, feeding the idea that clothes are shelters that provide protection. “On the Hunt” used materials such as burel, leather, fur and impermeable in a color palette that ranged from black to beige passing through shades of green and grey.
The looks were complete with fur hats and trims, and sneakers that result from the collaboration with DKODE.
“Miles” was the theme for Cristina Real’s AW 16/17 collection. “Miles” was designed with the beginning of a trip in mind and the freedom and adrenaline that comes with it; where there is no place to rules, no place to fear and no place to boundaries; where the wind breeze involves you and the colors and movement of nature report us to spaces, stories and distant memories.
“Miles” intended to bring some of that vision to the urban reality using colors such as white, shades of yellow, beige, bronze, brown, blue, shades of pink, bordeaux, red, grey and black, and the materials ranged from neoprene to neoprene with rubber texture and with velvet texture, matte sequins, synthetic fur with reflex, texture organzas, bouclé knit, faux fur and faux fur with stripes.
On this 25th anniversary of ModaLisboa, menswear designer Inês Duvale presented “VOODOO”. “VOODOO” was a collection that came from an abstract concept, a reality where we believe without seeing, where the sacred exists for unexplained reasons; we believe in what we want to believe because the verb “believe” comes as an opportunity to change and introduces the arrival of new perspectives. The designer choosed this theme because it allowed her to make her own interpretation and be guided by her own imagination. The collection resulted in a mix of fabrics such as leather, fur, wool and polyester ranging in color from black to white, passing through burgundy, yellow, green and purple. There were also interesting details in Inês Duvale pieces such as metallic applications like buckles, eyelets and shirt collar’s adornments.
Menswear designer Sara Santos presented “Overlap”, a collection strongly inspired by the work of Portuguese artist “Vhils” and the period that reports to the first memories of this street art – the 80s and 90s. Through the exploration of the experimentalism and the aesthetic of the vandalism in urban environments, this kind of art was a Man’s need to express themselves in their context.
As well as our social environment, we are also composed of overlapping layers. This ideology was transported to Sara Santos’ collection where she explored the material by layers. The main material in her collection was denim, that she used in different shades and finishes, with raw trims or with the application of images that refer to “Vhils” work.
“Kalymnos” was the collection Nair Xavier presented on the past edition of ModaLisboa, opening up the LAB platform. She took inspiration from the Aegean Sea, the sponges and the aquatic fossil biodiversity to provide content to construction, color palette and materials, and used this collection as a tribute to Sponge Diving, an extinct trade on the Greek Island of Kalymnos.
The decade of 1960 and its cool attitude are also a reference to the silhouette of the collection and the color palette was composed by tones of nude, white, taupe and beige, with notes of black, red cast brown, charcoal grey and denim blue, applied in materials such as wool, synthetic leather and fur.
ModaLisboa 25th anniversary was David Ferreira debut at Lisboa Fashion Week. He presented “Opulent Child” on the LAB platform and intended that his collection reflected today’s society – an overindulgent society where image and the perception of such defines who we are – blurring the lines between Fashion and Art. David Ferreira AW 16/17 used as mainstream references Pink Ladies, Heathers, Clueless, Plastics, Gossip Girl, Scream Queens, and also, in a more extravagant and opulent look, the royal clique of Versailles, Queen Marie Antoinette and duchess of Polignac, and personalities such as Marchesa Luisa Casati and Scarlett O’Hara from “Gone with the Wind”.
David Ferreira used a strong yet simple game of colors such as shades of pink and red on white and choosed materials as wool Melton, that was beaded, boned and conjugated with rabbit skin and brushed Tibetan lambskin to play with volume of the pieces exploring new silhouettes, also present on the use of tulle as trims and ruffles. Double-faced silk satin was also folded and stitched to create a strong visual and texture effect in the collection.
Valentim Quaresma presented “Domination”, a collection that took inspiration from the emotional charge domination and other control situations possess, where Valentim Quaresma intended to create a collection that showed the rise of self-confidence that a dominant position brings.
The theme was translated in the use of elements that suggest triumph and sovereignty, in an harmony between inflexibility and agility accomplished with the use of black and white resins and pexiglass on elements that resembled shark’s teeth, human bones, stuffed animal heads and baroque decoration elements in accessories such as belts, cufflinks, necklaces, cuffs and headpieces. Valentim Quaresma also used brass, aluminum, cotton twill, leather and synthetic materials on the jewelry and pieces of clothing.
All photos are copyright protected: Rui Vasco/ModaLisboa