PEDRO FERNANDES
CONTENTS
ABOUT ME
CURRICULUM VITAE
FASHION
MONSTERA BY MARIANA MATOS
THEATRE COSTUMES
O DUELO - TNDM II
MOÇAMBIQUE - MALA VOADORA
UNIVERSITY PROJECTS
VERTEX - FINAL PROJECT
TRANSLATION ICON DECONSTRUCTION ILLUSTRATION DIGITAL
TRADITIONAL: SKETCHBOOK
Ever since I can remember, I’ve fancied creating my own imaginary world of beautiful things. As a kid, I never took interest in things that wouldn’t somehow provide some connection with this whimsical universe of ideas. Those ideas were fueled by the widest range of things, from watching my mother putting on makeup to playing with my sister’s dolls and then, as early as 10 years old, my naïve self was drawings the tiniest female figures in long dresses, without the slightest clue where it’d take me. In retrospect, it wasn’t a surprise to anyone but me that I ended up in fashion school. I surely tried to deny that passion all through high school, even going as far as having chosen a science course. It wasn’t until near the end of the final year that I finally decided to take the final exams I needed so that I could pursue fashion design into university, although I was still completely unaware of myself and of the possibilities. It took me walking into my first drawing class in my fashion design course to feel scared, but I’m glad I did. I put myself in a setting where I had never been before, in which I was obviously uncomfortable, to realize I could manage. I entered the course not knowing how to do any of the things I’d have to do to get through it and still, I survived. I learned how to draw, sew, make patterns, and use new software (among a whole other bundle of skills and contents, most of them useful). By the end of the course I was as capable as the majority of my classmates, but, above all, I was proud that while some of them had eased right into the work we were doing for 3 years, I had to work that much harder to come to something I’d feel good about. For someone who isn’t particularly self-confident, it was quite helpful and motivational. Albeit much more confident of my own abilities to work and strive to learn and do the best I can in order to thrive, I am quite uncertain about my future prospects, although one thing is certain: I am very eager to be able to make others experience a performance and story through Costume. I have grown to believe that despite not knowing everything or not being able to do everything, I can still learn and push myself to do anything well. Somewhere between fashion and costume design, I’ll work my way to find a place where I’m happy. I never thought as a child I’d actually be able to explore my imaginary world past my childhood. But here I am, on my way to bringing it to life through my work.
Education 2012 – 2015
Bachelo r’s Deg ree i n Fashi o n Desi g n @ Facu lty of Arch itectu re, Un iversity of Lisbon , Portu gal
2014 – 2015
Certi fi ed Co urse i n I ndustri al Clo thi ng Manufacturi ng
PEDRO FERNANDES T
+351 960 461 537
E
pe dro f e rnande s_ 612@h otmail.com
@ M odatex, Profession al Train in g Cen ter for th e Textile, Cloth in g, Apparel an d W ool In du stry
Experiência Sep 2015 - Feb 2016
I nternshi p @ Ateli er R i cardo Preto - M odaLisboa; Bairro Alto Hotel u n iforms; Developin g of collection s for Ru stan ’s.
Objective
May 2016 - Sep 2016 I nternshi p @ T eatro Naci o nal D. Mari a I I
Fa s h i o n D e s i g n g r a d u t a t e l o o k i n g f o r
- Restoration e docu men tation of
experience in the fashion Industr y
arch ive pieces; Costu me execu tion ;
and insight into cos tume making. Long-term expec tations: to become a
cos tume
designer
for
ar tistic
W ardrobe main ten an ce. Aug 2016 - Sep 2016
Vo ado ra
per fomance.
- Pattern -makin g, sew in g an d fittin gs
General info.
of th e play ’s w ardrobe. No v 2016 - Jan 2017
Wadro be T echni ci an @ T eatro Naci o nal D. Mari a I I
P E RS ON A L S K ILLS
- Pattern -makin g, sew in g, w ardrobe main ten an ce.
Creat ivit y Teamwork
Professional Skills
Commu n ica t ion Organ iz at ion
Desi g n
Lead ersh ip
I llustrati o n
A u t on omy
Pattern maki ng Sewi ng
LA N GU A GE S P ort u gu ese
“Mo çambi que” Wardro be fo r Mala
E n gl ish
Graphi c Desi g n
Ado be Pho to sho p
IN TE RE S TS
Ado be Illustrato r
Musi c
Draw in g
T rave l l i ng
L iteratu re
Ado be Indesi g n SAI Pai nt T o o l
FASHION
MONSTERA by Mariana Matos
Photos by Nuno Vieira
“Monstera” is a capsule collection designed by Mariana Matos, one of my university colleagues. Its name comes from the Latin name for what is occasionally referred to as the Swiss-cheese plant, due to its perforated leaves. This capsule’s starting point was on a university project in which we were to use a location as a main visual reference and inspiration, choosing then some sort of concept or external reference as an angle for the design process. In this case, Mariana chose Lisboa’s botanical garden, choosing then to cross that reference with the south-Korean Haenyo fisherwomen culture. The result was a mix of heavy-weight fabrics in a well-coordinated color palette with botanical design elements. The development of the project was divided by conception and execution, being the 1st Mariana’s responsibility and the 2nd my own, even though it was an overall very collaborative process. Besides the conception, it involved pattern-making and sewing, as well as hand-painting the deep-blue denim with the white stripes and working the sheep leather, which was particularly challenging.
Photos by Nuno Vieira
Photos by Nuno Vieira
THEATRE COSTUMES
O DUELO - Teatro Nacional D. Maria II
Photos Courtesy of TNDM II
“O Duelo” is a play developed by Miguel Moreira in collaboration with Útero Theatre Company and the play’s cast and it is an adaptation of Bernardo Santareno’s 1961 play of the same name. It is a contemporary dance interpretation of the story of Ângelo, a young servant working at a riverside plantation and his romance with his lord’s daughter, Manuela. The text alludes to a cattle breeding rural environment in which they had fallen in love playing with the bulls, even though Rosária, Ângelo’s mother and the widow of a famous matador, disapproved of them. Stylistically, it invokes a different time with its text and costumes and yet, it has a more contemporary tone with crude nudes and free and improvisational nature to the movements. The wardrobe was developed by Teatro Nacional D. Maria II’s team and it involved sketching flats based on the director’s costume references for each character, fabric selection, pattern-making and sewing. The full wardrobe had 2 female characters wearing long puffy skirt dresses, 2 matador-inspired male characters with high-waist cropped pants and short jackets, a warrior in a fully detachable full-body armor set, a Minho-inspired skirt outfit with a faux-leather corset, and a horse-riding velvet outfit, as well as 2 skirts for the male dancers, 3 traditional matador capes and full body-suits in gold lame for the entire cast.
Photos Courtesy of TNDM II
Photos Courtesy of TNDM II
Left: reference research and fabric selection process; Above: fitting the full body armor. Photos Courtesy of TNDM II
MOÇAMBIQUE - Mala Voadora
Photos Courtesy of Mala Voadora
“Moçambique” is a play written and directed by Jorge Andrade, one of the 1st members of Mala Voadora. It is based on the Jorge’s alternative biography: he was born in Mozambique and he came to live in Portugal when he was 4 years old. Had he stayed in Mozambique, how would his life have been affected by its history? That’s the question that sets the premise for this play. Costumes and sets were designed by José Capela. The costumes were conceptualized through wanting to represent two different realities: Jorge’s alternative life story and the present day as he tells that story with the cast playing the roles. So, they went for a modern take on 50’s glamour with an African twist: the tailored suits and shirts and the big puffy skirts were all made out of Capulanas, a traditional fabric from Mozambique. Costume execution was done by a team, including myself, and it involved pattern making and sewing, as well as 3 fittings. The full wardrobe included 2 sets of costumes for each actor: a red fabric set for everyone and a second set of pieces with the same exact cut but in blue or yellow fabrics. Each set had tailored men’s blazers, pants, shirts and shorts, and one women’s structured blazer, as well as shirts, pants, full skirts, waistbands, bras lined with the fabric, bikini tops and padded turbans.
Moçambique’s cast amidst one of numerous dance interludes. Photos Courtesy of Mala Voadora
Photos Courtesy of Mala Voadora
UNIVERSITY PROJECTS
VERTEX - FINAL PROJECT
Ilustration by Sara Gonรงalves
The final assignment for the Bachelor’s degree was an experimental project meant to simulate a professional group work environment through the creation of a product of greater dimensions, when in comparison to others proposed earlier in the course. It was overall a successful attempt at nurturing basic notions of work dynamics in a group, giving insight into task division, understanding leadership, and also, the opportunity to assess each individual’s strong points. As it was a large-scaled project, its completion involved everything from designing a new collection to making it and organizing its demo event – Demo’15. The students were divided in groups, chosen by a leader from each group, based on their individual abilities. The briefing proposed a free-themed capsule of twelve looks that would be coordinated by the mentors who sought to create connections between all of the capsules whilst keeping each project’s identity. Sara Gonçalves was the group’s leader, who chose me and three more classmates: Margarida Sales, Rozane Araújo and Adriana Morais. The group tried then to establish a common ground on what the themes should be. It was promptly decided that the project should focus on creating a capsule that would be a marketable effort, one that approached the idea of basic pieces, supported by research on patterns that differed from the classics we had been exposed to throughout the majority of the course, and mixing in elements, like alternative dying techniques. Conceptually, the decision to work with basic designs stems from the desire to achieve ingenious patterns through the creation of reinterpretations that can be as timeless as any other fashion icon, symbolizing carefreeness and style, and freeing them from ephemeral trends. This would then give the product leverage as something to be worn, esteemed, and in the long run, kept as part of the buyer’s life, and as a vessel of memories and experiences, just like humans are. This stands as a statement against the fast-fashion phenomenon, exulting the outcome that the group achieved through this project to be something that can’t be discarded due to the traces of time, and that it has value put into it by each member that worked on it. The project was limited by the group’s access to the materials- mostly nationally produced fabrics –chosen by the mentors from a small number that were to be used to a certain amount in each collection. The remaining materials had to be acquired by each group, either bought or offered by a sponsor. The overall experience of creating and making the collection in a group environment was very helpful as a mean to bring awareness to the challenges of group work. The group achieved a great report, with a mature take on the experience and with respect for the different roles each one played in the overall dynamics. My position was quickly settled close to the leader’s, based on our personal bond, our previous group-work, and our similar work processes and coincidental ideas for this project. I provided my organizational abilities to help her establish the group work; I served as a filter while she redesigned everything from everyone’s sketches into the same language; I coordinated the whole process of patterning and prototyping every piece in the capsule, as this was considered my strong point; I helped coordinate and participated on the making of most of the pieces from the capsule. As aforementioned, the collection was finally presented at an event organized by the students and the mentors, in collaboration with various entities, ranging from the city’s representatives to hair and makeup labels, model agencies, and the press, all of them providing necessary support and services as sponsors. The event was very successful and received a lot of coverage online. Later, the groups had the opportunity to sell their pieces in a pop up store, in a place that provided the space for 2 weeks.
_materials 1. Burel (Wool felt)
6.3.1. Dyed Cupro (Arashi Shibori)
2. Steel twill fabric
3. Viscose twill fabric
4.1. Polyester crĂŞpe (red)
5. Musseline (yellow)
6.1. Dyed Cupro (yellow - plain)
6.2. Dyed Cupro (blue - plain)
6.3.2. Dyed Cupro (Arashi Shibori)
6.4. Dyed Cupro (Itajime Shibori)
6.5.1. Dyed Cupro (Ice dying)
4.2. Polyester crĂŞpe (yellow)
6.5.2. Dyed Cupro (Ice dying)
Single-breasted, oversized wool felt
Single-breasted oversized wool felt
overcoat, with drop shoulder sleeve and
overcoat, with a drop shoulder sleeve, a
rounded neckline, with no collar and two
godet panel in the back and two pockets.
pockets in the side seam
Straight line long-sleeved crĂŞpe blouse with
Straight line cap-sleeved knee-lenght crĂŞpe
drop shoulder sleeves, a godet panel in the
dress with a musseline godet panel and
back, round neckline and a tear drop detail
darts in the back, round neckline and a tear
and hook at the closing.
drop detail and hook at the closing.
Oversized sleeveless long dress with an evasĂŠ skirt, round neckline, pockets at the side seams and tear drop detail and hook at the closing.
Photos by Rui Olavo
Photos by Rui Olavo
Photos by JoĂŁo Bacelar
Photos by JoĂŁo Bacelar
ICON DECONSTRUCTION
For this university project, the students were to choose from a list of iconic fashion pieces, later proceeding to their deconstruction and redesign, basing their process in deep research about the piece and its historical context. The military jacket has undergone many changes through the years, having taken many different forms for different contexts. The students were required to make a prototype of the original traditional jacket, to further develop their understanding of its construction. Having researched for a theme to sustain the transformation from the original to the renewed piece, the project took upon itself a dash of symbolism around the military jacket. It stopped being just a symbol of order, strength, and union of a nation, to become a symbol for conflict, violence, and war as well –somewhat of a contradiction. Taking inspiration from the work of Zdzisław Beksiński (a polish surrealist painter, who experienced the horrors of WWII in his childhood and took that experience into his post-apocalyptic paintings), the jacket was designed to enhance the idea of a faceless oppression hiding behind a uniform. Once the creative process was over, the jacket was constructed, and a photoshoot was arranged to support the theme of the project.
COLOR: PANTONE 419 CP
FABRIC: BUREL (WOOL FELT)
high-collared jacket with structured shoulders and sleeves, zipper closing and military detail pockets.
Photos by Daniela JoĂŁo
ILLUSTRATION
Character Ilustration - Maleficent (Angelina Jolie) from the
Character Ilustration - Costume Design class assignment based on
Walt Disney Pictures movie “Maleficent” (2014).
the movie “In the mood for love” (2000) in which the students were to create a modern print to reinterpretate the character’s dress.
_sketchbook . 1
_sketchbook . 2
_sketchbook . 3
Character Ilustration - Costume Design class assignment in which the students were to chose a character from a list of movies and dress them in a look from a collection from the last season’s fashion shows. The character illustrated is Plavalaguna, the alien opera diva from the movie “Fifth Element” (1997), wearing Vionnett F/W 2015.