Portuguese Soul Nº 5 - June 2013

PORTUGUESE

WHAT'S UP FANTASTIC FOUR KINGS OF THE WORLD NEW GENERATION PORTUGUESE FASHION ID

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credits

ONE MAGAZINE FOUR COVERS...

PORTUGUESE

PORTUGUESE

WHAT'S UP FANTASTIC FOUR KINGS OF THE WORLD NEW GENERATION PORTUGUESE FASHION ID

Director Editor-in-Chief

WHAT'S UP FANTASTIC FOUR KINGS OF THE WORLD NEW GENERATION PORTUGUESE FASHION ID

PORTUGUESE

WHAT'S UP FANTASTIC FOUR KINGS OF THE WORLD NEW GENERATION PORTUGUESE FASHION ID

Assistant Graphic Design Photography Styling Collaboration Illustration Special Thanks

President of APICCAPS Paulo Gonçalves paulogoncalves@mail.apiccaps.pt Cláudia Pinto Mário Teixeira (www.manifestoworks.com) Frederico Martins (www.fredericomartins.net) Fernando Bastos Pereira Catarina Rito, Ilídia Pinto, Inês Soares, Manuel Arnaut, Patrícia Gonçalves António Soares (www.antoniosoares.tumblr.com) AICEP Portugal Global, ANJE and ModaLisboa Ana Paula Andrade (ANJE), Doroteia Sá (CM OAZ), Fátima Santos (AORP), Manuela Oliveira (MODALISBOA), Mónica Neto (ANJE), Paula Ascenção Laranja (Min. Economia)

Advertising Coordination

Ema Aguiar Ramos (Pegada Criativa)

Owner

APICCAPS Portuguese Footwear, Components, Leather Goods Manufacturers’ Association Rua Alves Redol 372 4050-042 Porto Tel: +351 225 074 150 Fax: +351 225 074 179 apiccaps@mail.telepac.pt www.apiccaps.pt www.portugueseshoes.pt www.portuguesoul.pt

ISBN Circulation Printed by

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2182-2298 10.000 copies Orgal Impressores

PORTUGUESE

WHAT'S UP FANTASTIC FOUR KINGS OF THE WORLD NEW GENERATION PORTUGUESE FASHION ID

WWW.SANTOSSHOES.COM

EDITORIAL

editorial

Paulo Gonçalves Editor in Chief

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The Peneda-GerĂŞs National Park, in Northern Portugal, was the starting point for another edition of the Portuguese Soul magazine.

Tradition, culture, unparalleled sceneries are some of the most striking images of a country with nine centuries of history. They are also the cornerstone of the Portuguese fashion industry, with a business model based on the experience accumulated over generations.

As a result of a continuing commitment to the capacity to surprise with new products, combined with a service of excellence, Portuguese fashion is progressively asserting itself in the foreign markets. The embodiment of that strategy is the footwear industry. Over the last decade, it underwent a process of reinvention and, today, the Portuguese footwear industry is known worldwide for its credibility.

Portuguese shoes are currently sold in over 130 countries in five continents. Exports grew by over 20% in the last two years, even in an international context of generalised economic slowdown. In 2013, the difficulties increase, but even so, this industry’s numbers continue to astonish. In the first quarter of the year, exports grew again, this time by 6%. It is a new sign of vitality. Portuguese footwear is, once again, ready for new challenges.

TABLE OF CONTENTS 04/EDITORIAL08/A MATTER OF NUMBERS 10/MAKING OF12/PORTUGUESE SHOES 14/LEATHER GOODS18/WHAT’S UP22/ DESIGNERS26/I HAVE A DREAM28/FANTASTIC FOUR32/STRANGEST FEELING52/ KINGS OF THE WORLD56/NEW GENERATION60/PORTUGAL FASHION ID66/ MODALISBOA70/THE OTHER SIDE76/ ILLUSTRATION82/SOMETHING SEXY94/ PARTNERSHIP96/NUNO GAMA98/MIGUEL FLOR 100/JEWELLERY102/YOUNG DESIGNERS108/PORTUGAL 8-9

overview

A MATTER OF NUMBERS

A mathematical journey across the flat or vertiginous universe of shoes

by Manuel Arnaut

6,000

department of Macy’s in New York. This department store is proud to have the largest shoe display area in the world.

Number of pairs of shoes that APICCAPS secured from Portuguese brands to donate to Caritas, an association that supports families in need.

9 Century in which a Persian ceramic bowl

3,000 Number of pairs of shoes that Imelda

280,000 Number of pairs of shoes at the shoe

was made, with the first depiction of highheel shoes. It was recorded by Elizabeth Semmelhack, curator of the Bata Shoe Museum, in Canada, which has a collection of 13,000 artefacts from 4,500-year-old Egyptian shoes to modern-day models.

Marcos, wife of Philippine dictator Ferdinand Marcos, kept in her collection.

During the last 26 years of exile, Imelda’s collection was left abandoned and partially destroyed by floods and termites.

2,880 42 Amount in euros that Christian Louboutin Percentage of women who, according to a study by the American Paediatric Medical Association, admit they would wear a pair of shoes they really liked, even if they were uncomfortable.

40,000

Number of pairs of shoes that Luís Onofre manufactures, on average, each year.

161,800 Price, in euros, of the world’s most expensive pair of shoes. A creation of The House of Borgezie, each pair is handcrafted in gold and encrusted with 2,200 diamonds.

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was obligated to pay Zara as the result of taking legal action against the Spanish brand that, in 2011, also began painting the soles of its shoes red. Because of the vagueness in which Louboutin trademarked his soles, other brands have been following his example, such as Saint Laurent Paris, with whom the designer is also involved in a legal battle.

132

Number of countries where Portuguese footwear is sold. In 2012, about seventy million pairs of shoes were exported.

20 Number of centimetres of the heel of the shoe-sculture, adorned with Swarovski crystals, that Christian Louboutin created for a fund-raising auction for English National Ballet.

2014 Until the 31st of March of that year, in Florence, you can visit a retrospective of the brilliant career of Salvatore Ferragamo, one of the most renowned footwear designer in the world. “The Amazing Shoemaker – Fairy Tales and Legends about Shoes and Shoemakers” will be open to the public at the Ferragamo Museum.

back stage

MAKING OF Photos Pedro Sá

Portugal is a country of rare beauty, much of which is unknown to the greater public. Deep within the Peneda-Gerês National Park, near Lindoso Castle, there is a threshing floor surrounded by dozens of 17th and 18th-century granaries, in a unique assortment of unmistakable aesthetics. Entirely made of granite, each building stands on several short pillars, grounded on the bedrock and topped by millstones or staddle stones.

Upon them lies the granary, with the roof made of two granite slabs forming an obtuse angle, ornamented at the endpoint with protecting crosses, which also help ventilate the granary.

This was the stage for the “Strangest Feelings” editorial, photographed by Frederico Martins and styled by Fernando Bastos Pereira, and the main characters of which are played by Maria Borges, the Angolan model who stars in the Givenchy campaign, and Ruben Rua, one of the most competent Portuguese models of today.

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www.tatuaggi.pt

SHOES 14-15

WITH

CHARACTER

PORTUGUESE SHOES A GIANT STEP

Portugal exported, in 2012, 71 million pairs of shoes. For the first time, the sector broke the 1.6 billion-euro barrier.

Compared with the previous year, there is a growth of 4.5%.

2012 was a year of international assertion for the Portuguese footwear industry. With Europe experiencing a modest economic performance, the 2.7% growth of Portuguese footwear exports to the Old Continent deserves to be highlighted. Sales to France and Germany, the two main destination markets for Portuguese exports, grew to 4.8% (and a total of 424 million euros) and 3.2% (295 million euros) respectively, in 2012. Conversely, it is important to note the decrease of exports to the Netherlands (7% less, to 201 million euros), Spain (7.2%, to 162 million euros) and the United Kingdom (1.7%, to 124 million euros).

The investment made by Portuguese companies in markets with a high growth potential is starting to produce effects. Thus, non-EU markets were, in 2012, the main drivers of growth for Portuguese footwear, registering an increase of 33%. The highlights were Russia (42% growth to 23 million euros), the USA (50% to 21 million euros) and Japan (111% to 13 million euros). On the negative side, there were Angola (6% decrease to 15 million euros) and Canada (1% to 11 million euros).

In 2012, footwear reinforced its status as the product that made the most positive contribution to the Portuguese balance of trade. In fact, in 2012, Portugal imported 49 million pairs of shoes, worth 416 million euros (21% less).

With all things taken into account, the footwear industry registered a trade surplus of approximately 1.2 billion euros.

In the first quarter of 2013, Portuguese Shoes exports increased 6%.

leather goods

GROWTH 28% Investment in international markets is a priority for the Portuguese sector of hide and leather goods. In the last two years, several international brands discovered the national potential, but Portuguese brands are also increasingly active in foreign markets.

In 2012, exports grew approximately 28% to a total of 83 million euros. The greatest driving force behind this growth is the bags and purses sub-sector, which, relative to 2011, experienced a boost in sales of 47%, to a total of 45 million euros.

Portuguese leather goods are sold practically all over the world already. Spain (with an increase of 4.34% relative to the previous year, to 17 million euros), France (68% to 11 million euros) and Angola (25.07% to 6 million euros) are the preferred markets.

The sector is going through a positive phase, as Ana Maria Vasconcelos, CCO of Belcinto, admitted: “We are witnessing several interesting market trends. Major brands that used to produce in countries like China or India are now producing in Portugal.” The reasons? “There are several,” said Ana Maria Vasconcelos, but primarily because “these countries’ reality is changing very rapidly and very significantly.”

That is the case of Tunisia: “All major brands that used to produce in Northern Africa are now developing their collections in Portugal,” she offered.

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But there are also other explanations, according to the CCO of Belcinto: “Business is getting more difficult for all economic operators and in China, currently, it is no longer possible to produce small quantities.” At the end of the day, “the brands choose to risk less and conduct their business with greater certainty.”

But what does Portugal have to offer? Carla Sousa, managing partner of Ceancarel, assures that “Portuguese companies have specialized in the production of high-quality apparel and provide an efficient and particularly fast service.” From Carla Sousa’s point of view, “these are clear advantages over the major international competitors, like China.”

What is missing, then, for Portuguese leather products to reach new levels of competitiveness and, especially, to become an international reference? “We have to invest more than ever in the image and promotion of our companies,” Carla Sousa stressed.

leather goods

OLHAMAR Invests in New Brand of Accessories

Olhamar, a company specialised in the production of belts and other fashion accessories of excellence, has just launched the “Qu’on around you” brand. The début took place in Paris, during the WHO’S NEXT trade show.

“Qu’on around you” is a universal, youthful and free-spirited brand of men’s and women’s accessories, aimed at an urban and sophisticated public. With original and exclusive design, this new Portuguese brand stands out for the quality of its materials and follows worldwide fashion trends. QU’ON is destined primarily to international markets. Denmark, Sweden, France, Angola and Russia are some of the markets in which the brand will invest.

In operation for over 40 years, Olhamar produces high added-value belts and bags in leather, especially for major Portuguese brands.

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Luís Onofre Luís Onofre is a key personality of the Portuguese luxury footwear industry. Michelle Obama, Penélope Cruz, Cameron Diaz and Paris Hilton are only some of the women who already swear by the designer’s creations. His shoes are sold primarily in Europe, but have also reached markets as remote and surprising as Mongolia, Azerbaijan and Uganda. Now, Luís Onofre is preparing to expand in South America, with the opening of two shops in Colombia.

photo: frederico martins ASSISTANT: PEDRO SÁ

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NOBRAND

It is one of the most important Portuguese brands of footwear and it has just celebrated its 25th anniversary Nobrand is a defiant brand of footwear that continuously explores the diversification of its lines, combining the secrets of traditional shoe manufacture with the most recent production techniques. The brand is a recognised symbol of quality in international markets, but also of innovation in view of the materials used.

Conceived for people who like having a foot in the past and another in the future, Nobrand is a brand for youths of all ages, reminding us that, with the right attitude, less is more.

HUGO COSTA With a degree in Fashion and Textile Design from the Higher School of Applied Arts of Castelo Branco, Hugo Costa is a young Portuguese talent.

He began is career as a fashion designer in 2007, via the footwear sector, and has developed several collections since then.

Having participated in multiple competitions, the highlights go to his presence at the 2009 AcrobActic competition, where he won the prize for best male ensemble, and again in 2010, with the prizes for best collection and best male ensemble.

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Still in 2010, he was invited to present his collection at Espaรงo Bloom, within Portugal Fashion, where he has continued presenting every six months. This entire path led him to a collaboration with the Armando Silva footwear company, where he developed his Sneakers collection and where he collaborates in the design for the Metro Sneakers collection by Gino-B. Hugo Costa is the name of his brand, which is now kick-starting its internationalisation process.

CARLOS SANTOS

It is one of the most important and prestigious brands of men’s footwear in Europe, with several decades of experience in the manufacture of excellence in men’s footwear.

After having consolidated its position in the main European markets, the investment in new markets is now assuming a renewed importance.

From a strategic point of view, the USA are particularly relevant. The brand recently participated in the MRket 2013, which took place in New York. “This participation was important for us, who are still taking our first steps in the North-American market,” said Carlos Santos.

Lemon Jelly It is a highly specialised company in the production of footwear components. It is even one of the leading companies in the production of soles. Procalçado launched, at the MICAM, a new brand of footwear: Lemon Jelly.

José Pinto, CEO of the company, highlights the fact that “it is a new product, a new approach and even a new area of business.” Procalçado “is a company that produces soles and provides a service of excellence in the footwear industry for over 40 years.

Footwear components will continue to be the driving force behind our business.” As a supplement, Procalçado launched the Lemon Jelly brand, which is associated to another bit bet, Wock. “From an industry point of view and as a result from major technological breakthroughs, plastic has been growing in importance,” said José Pinto. For that reason, Procalçado began, in 2010, working on the injected footwear segment. The development of high-end plastic boots, for example, attracted the attention of prestigious international brands from the very start. “Lemon Jelly is a new project, it is innovative and it is a market trend.”

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COQUETERRA It attempts to combine tradition and innovation, with authentic details and functional attributes that give a strong identity to its eclectic collections.

Aimed at those who have a personal style in line with the latest trends and who are looking for a quality product, the concept of Coqueterra is defined by its creative interpretation of current trends and by creating contemporary styles. Uniquely and intelligently conceived to give its consumers an up-to-date and urban look, it is characterised by combining Northern European design with Portuguese materials and artisanal manufacture.

COMMON The recently established Portuguese brand of men’s footwear Common Cut has just presented its collection at ModaLisboa’s Wonderoom.

The interest in fashion shown by two friends drove them to develop, since early on, the desire to create their own brand.

The first steps were taken in March 2012, when they created the first customised pieces. It was the birth of Common Cut, the result of a great passion for fashion and of a devotion to the culture of differentiation.

SÍLVIA REBATO Silvia Rebatto wants to give its customers what they desire, even before they realise what that is. The shoes are elegant and comfortable, and designed to be worn both in daily life and in more formal occasions.

The brand strives to stand out, primarily, by its production quality: the use of good materials, the highquality leathers and the artisanal expertise of people who have been in the industry for many years.

SPECIAL THANKS: MARNORTE A4 www.marnorte.pt AMAZING STONES TO VERY DEMANDING CUSTOMERS

“It is not a brand of youthful footwear, nor classic. It is ageless.”

This is how the Silvia Rebatto brand positions itself in the market.

Owned by the HANDSTEPS Group, Silvia Rebatto is aimed at versatile women who want to be always one step ahead of footwear trends, and defines itself as demanding, versatile, cheerful, relaxed and daring.

PARADIGMA Headquartered in Guimarães, Paradigma took the opportunity presented by its 26th anniversary to strengthen its international commitment.

When it was established, in 1987, Paradigma had the main goal of satisfying the need of the Portuguese market for classic men’s footwear with leather soles.

Its shoe design was based on the Blake system, a forward-looking business model that remained prevalent throughout the company’s first 15 years of operation.

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In 2000, the company began approaching potential customers in European markets, with a particular focus on France. A little over ten years down the road, European markets are responsible for about 85% of the company’s turnover to markets as diverse as France, the United Kingdom, Italy, Germany, the Netherlands, Sweden and Denmark.

The company’s main priority is now the brand’s sustained commitment to international retail markets.

designers

GIL CARVALHO A PORTUGUESE IN LONDON Having established his name amongst the new breed of shoe designers, Gil has continued to build on his reputation incorporating many of the signature designs that have come to make Gil Carvalho shoes instantly recognizable and stand out from the crowd.

His unique creative vision and eye for beauty have lead to a collection filled with stunning pieces, as ever synonymous with sophistication and style.

Studying architecture before moving into shoe design helped the Portuguese designer to perceive and analyse objects in a different way, the inherent beauty that one sees in a beautifully constructed building can be seen in each and every pair of his shoes. “This collection depicts the way I felt while I was going through the design process, my life experience comes in as part of it, Fashion is an escape from the drudgery of every day life and this collection embodies that sentiment�.

With its emphasis on the sculptural, inspired by the Abstract artist Rolph Scarlett, the latest collection explores the relationship between a woman and her shoes, one that has endured the passage of time but remains as passionate as ever. The palette of colour gravitates from monochrome to metallic pink from deep matt through to the high shine of patent, a thoroughly paradoxical collection full of opposites.

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designers

I am one quarter of the way, it is huge

MIGUEL VIEIRA 25 YEARS OF CAREER Miguel Vieira, a designer who took Portuguese fashion to the four corners of the world, is celebrating the 25th anniversary of his career. A path strewn with success, with many kilometres of catwalks, thousands of metres of fabrics cut, many miles travelled, but still very far from the finish line. “Fashion is a giant ladder – the end of which can never be reached. Over the years, I have been climbing, one step at a time, but I am only one-quarter of the way. There is still a lot to do, many markets to conquer. Dissatisfaction is permanent, but we need to advance with the certainty that we are not biting more than we can chew,” argues the designer.

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Evolution is the keyword that Miguel Vieira chooses to describe the last 25 years. His own and those of Portuguese fashion.

“Things changed a lot, everything became more professional. We never had a great tradition in the world of fashion, unlike major cities like Paris and Milan, but we were able to take the right steps, and today we have a multitude of very professional people, including fashion models, agencies and hair stylists,” he says.

He does not, however, neglect his own growth as a creator, highlighting the “maturing” of his collections, all of them different, but always true to one guideline: the brand concept that he chose to constantly imprint upon his work.

“It was an entire learning process, always maintaining the capacity to learn from any mistakes to correct them in the following collection,” he argues.

2

2002

EXPANSION

INTERNATIONALISATION A symbol of elegance, charm and glamour, Miguel Vieira started in the world of women’s fashion, but quickly expanded to men’s fashion, to footwear, to accessories (eye-wear, jewellery, bags and belts) and even to furniture and interior design. His most recent venture is a children’s fashion line, Miguel Vieira Júnior.

Although his international career began only 15 years ago, Miguel Vieira has his products in points of sale in the four corners of the world, and 80% of his turnover comes from abroad. But production continues to be almost exclusively made in Portugal. “Exporting is the natural step for any designer. The same way that an Italian cannot focus only in Italy, we must look at the whole world and create a global brand. Any local market is always going to be too small,” he says.

And that is why his collections are always conceived for an international profile: “The collections cannot be designed having in mind only white skin, or only the average stature of European, Japanese or Australian women.

When I arrive at a trade fair with a collection, it will have to be attractive to buyers from all countries, regardless of their countries or hemispheres of origin.”

2005

And what are the brand’s expansion priorities?

Miguel Vieira highlights two in particular: the Russian and Brazilian markets. In Russia, he is reorganising his entire presence, preparing the opening of a showroom in the capital, Moscow, and an investment in the intensification of distribution of his products throughout the country. “Russia is a huge market and with an immense potential,” he stresses. In Brazil, and because he has dual citizenship (his mother is Brazilian), he is preparing a strong investment in the market, by creating the Miguel Vieira Brasil company. “I participated three times in the São Paulo Fashion Week, which is one of the most important fashion weeks in the world and highly professional. The Brazilian fashion market is very closed, and so we participated in these three latest editions in an effort to promote the brand in the country and with the major Brazilian opinion makers. I think that now is the time to move on with the commercial aspects, because we have been registering a growing demand from the market,” says Miguel Vieira.

For young designers, whom he always tries to help when they enter the market – believing that “we must grow in number if we want to project Portuguese fashion worldwide,” Miguel Vieira leaves a piece of advice: “Do not sit back.

This is a very tough profession that demands a gigantic effort, but it is worth it. Do not stay glued to your computer screens – roll up your sleeves and fight for what you want to achieve.”

2007

2009

STRANGEST FEELING photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA

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silk top - NUNO BALTAZAR gold plated pendant , necklace and ring - LOTOCOHO

Shoes-EXCEED Shirt, bomber jacket and trousers-HUGO COSTA 34-35

silk top - NUNO BALTAZAR gold plated pendant , necklace and ring - LOTOCOHO

Jacket - Mafalda Fonseca

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Shoes-BASILIUS Top, belt and trousers-DIOGO MIRANDA

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Shoes-J.REINALDO Top,trousers and ipad case-NUNO BALTAZAR

Shirt and trousers-RICARDO ANDREZ

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Shoes - CHIBS Jacket and trousers-MAFALDA FONSECA

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Shoes - CUBANAS Dress - SAY MY NAME

Ankle boots-SILVIA REBATTO Sweatshirt and mini skirt-ELISABETH TEIXEIRA 44-45

Shoes-PARADIGMA Shirt and trousers-RICARDO ANDREZ

Dress - Nuno Baltazar 46-47

Trousers-MAFALDA FONSECA 48-49

Shoes-VALUNI Jacket and trousers - MAFALDA FONSECA

photography styling production make up hair photography assistant styling assistant production assistant models RETOUCHING

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FREDERICO MARTINS FERNANDO BASTOS PEREIRA PAULO GONÇALVES 'APICCAPS' ATELIER PATRÍCIA LIMA RUI ROCHA with senscience Shiseido PEDRO SÁ NELSON LIMA Paula Portugal AND CLÁUDIA PINTO MARIA Borges 'L'AGENCE' and RUBEN RUA 'ELITE LISBON' LALALANDSTUDIOS

neoprene jacket - SAY MY NAME pendant and necklace - LOTOCOHO

Shoes - SÓNIA PATRICIO Top and skirt - NUNO BALTAZAR

people

by Manuel Arnaut

FANTASTIC FOUR Young and flourishing, four Portuguese individuals stack up success after success in the competitive world of international fashion.

We went to meet them.

Catarina de Lancastre Valente, Public Relations at Agatha Ruiz de la Prada, Paris.

My wish for fashion in Portugal is...

“Visibility and growth! We have an excellent textiles industry, recognised by major fashion houses and manufacturers from around the world. And our footwear is just as good...”

With diplomat parents, Catarina Valente lived in Sweden, South Africa, Belgium and Italy before she discovered Lisbon, at age 18 – “late in life.” In the capital, she completed her masters, always with the conviction that she would be working in the field of creativity. And so it happened. After working at Fashion TV Portugal and at Time Out Lisboa, Catarina Valente had her “big break” when she was invited to “prepare the launch of Baguera in March of last year.”

Despite the success achieved by the brand of accessories, with a lot of creativity and a small budget, Catarina went one step further and accepted an offer for a traineeship at the Agatha Ruiz de la Prada studio, in Madrid. And that is how, like in a fashion fairytale, her life changed unexpectedly. “I had been in the traineeship for one month, when the designer herself came to me and said, ‘Lancastre, I want you to go to Paris. It is a wonderful city and you will be a great public relations person. Shall we buy the ticket?’ Two months later, I was settled in the City of Light, with the goal of “Agatharising Paris,” she tells Portuguese Soul in an interview.

In the French capital, where it is sometimes necessary to break protocol – “like drinking beer instead of champagne” – Catarina Valente has her hands full. “I do whatever is necessary, and no two days are alike,” she says. “The brand’s shop is a kind of showroom where the designer’s entire presence in France is managed. One day I work in the organisation of an exhibition, the next I negotiate a partnership with a potential customer.” In the words of Agatha Ruiz de la Prada, which Catarina Valente shares with us, “hay que saber hacer de todo en la vida” [you have to know how to do everything in life].

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Jonathan AND Kevin Sampaio Models, New York and Milan.

photos Frederico Martins

Our wish for fashion in Portugal is...

“That it always continues to grow in a positive way and to focus on national talents in order to promote the quality of the country.”

Because only two are better than one, twins Jonathan and Kevin Sampaio are probably the most international of all Portuguese male models. Invariably featured on the pages of the industry’s top magazines, such as GQ and Arena, and photographed by key names in the fashion world, like Mert & Marcus and Ellen von Unwerth, the twins also collaborate with the most important designers.

The big break for the brothers from Felgueiras happened in 2007, when they visited Milan for their first international fashion week. A trip that could not have gone better for them: one of the first castings they did was for another pair of even more famous twin brothers, Dean and Dan Caten, from Dsquared2, with whom they immediately created an empathy.

“They are twins, we are twins. They are extroverted, so are we... They liked us and, ever since then, we have been working with them. We became the other Dsquared2 twins,” says Jonathan Sampaio.

In addition to totting up campaigns for other respected brands in their résumés, such as Strellson or Boglioli, it is with Dsquared2 that the brothers do some of the work that make them stand out the most from the competition. After all, it is not everyday that a designer decides to produce two t-shirt models honouring his golden boys. “If being associated to the brand was already good, having our t-shirts in the collection is very prestigious,” says Kevin when we ask him about this partnership that hit the shops in the spring and in which the Sampaio brothers’ image was the starting point for two of the season’s key pieces.

“When Dean and Dan were with us in Portugal, last year, the idea of them photographing us arose – without them really knowing what they would do with it. They thought the images photos looked really good and decided to make the t-shirts. It is a source of pride, for us and for Portugal, to be associated to such an important international brand.”

people

photos Miguel Domingos

PEDRO LEÃO

Sales assistent at Ralph Lauren Black Label and Christopher Kane, in Paris, Milan and Brussels.

MY wish for fashion in Portugal is...

“Internationalisation. It is essential to be present at international trade fairs and to be represented by showrooms or agents. Those are crucial elements for the growth of a brand.”

At a time when the world of fashion moves at an overwhelming pace, Pedro Leão is at the very centre of all the action, playing a key role in the functioning of the style “engine.” Yes, the models are important. Yes, so are the designers.

But how would there be any business if there were no actual men on the ground, knowing the collections better than anyone and selling them to major shops’ and department stores’ buyers? That is precisely the job of Pedro Leão, sales assistent at Ralph Lauren Black Label and Christopher Kane, in Paris and Milan.

“They are two very different brands, with very full sales campaign schedules – both with main collections and pre-collection – on dates that often overlap,” he says when describing the challenges of his profession. “The other test is being able to adapt the collection to each buyer’s market, whether they come from China, Brazil, Japan or the Middle East. All with different cultures, customs and weather conditions!”

As if this were not enough, Pedro Leão, who has been living in Brussels since 1996, is also the agent for Portuguese jewellery brands at Bijorhca, one of the industry’s major trade fairs, established in 1930. “Despite Portugal being a country with tradition in the art of goldsmithing and jewellery, it is still unknown in the international markets,” he comments. “Nevertheless, we have had brands with very interesting works. Carla Matos’s project, MateriaLab, was able to get impressive points of sale, like the MoMA in New York and in Tokyo and the Grand Palais in Paris. Another example is Valentim Quaresma, who, in the 2013 edition of Bijorhca, had an exhibition that was visited by 14,000 people in four days. The evolution has been impressive.”

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“When I don’t have to be in Paris or in Milan, I prefer to be Lisbon,” he says. “Like any emigrant, I love the beach, the music, and my friends and family.”

people

The participation of Portuguese models in international campaigns is not just about angels falling from heaven.

Far from it. If it is true that the presence of Sara Sampaio amongst Axe’s angels is hard to forget – who doesn’t remember the ‘Even angels will fall’ commercial? – there have been many other campaigns featuring Portuguese names. Calzedonia chose Sara Sampaio and Gonçalo Teixeira for its swimwear summer campaign, and Victoria Secret’s picked Sharam. But there are many more.

Vanity Fair Italia published an 11-page editorial with twins Alice and Andreia Contreiras, and Fernando Cabral was featured in the cover and in an editorial of Numéro Homme. Luís Borges, named last year as one of the ten most influential individuals in men’s fashion worldwide

by Obvious Magazine, is a habitual participant of top catwalk shows and has already starred in campaigns for Tommy Hilfiger, Benetton and Tom Ford, amongst others. Milena is one of the most requested models and she lives between Lisbon, Paris and New York, working with Carolina Herrera, Karl Lagerfeld, Hermès and Christian Dior, amongst others. And there are plenty of young talents taking their first steps abroad, such as Vick, who did the Samsoe campaign in Denmark and the Zippo Fragrances campaign shot in Milan; Edir, who participated in the Guess catwalk show, also in Milan; or Jani, who has been very successful in Spain. And we could continue giving examples, but let us focus on four cases of great success:

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KINGS OF THE WORLD Sara Sampaio

Sara Sampaio is the most international of Portuguese models today and lives mostly in New York. She starred in the Calzedonia Summer Show, in Italy, and recently reinforced her connection to Victoria’s Secret by becoming the official face of its PINK line.

Be Magazine, in its May edition, devotes her a fashion and beauty editorial and refers to her as “The bombshell of Victoria’s Secret.”

What is the secret? Sara assures us that there is no magic formula. It is necessary to have the right look, but also to be “focussed and to define objectives.” She often says that “it is enough to be in the right place at the right time.” But then, to stay in the industry, “it takes a lot of discipline and professionalism. Taking the right decisions and knowing whom to trust.” And let us not forget stamina. “You need to be strong, because you are told no every day, and it is necessary to learn not to take it personally,” she stresses.

FERNANDO CABRAL

Fernando Cabral is considered by many as the most international of Portuguese male models today. He is not only in the cover of Numéro Homme, a magazine of reference in the world of fashion, but has also been featured in an editorial in the same magazine. He was the face of campaigns for H&M, Iceberg, Stone Island and Benetton, and did catwalk shows for Vuitton, Galliano and Hugo Boss, amongst others.

“Commitment and dedication” are essential in this profession, says the young model, as well as having “the capacity to believe that we can make it, without ever losing motivation,” because “obstacles appear every day.” International success depend on one’s image, but also on one’s “professionalism, congeniality, humility and hard work” to stay “in peak physical condition and informed about the fashion industry, the trends, the collections, the campaigns, the editorials, the photographers.”

people

SHARAM

In five years, Sharam conquered Paris, London and New York.

And she made her dream come true in November 2012 by participating in a catwalk show for Victoria’s Secret, becoming the first Portuguese model to do so. More recently, she did the same for Vivienne Westwood, in Paris, and was on the cover of the April edition of GQ Portugal. A good agency and a good balance of “trust, credibility and motivation” in the relationship with the agent, Sharam says, are fundamental for the success of an international career, which is the result of a “joint effort.” And because it is not an easy life, the model represented by L’Agence Models assures us that “the support of the family is essential” to triumph in the world of fashion. “Not all days are going to be good days, and so I count on them for the encouragement and the strength to face the day after,” she says.

GONÇALO TEIXEIRA Gonçalo Teixeira is one of the stars of the Guess campaign for the 2013 spring/summer season, shot in the beaches of Bora Bora by Yu Tsai. This is the third campaign that the Portuguese model does for the prestigious international brand. Gonçalo Teixeira was the international face for brands such as John Richmond, Braun CruZer and Cesare Paciotti. “An adventurous spirit, the willingness to go further and some spirit of sacrifice” are the characteristics that the young model considers necessary to triumph in the world of fashion, since it is a career where “you spend a long time away from those we love.” As for building a successful international career, it is all about “staying in shape and keeping your body well taken care of and in good health” and, of course, “having a good set of agencies throughout the world, starting with the primary agency,” which in his case is Central Models.

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* Dance como se ninguém estivesse a olhar. only2me - por mãos portuguesas

www.facebook.com/only2meshoes www.only2me.com

“Dance like nobody is watching”

pressSS13_A4_AF.indd 1

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young designers

Emerging talents. Individuals on the rise who, little by little, become well-known to the public at large. The new blood of Portuguese fashion establishes itself and sets off to conquer the international markets.

Unavoidable platforms for new designers to gain visibility, ModaLisboa’s LAB and Portugal Fashion’s Espaço Bloom are now a reference and a doorway to the future.

Daniela Barros, Andreia Lexim, Catarina Cerqueira (SAYMYNAME) and Os Burgueses (Eleutério e Mia) talk about their creative processes, projects, current circumstances and proposals for the next season.

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Eleutério AND Mia Os Burgueses

How does your creative process work?

We always start by raising a question and then look for possible answers. Since the world always presents us with such varied routes, each collection ends up having its own methodology and that is something we enjoy. We do not like to think always the same way.

In what way do the country’s current circumstances influence, or not, your creativity?

It has the same influence as any other circumstance, because we are influenced by everything around us.

What is the message of this collection?

Believe what you see and feel... without “pre concepts.”

How is it to be a young fashion designer in Portugal?

Being “young” is not easy, fashion has been rated as one of the three toughest professions in the world, and Portugal is the way it is, but this is the life we chose [wide smile of happiness].

Goals and projects: Where would you like to go?

Internationalising the brand is a major objective for us. Then, come the others...

Your favourite piece (from this collection) and why.

The white shirts with Rorschach test-inspired prints.

Daniela Barros How does your creative process work?

The creative process is very broad and a little hard to define in terms of rigorous steps, because there is never a moment that is void or null. It is a constant, evolutionary and unsatisfying process.

In what way do the country’s current circumstances influence, or not, your creativity?

It does not influence creativity, but it constrains partnerships with companies and even the purchase of more specific materials.

What is the message of this collection?

It is a young collection, but one in which there is always an austere, dark woman, although delicate and feminine. The body/protection relationship is the key aspect of the collection, something that has always been present in human history in a more evident or more dissimulated fashion.

How is it to be a young fashion designer in Portugal?

I increasingly feel that the work of young creators is cherished both by the public and by the press.

On a commercial level, there is a difficulty in terms of affirmation, but it is a natural process that must be overcome with persistence.

Goals and projects: Where would you like to go?

At the moment, I want to assert my work with more maturity and reach a global market.

Your favourite piece (from this collection) and why.

The coats, especially the beige one, because of its rigid geometric composition, in contrast to the light and delicacy of the colour.

young designers

photos Sal Nunkaxov

Catarina SEqueira SAYMYNAME

Andreia Lexim How does your creative process work?

For me, the creative process involves paying attention to the most trivial and the most extraordinary things. I pick something that touches me and try to find its potential to become an inspiration or the basis of my work. A collection is transmutable, the result is never what was imagined at the start.

In what way do the country’s current circumstances influence, or not, your creativity?

Not only the country’s current circumstances, but everything that happens in our lives influences the way we see things. I would love for creativity to remain untouchable, because it is an essential part of our work. I know that the current context does not let me evolve as quickly as I would prefer, but “slow and steady wins the race.”

What is the message of this collection?

I took inspiration from 1960s minimalism and from the work of Richard Serra, his scultures and painting exhibitions, using only black and white and a few dashes of colour. I took inspiration from the texture of some of those sculptures, caused by the environment itself – they were decaying, the paint was chipping, and that gave me the idea for painting on fabric, exploring stencil techniques, using 3D paint, I painted sweaters, gloves, socks.

How is it to be a young fashion designer in Portugal?

It is important to demystify that issue of being a “young designer,” because people immediately start thinking about low-quality amateurish work, and that prejudice could not be farther from the truth. It is true that we are young, still have a lot of maturing to go through, a lot of evolving, but there are new designers currently presenting excellent, high-quality work, both in terms of conceptualisation and in the materials and manufacture, and who will possible be the future of fashion.

Goals and projects: Where would you like to go?

I would like to have my own brand, but this is not a good time for Portugal. The solution includes selling to foreign markets. I am also quite fond of the footwear sector. I would like to develop my own line, collaborate with the industry or even work in a footwear company.

Your favourite piece (from this collection) and why.

The interwoven coat in white bouclé, with two metal zip fasteners on the sides at the waist and side openings that show a bit of skin. It is part of an outfit that I love, it has a very ethereal look and, at the same time, it is quite striking.

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How does your creative process work?

It often starts with a desire and/or a premonition. The season’s trends and fabrics frequently provide a motto for the creation of the collection, which is done in stages – as the designs emerge, the draping of the fabric, the shaping of the piece, I get ideas for other designs.

In what way do the country’s current circumstances influence, or not, your creativity?

It ends up contaminating it a bit, but because I work essentially for foreign markets, and especially in Asia, with a purchasing power that is substantially higher than ours, it allows me to widen my selection of materials and shapes.

What is the message of this collection?

The collection was inspired in the work and mind of Victorine Muller, a Swiss performer, painter, sculpture and sound artist, and it tells us that creation – of clothing, in this case – has the capacity to communicate emotions and that those who wear the creation can connect with it and be transported to a different state of mind.

How is it to be a young fashion designer in Portugal?

In Portugal, there are showcases, like ModaLisboa and Portugal Fashion, that allow young designers to present their work. But there is still a lack of support and know-how regarding the commercial side, which is not taught at school, and to which most are oblivious. In my case, my experience in sales and distribution allows me to place my brand in a global market and reach the customer.

Goals and projects: Where would you like to go?

In the future, I intend to grow my network of points of sale and my work team.

Your favourite piece (from this collection) and why.

The bubblegum-pink jacket. I like the fact that it is an outer-layer piece but transparent and light.

www.flexgo.pt geral@flexgo.pt | +351 255 760

young designers

“When I design a shoe, I imagine the whole look, including trousers, coats, hats...” and then only the shoes remain.

One day, who knows, maybe that complete look will become reality”, says Miguel Ramalhão.

I HAVE A DREAM

by Ilídia Pinto

From the conjunction of British style, Italian elegance and Nordic irreverence, Ramalhoni was born – a footwear brand 100% “Made in Portugal”, with a philosophy based on the notions of uniqueness and differentiation, essential concepts for today’s consumer.

Ramalhoni is targeted at men between the ages of 35 and 60, who enjoy luxury items, “are tired of faceless brands with no identity, have an interest in small, independent manufacturers and are willing to pay for a unique product.” The first collection, already with three distinct lines of products, was presented this spring at GDS, in Düsseldorf (Germany), where it was received with great interest.

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RAMALHONI Luxury Footwear for Men Tired of "Faceless Brands"

Miguel Ramalhão, with a degree in Microbiology and a post-graduation in Contemporary Art, is the entrepreneur behind the brand. Making shoes was not in his plans. It all goes back to January 2011, when Miguel Ramalhão was looking, without success, for a classic longwing brogue model. At a store, he met a young man who suggested that Miguel designed what he wanted, and he would have it made. A few weeks later, he received exactly what he wanted. “They were incredible,” he says. He published some photos on his menswear blog, and they were an instant success. He realised he could turn it into a business.

First, he designed one model, then another two, and then two more. And thus was born the Made to Measure line – extremely highquality shoes manufactured from outstanding materials – that now includes eight models.

But the collection has two other lines. The five Goodyear Welted or Ready to Wear models, which start from the same basic elements of the made to measure shoes, but with a few youthful twists. And finally, the Sneakers line, which includes four models and is a reinterpretation of the minimal concept, reducing the most classic British designs to bare minimum as trainers, with a touch of irreverence, by adding bolder materials, like serrated or recycled soles.

All share the same core element, which is the excellence of materials, from the leathers to the linings.

And how is it, then, that British style, Italian elegance and Nordic irreverence combine in Ramalhoni shoes, and where does its Portuguese side come in? “We combine the best of these three worlds: to the British style, which is the base of all our design, we add the Italian elegance, although adapted to our concept, with leaner shapes, and, finally, the Nordic irreverence, present both in the simplest and most minimal concepts and in the introduction of some bolder materials.

From Portugal, we have the know-how of a centuries-old footwear industry, which allows us to present all this under a high-quality luxury brand,” Miguel Ramalhão explains.

At the same time that he focusses on placing his products in the best department stores in the world, especially in countries such as the USA, the UK, France and Japan, as well as in emerging markets like China and the Middle East, the young designer will soon open his own online store, where he will have not only his shoes on sale, but also a line of accessories.

The goal, in the future, will be to develop a clothing line, to present a complete look.

This document has been established with the financial assistance of CTC, Tax and Subsidies Department.

design graphique : les Graphiquants

Parc des exPositions

Paris nord ViLLePinte haLL 3

aUtUMn

14/15 Winter

17-19 sePt. 2013

WWW.LecUiraParis.coM

portuguese fashion

Three decades ago, there was no “fashion” in Portugal.

Foreign designs were reproduced with their creators’ authorisation and the few couturiers that existed would import patterns and fabrics from France or Italy, the iconic references of the time.

From these patterns, they would then manufacture garments meant for a very restricted elite. Only much later, with all the political and ideological changes that took place in our society, did the first major brand boutiques start to appear in Portugal and, with this increase in offer, the Portuguese people developed a new attitude towards their image.

It was in the 1970s that Ana Salazar became the first Portuguese fashion designer to be acknowledged internationally.

In 1991, Eduarda Abbondanza and Mário Matos Ribeiro accepted an invitation from the City of Lisbon’s Tourism Board to develop a project with the ultimate goal of disseminating and promoting Portuguese fashion.

ModaLisboa became, then, the first professional structure aimed at presenting the collections created by Portuguese designers. Along with the catwalk shows, the event integrated the Sangue Novo [New Blood] competition, aimed at discovering new talents and offering them the opportunity to show their creations.

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A few years later, in June 2005, the first edition of Portugal Fashion takes place in Porto.

Organised by ANJE (the National Association of Young Entrepreneurs) in partnership with ATP (the Textiles and Garments Association of Portugal), Portugal Fashion would become another reference in the sector.

Circumventing the inherent difficulties of the country’s economic situation and the lack of consistent support, Portuguese fashion has been asserting itself little by little in Portugal and abroad.

Today, after little over 20 years, the numbers speak for themselves: 17,000 companies, 200,000 jobs, 6.7 billion euros in exports, 2.8 billion euros in trade surplus and 180 export markets.

As an economic sector that can leverage expansion and productivity dynamics, Portuguese fashion reveals and asserts itself and seeks new paths. Internationalisation is the keyword.

In the moment we find ourselves, there is a need for reflection on this theme:

Is there a Portuguese Fashion?

Does it make sense to speak of “Creative Identity” in a context in which the markets (brand/consumer dichotomy) were absorbed by general mass trends?

Where are we? Where do you want to go?

ModaLisboa’s general-director and mentor Eduarda Abbondanza, renowned fashion designer José António Tenente, and footwear entrepreneur Paulo Brandão reflect on this theme and leave their testimony on these three essential questions:

1 - Can we speak of an “Identity of Portuguese Fashion”?

If so, what are its distinguishing characteristics?

2 - Is the globalisation of fashion a determining factor for the competitive needs of the market or, on the other hand, is differentiation the key element of responsiveness?

3 - What road must we take to find that identity?

In Eduarda Abbondanza’s opinion, if, on the one hand, international fashion is influenced by a number of other disciplines, on the other, it is in itself the discipline that most accurately reflects the society and the social context in which we live. Futuristic and ahead of its time, it is simultaneously supported by its own history. “In terms of identity of Portuguese fashion, and based on systematically surveying the opinions of the press and of international buyers, I could say that it is distinguished by the way Portuguese designers combine colours. I think that this is the most relevant characteristic of Portuguese fashion, which may also refer to the light, the reflection of the ocean that accompanies us and that is often identified by foreigners who visit us.”

For José António Tenente, on the other hand, speaking of “national identities” does not make a lot of sense.

“Given the weight of tradition, maybe the fashion hubs of Paris and Milan have a mark that is more easily recognisable, or at least they may have built a collective imagination around themselves. I think that identities are more connected to the authors/creators, who reflect their personalities onto their respective works. We may therefore find parallels in various locations across the globe and define currents of style, because, in fact, the things that inspire, motivate and interest those who generate ideas may have a common denominator.”

Footwear entrepreneur Paulo Brandão defends that “everyone is making a lot of effort to increasingly show our identity to the world, and therefore it is important to create the conditions for it to happen in the best possible way.” He says, however, that there is still a long road ahead of us.

With regard to the “globalisation” phenomenon and to whether or not is is determining for the competitive needs of the market, Eduarda Abbondanza agrees, with one proviso: “If, on the one hand, internationalisation on a global scale is determining for major companies, on the other hand it will only be successful if it is based on clear differentiating elements that refer to our cultural heritage.”

José António Tenente disagrees, claiming that “globalisation is a poisoned chalice... and fashion is an easy target. Its inherent contradiction between massification and individualisation is a breeding ground for furthering that global message, and also because the profitability of large-scale projects depends precisely on that globalisation.

Nevertheless, the niches and the customisation (even if often in appearance only) also have an increasing space in this global market.

Differentiation will always be an asset, because it will always be an expression of creative power.”

In the context of footwear, Paulo Brandão defends that it is differentiation and identity, along with good work continuity, that are the key elements for meeting the demands of the international markets and the competitiveness of the brands.

Portuguese Fashion: ID – What road must we take?

For Eduarda Abbondanza, that voyage has already begun. “Several designers are already basing themselves in elements that are part of Portuguese culture. The road to discover that identity also involves appreciating what is ours and working in new contexts, always seeking differentiated languages.”

For José António Tenente, this process “surely does not involve any folkloric reconstitution regionalism. We may even interpret national/ regional values and symbols, incorporating new readings and new points of view, but on its own, it will not be enough. In fact, our surroundings are determinant for what we do.

It is not the same to grow in Portugal or in Sweden, in Paris or in New York. Even within Portugal, it is different to live near the coast, in an urban centre, or in the interior of Trás-osMontes. In the era of information and of rapid and widespread access to everything that is happening around the world, I believe that there are still constraints and specificities that make a difference. And we also have a lot of things that define and that even today shape us as a people: for example, a relevant historical past, an entrepreneurial and adventurous spirit, but also fear, unfortunately.»

In the pragmatic view of Paulo Brandão, the assertion of an identity will arise from “persistence and commitment,” always working towards competing on equal terms with the international markets.

PORT UGAL FAS HIO N

DIOGO MIRANDA

by InĂŞs Soares The national proposals for the 2014 winter season took to the catwalk at Portugal Fashion from 20 to 23 March, under the motto of VIBE. Nine young designers, nine renowned creators and seven brands of footwear presented their models, colours and concepts that will set the trends for next season.

Portuguese fashion asserts itself and crosses borders towards international markets. In adverse economic circumstances, it shows that creativity, know-how, motivation and entrepreneurial spirit are determining factors for overcoming obstacles in search for new opportunities.

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photos PORTUGAL FASHION

catwalk

The first day of the event took place in Lisbon, where the Carpe Diem Gallery (Espaço Bloom’s venue) hosted Susana Bettencourt, Hugo Costa, Andreia Lexim, Estelita Mendonça and Daniela Barros. Young and irreverent proposals that, little by little, are finding their place in the markets and making their creators’ names known and acknowledged both by the press and by fashion-conscious costumers. Coordinated

by Miguel Flor, this platform has been asserting itself, since 2010, as a showcase for emerging talents.

Also in Lisbon, on the main catwalk, there were presentations by the Alves/Gonçalves duo and by Fátima Lopes, who returned to the Beato Convent (an iconic place in the history of her career) with a graphic and architectural collection inspired by the shape of a diamond. Tight-fitting trousers, knee-high dresses and skirts set in opposition to bulky shapes, communicating the elegance and sophistication of minimalist silhouettes.

In her return to Porto, on the second day of catwalk shows, Katty Xiomara won the public acclaim and turned out to be the highlight of the evening, leaving no one indifferent to a high-quality women’s collection, as much for her formal work as for the cut, detail and general look of the outfits.

The affirmation of her creative identity was communicated through inspiration in new forms of urban art joined with traditional decoration concepts, such as the azulejo tile.

FELIPE OLIVEIRA BAPTISTA

DIELMAR

FÁTIMA LOPES

catwalk

KATTY XIOMARA

PORT UGAL FAS HIO N Next came Júlio Torcato, with his men’s collection “Porto.” Classic and contemporary combined in pieces that were executed in the best tradition of tailoring, as part of the announced bespoke revival that we have been witnessing.

Anabela Baldaque presented a casual pop diva. Cheerful looks with dashes of colour in daytime outfits.

The third day began at Espaço Bloom, with Cláudia Garrido and Carla Pontes. In the showroom, Ricardo Preto presented his Meam collection, and Diogo Miranda covered the catwalk with glamour and ladylike timeless sophistication. The feminine and elegant universe appeared in contrast to oversized masculine elements.

Luís Buchinho’s knitwear, inspired by 1970s’ industrial design, made an urban collection for daily wear, featuring graphics, bars and blocks of colour, as well as a partnership with footwear brand Helsar.

Miguel Vieira, celebrating the 25th anniversary of his career, honoured all the women in his life with the sophisticated looks that he is known for, in silhouettes alternating between the hourglass and the rectangular.

Oversized coats, loose-fitting trousers, short or kneehigh skirts and dresses playing with volumes, asymmetries and juxtaposition of materials.

The evening closed with “Origens” [Origins] from the TM Collection by Teresa Martins.

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The fourth and final day began with the joint catwalk show of the textile brands, featuring Concreto, Cheyenne, Mad Dragon Seeker and Don Colletto, followed by the joint catwalk show of the footwear brands, with Cohibas, Fly London, DKODE, Goldmud + Alexandra Moura, J. Reinaldo, Nobrand and Silvia Rebatto.

Teresa Abrunhosa, Carlos Couto, Andreia Fonseca, João Melo Costa and Klar presented their work at Espaço Bloom, while Vicri, Dielmar and Lions of Porches unveiled their ready-to-wear trends on the main catwalk.

The highlight was Carlos Gil’s urban and wild women’s proposal, which combined 1960s’ and 1970s’ influences in tailored silhouettes where classic lines and exuberant materials were approached from the point of view of assertive femininity.

Felipe Oliveira Baptista brought the collection that he recently presented at the Paris Fashion Week to Portugal Fashion. “Inquietude” [Disquiet] was inspired in images and performances by artist Helena Almeida, in the film Tabu by Miguel Gomes, and in The Book of Disquiet by Fernando Pessoa.

HUGO COSTA

Hybrid pieces, in a play of shapes between rigidity and flexibility, were worked with materials that suggest light effects.

Highlighting the affirmation of Portuguese footwear in the world, Portugal Fashion closed its catwalk show line-up with Luís Onofre’s latest collection.

The main trend is black, and the designer reinvents with “Black is back.”

Black is explored in various shades and materials (suede, box calf, croco and fur), adorned with metal inlays and featured in tall boots, ankle boots, galoshes, stilettos and sandals.

Sophistication versus casualness, from flat heels to vertiginous 16-cm heights.

Shades of brown, moss and bordeaux in horse-riding mood and oversized rigid purses in different shades and materials.

LUÍS BUCHINHO

by Catarina Vasques Rito

catwalk

THE MOMENT OF ‘TRUST’ FOR AUTEUR FASHION

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photos RUI VASCO (MODALISBOA)

catwalk

40 editions of ModaLisboa to continue proving that Portuguese auteur creativity is in good shape and has the maturity to reach new heights. Moments of trust in the midst of a crisis, with the commercial aspect falling in line with auteurship. Lisboa is a showcase that deserves more attention from those who can help our fashion go farther.

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RICARDO DOURADO

VALENTIM QUARESMA

by Catarina Vasques Rito

3, 2, 1... Action! It began, presented and concluded. Moments of crisis can generate great creative movements. ModaLisboa is one of the main showcases of Portuguese fashion, the value of which is acknowledged by all. A large number of the collections presented showed that there is a will to succeed in this sector, but also revealed the difficulties that the rest of the country is facing.

The struggle against adversities is a task for creators and for consumers, but also for those who are not afraid to invest and take a chance on national talent, and to take it to other, more competitive markets. The latest edition – three days long, one fewer than usual – exhibited an interesting and cohesive schedule.

The visible reduction of resources, a symptom of our times, does not imply that the organisation should throw in the towel and give up showing the best of our auteur fashion. “Each edition must bring a new reflection about the structure.

In times of diminishing budgets, this new reflection means cutting – but never giving up. We still want to present our designers’ projects, to help them in any way we can, and to promote national fashion abroad. That is the reason ModaLisboa was born, and it continues to be its objective. But we don’t always do it under ideal conditions,” says Eduarda Abbondanza, the general director of ModaLisboa, to Portuguese Soul.

The 19 collections presented did not all have the same level, but the final balance was above average – and included the precious and increasingly notorious help of the footwear sector, which has been combining efforts with many of the designers who participate in this platform, either through partnerships or through simple collaborations. The truth is that, as a whole, a look shines much brighter when the shoes are created with a specific concept and collection in mind – and when both are Portuguese. From this edition, under the theme of ‘Trust’, I highlight the 2013-2014 autumn-winter proposals by Luís Buchinho, inspired by the Carnation Revolution and by the 1970s; White Tent, an admittedly urban brand; Aleksandar Protic; Miguel Vieira, celebrating the 25th anniversary of his career and always true to his own style; Filipe Faísca, undoubtedly one of the best collections of this edition and one of our best designers; Ricardo Preto, who stands out for his awareness that creativity and commercial aspects are not enemies, and that they must coexist; Ricardo Dourado, who maturely takes on the punk-rock concept for an urban tribe; Saymyname, by Catarina Sequeira, a success in Asia that is seeking welldeserved recognition in Portugal; Nuno Baltazar, true to himself; and Ricardo Andrez, with a very urban approach to streetwear, appealing to men who like unique proposals.

But ModaLisboa is more than its catwalk shows; ModaLisboa also has other events taking place in parallel, such as film screenings, conferences, debates and, in this edition, there was the opportunity to make room for new projects in the Wonderoom. 12 emerging Portuguese brands with varying levels of recognition were present at the West Turret of Pátio da Galé at the time of the catwalk shows, displaying their projects, fashion, accessories and gourmet products to visitors. This initiative was well received both by the participants and by the public, and therefore it may return in the next edition of ModaLisboa.

MIGUEL VIEIRA

ARLINDO CAMACHO

catwalk

"SAYMYNAME"

THE OTHER SIDE JOURNEY INSIDE MODALISBOA ALEXANDRA MOURA

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"OS BURGUESES"

RICARDO ANDREZ

PEDRO SACADURA

catwalk

NUNO BALTAZAR 78-79

ALEXANDRA MOURA

DINO ALVES ALEksANDAR PROTIc

catwalk

TELMA RUSSO

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ALEksANDAR PROTIc

nuno baltazar

PEDRO PEDRO

nuno baltazar

catwalk

PORTUGUESE FASHION . .

ILLUSTRATED António Soares

António Soares has been collaborating with the Portuguese Soul magazine since the first issue. For this edition, we issued him a special challenge: that, using the Portuguese fashion week as a starting point, he presented us with a set of illustrations for the best Portuguese designers. This is the result.

António Soares has been gaining notoriety for the quality of his fashion illustrations, season after season. With an impressive technical dexterity and a shrewd awareness of the potential of the materials that he works with, such as gouache and watercolour, the artist displays a predilection for manual craft in his work.

His interpretations of creations selected from amongst the most recent collections

by Portuguese fashion designers give them a completely new graphic expression and charisma. António imprints each look with an attitude by associating facial expressions to a pose, to a body language.

Also noteworthy is the colour of his amazing compositions. The patterns of the pieces are minutely detailed in extremely interesting chromatic harmonies and contrasts.

António completed his degree in Fine Arts (painting) at the School of Fine Arts of the University of Porto. Since then, he has devoted his time to painting and illustration, as well as to artistic education – in fact, fashion illustration came about at the time he was teaching that subject of the Fashion Design course at CITEX.

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RICARDO DOURADO FALL 2014

catwalk

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PEDRO PEDRO FALL 2014

ALEXANDRA MOURA FALL 2014

catwalk

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NUNO GAMA FALL 2014

LUÍS BUCHINHO FALL 2014

photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA

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FOOTWEAR: HELSAR CLOTHING: LUÍS BUCHINHO

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photography styling production make up hair photography assistant styling assistant production assistant make up assistant modelS retouching UNDERWEAR AND JEWELERY

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FREDERICO MARTINS FERNANDO BASTOS PEREIRA PAULO GONÇALVES ''APICCAPS'' ATELIER PATRÍCIA LIMA RUI ROCHA with senscience Shiseido PEDRO SÁ NELSON LIMA PAULA PORTUGAL HELENA ALMEIDA ALEXANDRINA "ELITE LISBON" LALALANDSTUDIOS SYTLIST OWN

partnership

The partnerships between fashion and the footwear industry are moving towards a perfect relationship. For years, they turned their backs on each other, as if dialogue between them were impossible, but, as can be seen from each new edition of the Portuguese Fashion Week, we are witnessing a creative and productive coming together of the two sectors, from which both parties have a lot to gain. The proof is in the relationships between Luís Buchinho and Helsar, Alexandra Moura and Golmud, Júlio Torcato and De Gier, Basilius and Pedro Pedro, Protic and DKode, Nuno Gama and Eureka...

by Catarina Vasques Rito

Acknowledging that the effort of years is beginning to bear fruit is, above all, a pleasure for those who work in the world of fashion, especially in Portugal, where there is quality design, qualify manufacture and quality production. For decades, however, one of the strongest Portuguese industries lived with its back turned to national creativity, a situation that is gradually changing – and rightly so!

ALKING SIDE BY SID

Over the last few years, designers and footwear brands decided to combine their know-how to expand their collections, which are presented twice a year at the main events of national fashion – ModaLisboa and Portugal Fashion – and exhibited at international trade shows. These partnerships end up bringing positive results to all parties and captivate the customers, who help promote the image of Portuguese fashion as a whole.

This recent relationship between fashion and footwear industry has already produced successful outcomes, proving that it is not true that designers are dazzled individuals who do not like to work, nor that the footwear industry is an inward-looking sector that is only responsive to foreign talent.

Proving this effort is the work undertaken

by Luís Buchinho, one of the top designers of Portuguese fashion, who recently established a partnership with Helsar, after collaborations with other brands failed to produce results. Helsar is one of the most successful brands of footwear, with several years of experience and a history of international success, which brought to Buchinho’s line of accessories (footwear) the security required to match the quality of the rest of this designer’s work. The same happens with Golmud and Alexandra Moura, already an unstoppable duo that has found a perfect dialogue to match the taste of both sectors’ customers. But this synergy is being pursued by other important names of Portuguese creativity, as is the case of Ricardo Preto and Clarks; of Pedro Pedro and Basilius; of Miguel Vieira and Cohibas (men’s); of Aleksandar Protic and Dkode; of Saymyname and Xperimental Shoes; of White Tent and Fly London (a relationship that had its debut in the latest edition of ModaLisboa and that promises to have a bright future); of Nuno Baltazar and Calçado Sameiro (Samelli); of Ricardo Andrez and Senhor Prudêncio (also a debut in the latest edition of ModaLisboa); of Nuno Gama and Eureka – a brand that also joins the TM Collection by Teresa Martins.

The success of the collections results from the presentation of each of them as a whole, and also from the way their uniqueness is structured. A good product will work on its own, but it has a greater impact when it is integrated in the context of a collection, therefore creating addedvalue by the union of two areas that are so unique and, at the same time, so complementary as is the case of footwear industry and auteur fashion, since both have the same objective: to reach the final customer. In parallel, there is also a stimulus to the Portuguese economy.

The most important aspect is the growing awareness of the notion of team spirit, of joint creativity, without ignoring the construction of individual projects, so that the name of “made in Portugal” fashion may progressively gain status internally and abroad because of its added-value merit in a world that is appreciated and coveted by all.

ModaLisboa and Portugal Fashion are, in fact, the platform that is building a path of recognised value, consolidating the two sectors, as well as opening a space to other interested parties seeking to show their talent and help promote a fashion that is ours but thought-out to be exported and profitable. The association between footwear brands and designers may and should be the leap forward that many have been waiting for to get the attention of those who seek difference and originality faced with fierce and massoriented competition. Now, all that it takes is knowing how to do, knowing how to promote and knowing how to support.

THE CONQUERO

interview

He has the surname of a man of the sea, but it was in the world of fashion that he explored new horizons.

We had a conversation with Nuno Gama, the menswear fashion designer whose brand is celebrating its 20th anniversary.

photos RUI VASCO (MODALISBOA)

By Manuel Arnaut

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It was certainly one of the most anticipated catwalk shows of the latest edition of ModaLisboa. It was up to Nuno Gama, known for his capacity to create assertive style messages, to close the 40th edition of the event, with a collection that celebrated his brand’s 20th anniversary. Attesting to the designer’s response to such high expectations, the public applauded the elegantly tailored suits, the fur-collar coat and the various pieces that invoke a truly Portuguese DNA. Let there be no doubt, Portugal really does have talent.

Born in Setúbal, Gama took his first steps in the world of fashion in the North of the country, where he lived and worked for most of his life. The return to Lisbon took place in 2012, when he opened a shop in the capital, ushering in a positive stage in the career of a designer to whom a lot has happened, from burglaries to fires. It is proof that Nuno Gama - an expert when it comes to celebrating men’s sexy side, at the same time that he uses fashion to verbalise his view of the world (such as when he made his models enter the catwalk with a frown painted across their faces in protest against austerity) is here to stay. For Gama, there are still plenty of hitherto uncharted waters on which to sail.

How do you define your creative process?

I always have a starting point, of course, but I draw a lot and throw myself into a wonderful adventure. It feels like the final result has a personality of its own and that I am a mere intermediary. It is as if I had a set of loose Lego pieces that, all of a sudden, come together and give rise to something formal. Throughout the process, having the right music playing helps me embody the collections’ spirit.

How did your interest in fashion arise?

I am a tall man, and there were not a lot of options for someone with my stature. I have always drawn and my interest in the arts led me to find techniques that allowed me to make hand-painted pieces for my own use. I started to receive orders that led me to think that maybe this was the ideal line of work.

Many young designers start by working with another creator, helping around the studio. What do you remember from your first professional experiences?

I started working with the industry while I was still on my second year at CITEX [Vocational Training Centre for the Textiles Industry]. From that point on, I devoured all information that I could get my hands on. We had a huge workload in terms of classes, but I always worked during my rare spare time, and I made a point of always being on top of things. I wanted to learn as much as I could from the professionals that I had access to.

What led you to create your own brand?

It happened when I realised that I wanted to communicate with people through my work. That was something that erupted, that came from deep within me.

Twenty years ago, how were you received by the market?

At the time, everything was new and an enormous challenge. We were practically inaugurating the fashion phenomenon in Portugal. Nevertheless, just as today, what I wanted was to rise to the challenge – to find the invisible thread that my customers seek in my work.

How did your aesthetics and your work method evolved over the years?

I think that, now, my responsiveness and capacity to communicate with the customers has matured. We evolved together.

For several years, many designers would hide the made-in-Portugal tag in order to have market success. In what way did your affirmation of being Portuguese has been playing in your favour?

For me, it is a point of honour. I have always done it and it is part of my concept.

I am very proud of who I am and it gives me a lot of pleasure to show others who we are, on an international level. My great dream is to take the Nuno Gama brand worldwide and, with it, to make people stop looking at us, the way they often do, with no respect for our history and culture.

Do you believe that the future of Portuguese fashion involves embracing this Portuguese identity? Are you not affraid of falling for the caravel and Cock of Barcelos clichés?

I think that the future will involve concepts of authenticity, of quality, capable of being different, and of entering and conquering the markets. Nevertheless, each one of us must develop his or her own language.

You went through two major professional catastrophes: a great fire and a burglary. Where do you get the strength to lift yourself up?

From within me and from the upbringing and unconditional love with which my family blessed me, especially my mother, who never allowed me to throw in the towel. She planted the seed of all that is good in me.

In what way has opening a shop in Lisbon been helping your business?

Lisbon has the media exposure of a capital.

All the media and decision-makers are here. On the other hand, coming back home has been reassuring.

How would you define your ideal customer?

All the men who identify themselves with the brand’s concept, who like to look elegant, sexy, but with a lot of coolness, with a Portuguese sea flavour.

How are you celebrating the brand’s 20th anniversary? Is it only the line of jewellery that some of the models wore at the end of your last show?

Not only, but that as well. We will do a variety of relaunches of our short history throughout the year. We have other projects that are on the way to become a reality, and which may only be disclosed in due time.

What are the moments that your remember most fondly in your 20-year career?

There are millions of them, but what I remember most fondly are the friendships.

What are your other passions? What do you like to do when you don’t have to think about fashion?

That is almost impossible! I have the privilege of living my job and, no matter how much I want to, I automatically think about what I want to do, even when it is time to relax. My greatest passions are my dogs, my friends and diving, which is a great source of inspiration in my life.

What are your future plans for the brand?

Just like it is represented in my logo – a cross overlapping an O, which symbolises the universe – conquering the world with my work.

people

MIGUEL FLOR

With a veritable wealth of experience, Miguel Flor is the coordinator of Espaço Bloom.

He lived in Paris, won the first edition of ModaLisboa’s Sangue Novo (New Blood) competition and worked in the Maison Martin Margiela studio. Later, he returned to Portugal, where, in addition to teaching Fashion Design at the School of Architecture of the Technical University of Lisbon, he collaborated with several prestigious brands, such as Vicri.

Now, it is up to him to launch new designers. A job that he has been performing with great adroitness.

Portuguese fashion appreciates it.

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Never before have new talents emerged in Portuguese fashion as they do now. The establishment of Espaço Bloom, within Portugal Fashion, and LAB, within ModaLisboa, really work as a platform of excellence for the launching of new talents.

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Tradition and culture. Art and industry.

The Portuguese jewellery sector is making strides in international markets.

OUR JEWELS

The business sector includes a diverse range of companies and external stakeholders, comprising almost 1,800 companies and employing approximately 3,000 people.

Over the last few years, we have witnessed a reinvention that enabled the achievement of new standards thanks to the development of solutions combining manual intelligence with the creativity, the design and the management of innovation.

jewelery

WALkING ON A DREAM photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA

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shoes: fly london clothing: saymyname

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photography FREDERICO MARTINS styling FERNANDO BASTOS PEREIRA production PAULO GONÇALVES 'APICCAPS' PHotography assistant PEDRO SÁ hair RUI ROCHA make up ATELIER PATRÍCIA LIMA production assistant Paula Portugal AND CLÁUDIA PINTO models dariia makarova "KARACTER", LIEN "BEST" AND MARGARITA "ELITE" FOOTWEAR FLY LONDON CHOTHING WHITE TENT, MEN'S SHIRTS AND VESTS H&M, SOCKS, UNDERWEAR AND JEWELLERY STYLIST OWN

BE MINE

by Fátima Lopes

She is one of the most prestigious designers in Portugal. Born in Madeira, she has been steadily establishing herself in the world of international fashion, and is even a constant presence at the Paris Fashion Week.

This time, she surprises once again with the unveiling of a new perfume. "Be Mine" was formally presented in Paris. It will only arrive in shops next September, but expectations are already huge.

The bottle, with the shape of a diamond, reflects the values of the brand – as does the aroma, sensual and captivating like the designer's creations.

"The mood of the perfume was, since the beginning, the brand's identity. The fragrance and the concept would need to have the Fátima Lopes DNA." It should be noted that the brand's greatest icon is a diamond bikini.

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SIMM+Modacalzado+Iberpiel= METRÓPOLIS

6 -8 Sept. 2013 www.momad.metropolis.ifema.es ONLY PROFESSIONALS

people

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WELCOME TO PORTUGAL

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When the Portuguese school of architecture is associated to rigour and innovating design concepts, it may be argued that being an architect trained in Portugal is a good calling card for any professional. And, in fact, Italian magazine Domus, one of the most important in the area, placed the Schools of Architecture of the Universities of Porto, Lisbon and Aveiro, as well as the School of Fine Arts and Design of Caldas da Rainha, amongst the top 100 schools of architecture and design in Europe.

This is how Portuguese architecture projects itself in the world each day, namely through the countless professionals who, every year, choose other countries in order to develop their art. The Academy of Architecture of Mendrisio, Switzerland, one of the most wellknown schools of architecture in the world, has four Portuguese teachers. This is only one example amongst many. In China, on the other hand, there are already plenty of architects collaborating with local studios and Portuguese architectural companies with offices in the country.

Perhaps because of these achievements, 2013 was declared by the Portuguese government as the “Year of Portuguese Architecture,” aimed at “strengthening international dissemination of Portuguese contemporary architecture, a valuable asset for the recognition of Portuguese quality and creativity, as well as at promoting Portuguese architectural services worldwide.”

But the acknowledgement of Portuguese architecture is also reflected in the countless prizes and awards accumulated over the last few decades.

by Patrícia Gonçalves

THE PRESTIGE OF PORTUGUESE ARCHITECTURE 120:121

Portugal has two Pritzker Prizes, four schools listed in the top 100 schools of architecture and design in Europe, and a multitude of architect scattered around the world. In addition to its spectacular nature, Portuguese architecture is recognised for its peculiar characteristics and by the intrinsic quality of its works and authors.

Two Pritzker Prizers, Two Featured Works A list of iconic projects authored by Portuguese architects would surely be endless. Therefore, we highlight two works with the signature of the two Pritzker laureates.

Braga Municipal Stadium It has often times been considered one of the most original and most beautiful stadia in the world. The Financial Times referred to it like this: “There has been nothing in this country to match the architectural delight of Eduardo Souto de Moura’s stadium for Braga in Portugal, a breathtaking arena carved into the side of a rock face on the site of a former quarry.”

Known as “The Quarry,” the Braga Municipal Stadium is one of the most iconic works of contemporary architecture: behind the goal, one of the ends of the stadium is formed by the rocky amphitheatre of the adjacent hill.

The canopy roof is inspired by “ancient South American Inca bridges,” from Peru, to allow natural light through to the pitch, thereby preserving the natural quality of the grass.

Museum of Contemporary Art It is located in the city of Porto and is one of the buildings designed by Álvaro Siza. The Serralves Foundation Museum of Contemporary Art was the first of its kind in Portugal, sharing with its visitors a unique architectural sobriety.

Surrounded by the Serralves Park, with approximately 3.5 hectares, it is one of the most visited museums in Portugal. It hosts temporary exhibitions from the most important Portuguese and foreign artists, and is included in all the main circuits of contemporary art.

Some even say that there is a Portuguese architect winning in international award each year. Earlier this year, the Aires Mateus architectural studio was selected as one of the five finalists for the European Union Prize for Contemporary Architecture or Mies van der Rohe Award, for which 335 works in 37 countries were nominated.

Despite the various prizes and nominations that Portuguese architects have already received, it is certain that the highest honours are the most coveted by all. The Pritzker Prize, an award that is considered the “Nobel of architecture,” already had two Portuguese winners. The first one, 1992, was attributed to Álvaro Siza Vieira, author of works all around the world, from America to Asia. His rebuilding plans for an old Lisbon neighbourhood, the Chiado, after a major fire, earned him the Pritzker honours.

It took 19 years for another Portuguese architect to be elected by the jury. Eduardo Souto de Moura won the 2011 Pritzker Prize for “a body of work that is of our time but also carries echoes of architectural traditions.” Amongst his most famous projects are the Porto Metro, the renovation of a convent in Amares, the Paula Rego museum in Cascais, and many more.

At the award ceremony for the 2011 Pritzker Prize, Barack Obama praised the work developed by the Portuguese architect. Like [Thomas] Jefferson, [Souto de Moura] has spent his career not only pushing the boundaries of his art, but doing so in a way that serves the public good,” said the president of the USA, highlighting the “simple shapes and clean lines” of Souto de Moura’s work.

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Whether it is in Sport, Film-making, Design or Art, Portuguese people are making history. In this edition of Portuguese Soul, we introduce you to another four examples of success, men and women who help promote the name of Portugal.

by Patrícia Gonçalves

PORTUGUESE PEOPLE

ARE SUCCESSFUL IN THE WORLD

Sara Moreira Sport 2013 started well for Sara Moreira. She is the European indoor 3,000-metre champion, a title she won during the Championships that took place in Gothenburg, Sweden. Furthermore, she finished third in the election for Athlete of the Month of February by the European Athletic Association. This wasn’t the first time that Sara Moreira took the name of Portugal all the way to the podium. Now aged 27, the athlete had already won the silver medal in the 2010 European Championships in Barcelona and the bronze in 2012 in Helsinki, both in the outdoor 5,000-metre event.

Her list of achievements also includes two participations in the Olympics (2008 and 2012) and two finals in World Championships.

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Miguel Gomes

João Machado Design He was born in Coimbra, but lives and works in Porto. Bridging design and art, João Machado has been favouring posters as his medium of choice, but has also worked on the design of postage stamps and on corporate design. Some say that he is the best-known Portuguese graphic designer in the world.

And, in fact, João Machado has received various national and international prizes and awards for illustration and design. In 2012, he received the Graphis Gold Award in the “Books” category, for a book about stamps that he illustrated. In his list of achievements are also the 1999 Icograda Excellence Award and the 2004 Aziago International Award, and his résumé includes works made for several countries, such as the one for Japan, as part of the celebration of the the International Year of Forests (2011).

Film-making 2012 was the year of international assertion for director Miguel Gomes. His latest film, Tabu, was distinguished on several events. In addition to the award won at the Berlin International Film Festival, it was included in the top ten films of 2012 lists of prestigious magazines, such as the North-American New Yorker, the French Cahiers du Cinéma and the British Sight & Sound. The work that he has been developing has earned him, in March of this year, his selection as president of the jury for the International Critics’ Week, a parallel section of the Cannes Film Festival that showcases new talents. He is the right person to help “discovering new film-makers through their first or second feature film and showcasing their work on the international scene,” stated the section’s organisation. Miguel Gomes was born in Lisbon, in 1972.

Joana Vasconcelos Art Joana Vasconcelos needs almost no introduction. She was born in Paris, but she is Portuguese and it is in Lisbon that she works... for the world. And this renowned artist’s reach is evident: her exhibition at the Palace of Versailles, in 2012, was visited by 1.6 million people. Her pieces are truly original, as is the case of the Marilyn shoes, made with pots and lids, or the two Corações Independentes [Independent Hearts], one red and one black, made with plastic forks to resemble filigree. Surprise is a constant factor in her installations: the Lilicoptère, a golden feathered helicopter; the Perruque [Wig], a Fabergé-egg like piece of furniture covered with locks of hair; or the Gards [Guards], two lion statues draped in Azores crocheted lace. “I do not know anyone else like me,” Joana Vasconcelos admitted in an interview.

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ANA MESQUITA

by Catarina Vasques Rito

No one stays indifferent to her blue eyes, blond hair and contagious smile. Her taste for fashion has been characterising her professional path as a journalist in the press, TV and radio. But her passion for drawing and painting, a fascination that has followed her since childhood, won the day once more and disclosed a side of her that was unknown to the public and that is now starting to be revealed in exhibitions in Portugal and abroad. Portuguese Soul tried to get better acquainted with Ana Mesquita, an artist with the soul of a fashion journalist.

photos PEDRO GRANADEIRO

The meeting took place during the latest edition of Portugal Fashion, while Ana Mesquita’s exhibition, titled O Beijo [The Kiss], was open to the public at the InterContinental Hotel, in Porto. The perfect setting for a conversation between two women who have in common a passion for fashion in general and by Portuguese fashion in particular.

Several paintings decorated the walls of the Astoria CafĂŠ, while the Mozambique-born woman explained the creative process behind her works, exposed to the curious eyes of guests and of those who came in to see the hotel and instead found the colourful canvases depicting unfamiliar faces in tender signs of affection.

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“I was probably four years old when I started drawing in little books, a kind of activities journal, which I would later show visitors. I think those were my first exhibitions. According to my parents, drawing was always the best way of keeping me quiet. Therefore, by the time I reached adulthood, I already had those ten thousand hours of practice that are required to evolve as a painter,” she confides.

When time came to choose her highereducation path, the choice ended up being almost obvious: she got a degree in Fashion Design and, later, a post-graduation in Communication Sciences. “Painting continued to be a part of my life after I completed my education. For several years I painted on silk, and even had some exhibitions. And – I do not know why, perhaps because communication is very attractive to me and because I love to communicate – I ended up becoming the journalist that I have been for the past twenty years.” Her career path speaks for itself: she worked at weekly newspaper Expresso for seven years, at the DNA supplement of Diário de Notícias and at fashion magazine Elle.

“Journalism took over me. A few years after my Fashion Design education, I realised that it would be a lot more useful and important to provide the public with decent and wellgrounded information about fashion. I quickly earned my readers’ trust and I feel that my ‘mission’ has been accomplished. Although there is still a lot left to do,” says the journalist whose eyes light up whenever fashion is the subject, even if at the moment she is devoting herself, body and soul, to an old passion – painting.

Her fascination with fashion appeared in her teenage years through her relationship with French, a language she learnt at a very young age, influenced by her mother. “I started to speak and read in French from very early on, because all that was interesting to read was in French.

When I was a teenager, that meant the women’s magazines that my mother would bring me from Paris.”

Ana Mesquita visits Paris for the first time at age 14, immediately establishing a very special relationship with the city where she would live for some time and whose culture would end up having a very strong impact throughout her life.

“Fashion generates culture, makes us dream, is the most employment-boosting business in the world – fortunately with a higher turnover than the weapons industry – and forces us to study the various peoples sociologically in order to predict and analyse its evolution.” The devotion that she has been giving to fashion, promoting it in Portugal and abroad, is now being channelled towards painting, a passion that accompanies her since childhood and that, for a variety of reasons, ended up becoming a secondary aspect in her life. “I won an iPad three years ago, and started to look for drawing apps.

That is how I found BrushesApp, which I really identified with. Then, I would draw during the jam sessions of musicians who played around me, because those are moments of inspiration and relaxation. Little by little, I got more skilled at drawing with my fingers and I rediscovered the pleasure of creating images. It was a part of myself that had been amputated and that slowly returned to me, and I thank Steve Jobs for having left me the tools it required,” she says.

The exhibition that she prepared for the InterContinental Hotel was devoted to the kiss, but for the Portuguese Consulate-General in Paris, her exhibition explored O Sorriso [The Smile]. “Portraying those I see or the images I search in Google is not all that different from the work of a journalist. Deep down, I have been spending my life doing portraits through interviews.

The two forms of communication complement each other. One is achieved through conversation and words, the other through contemplation and images.”

Still on the subject of fashion, this journalist and artist, wife and mother of a young teenager, categorically defends Portuguese creativity. If, on the one hand, she stresses that there is no such thing as fashion criticism in Portugal, because fashion schools “don’t teach journalism, and fashion management and communication is 80% of a new fashion product’s added value, these days,” on the other, she claims that we are still in the process of building a DNA for Portuguese fashion. “If there is a Brazilian fashion, which is a recent revelation, only a dozen years old; if there is a North-American fashion, which is probably close to 30; if there is a Japanese fashion; why can’t we dream of having a Portuguese fashion? Does that DNA exist already, in Portugal? I don’t think so. But it may be a matter of years and boom, there it is! There are many individuals building that image: Ana Salazar, Nuno Gama and all those who work the symbols of Portuguese culture with style and sophistication.”

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It is considered one of best holiday destinations in Europe. It is not only the beaches, the clear blue waters, the gastronomy or the top-level golf courses that attract visitors to this region. The Algarve offers a variety of options for younger people, for families with children, and for senior holiday travellers. In the summer and even in the winter – far from the harsh weather of Scandinavia – the Algarve is a Portuguese destination of excellence.

DESTINATION ALGARVE

by Patrícia Gonçalves

You may choose between the beach and the countryside. Between the sea and the river. Between the urban frenzy of Faro or Albufeira and the tranquility of Boliqueime or Vila do Bispo.

The Algarve is no longer just a paradise by the sea. It is also one of the regions of Portugal that offers different and diverse options for tourists, adapted to the style, taste and budget of each person.

Rural tourism is one of the secrets of this new Algarve, where nature is in the air we breathe and where we may enjoy stunning landscapes in complete comfort and convenience. Only one kilometre from Boliqueime, for example, we can find the Quinta da Cebola Vermelha, surrounded by its orange orchard. This house, over 100 years old, was fully renovated, and offers a set of activities that are sure to keep monotony at bay: sailing, tennis, golf and horseback riding are only some of the options for your holidays.

In Vila do Bispo, 80 kilometres from the Faro Airport, on the other hand, Aldeia de Pedralva is a resort that was built on the ruins of a traditional Portuguese village. The villas have fully-equipped kitchenettes and offer a variety of outdoor activities, such as cycling, birdwatching and trekking.

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The beaches are, inevitably, the main attraction of the Algarve. Some of the most beautiful in the world are located in this Portuguese region.

Along its 200-kilometre coastline, the natural landscape changes from one beach to the next: coves, cliffs, caves, broad expanses of sand...

Choosing may be difficult. In this report, we introduce two examples of the Algarvian scene: Faro and Albufeira. The first is the region’s capital. In Faro we find many restaurants and bars that make this city one of the favourite spots for teenagers and young adults. Nevertheless, it is also a popular destination for families with children.

Albufeira, on the other hand, is one of the main holiday destinations of the Algarve. It is renowned for its beaches surrounded by rocky cliffs and for its night-life – not only in the city centre, but also in some of its outer wards.

Along with the mild temperatures throughout the year – varying between 15 degrees Celsius in the winter and 30 in the summer – which greatly pleases tourists from Northern Europe, it is the local gastronomy that delights those who visit the Algarve. From amongst the traditional products, the highlights are the fish and seafood dishes from this delicious coastline, but also the pork dishes (such as the renowned “Algarvianstyle Pork”), chickpea and cabbage boiled dinners, and pastries based primarily on eggs and dried fruits (like the well-known Dom Rodrigos or the egg yolk, almond dough and caramel pastries from Tavira).

DID YOU KNOW THAT...

There are many foreign tourists who seek the Algarve for watching birds.

In the spring and in the fall, the Algarve welcomes thousands of flying visitors, such as the Audouin’s gull, the lesser short-toed lark and the ferruginous duck.

The Algarve has a rich cultural and historical heritage. Therefore, there is no shortage of monuments to visit.

The Algarve was the last region of Portugal to be conquered from the Moors and incorporated in the Kingdom of Portugal, in 1292, and their influences are still visible throughout the region. The typical Algarvian architecture (white, with typically Moorish terraces and chimneys), the almond trees, orange trees and other fruit trees that multiply across the fields of the Algarve, and many of its toponyms, are also Moorish legacies that took root in the region over the centuries.

10 PLACES TO VISIT: - Sagres Fortress - Chapel of Bones in Alcantarilha - Roman Bridge of Tavira - Faro Castle - Fuseta Island Beach - Manta Rota Beach - Falésia Beach - Tavira Island - Armona Island - Vila Real de Santo António

ZAPPING

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by Cláudia Pinto

Portuguese Architect Wins Nobel Prize of Landscape Architecture Gonçalo Ribeiro Telles was distinguished with the Sir Geoffrey Jellicoe Award, thought of as the equivalent to the Nobel Prize of Landscape Architecture.

Gonçalo Ribeiro Telles’s career spans almost 70 years, during which he was the head designer of a multitude of works, including the primary green structure of Lisbon, the gardens of the Calouste Gulbenkian headquarters, the Monsanto green corridor, as well as projects for the Alcantara Valley, the Benfica Radial, the Chelas Valley and the Lisbon Peripheral Park.

The award is given by the International Federation of Landscape Architects (IFLA).

Established in 2004, it commemorates each year the contributions of British landscape architect Sir Geoffrey Jellicoe, founder of the IFLA, and its primary goal is to “recognise a living landscape architect whose lifetime achievements and contributions have had a unique and lasting impact on the welfare of society and the environment and on the promotion of the profession.”

Porto Hotel Wins Best Hotel Spa in Europe The Yeatman, a luxury wine hotel in Porto, won the award for “Hotel Spa of the Year – Europe” at the 2013 World Spa & Wellness Awards.

The hotel is located in Vila Nova de Gaia, near the old Port wine lodges, and offers a privileged view over the Douro River and the city of Porto. It has been open since 2012 and has received multiple international prizes and awards in acknowledgement of the hotel’s various services.

This award puts Porto on the list of the best hotels and spas in the world.

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Portuguese Photojournalist Wins World Press Photo Daniel Rodrigues won this year’s World Press Photo.

The photojournalist was on a humanitarian mission in Africa. During the journey, he stopped at GuineaBissau, where a group of children was receiving a football for the first time.

The photograph, which won the award in the “Daily Life” category, was taken as the children played football with the volunteers. The field had served as Portuguese military barracks during the colonial period.

Daniel Rodrigues was surprised and deeply moved by the award. He is now the fourth Portuguese photojournalist to be acknowledged by World Press Photo – and the second to have received the highest prize of an award that honours photojournalists from all around the world. The photojournalist is soon leaving on another humanitarian mission, during which he will help rebuild a local school.

Joana Vasconcelos Takes Cacilheiro to Venice After the success of her “Marilyn” shoes, in exhibition at the Versailles Palace, Joana Vasconcelos presses forward with a new and inspiring project. The artist is taking an antique cacilheiro ferry boat to Venice, as part of the Venice Biennale international art exhibition.

The “Trafaria Praia” is a decommissioned ferry boat that is undergoing repair and modifications at the hand of the artist. The boat has transported a total of 11 million people over 51 years. The current goal is to send it to Venice, by sea, as an embassy for Portuguese culture.

The renovation project includes several Portuguese cultural elements: the ferry boat will be coated with Portuguese azulejo tiles depicting a view over Lisbon; the interior surfaces will be covered with cork and textiles, representing major sectors of national industry; the deck will be altered so that it may be used for lectures and concerts.

portugal

It is a regional sweet and an example of the Aveiro region’s traditional pastry, the formula and production method of which is originally owed to the nuns of various convents that existed there until the 19th century: Dominican, Franciscan and Carmelites.

PORTUGUESE CUISINE OVOS MOLES OF AVEIRO The Sisters used egg whites as clothing starch for their habits, while the yolks – so that they would not be wasted – became the foundation for the sweet. After the convents were abolished, the manufacture of ovos-moles was maintained thanks to local women who had been trained by those nuns. From the time that the Porto-Lisbon rail road was created, they have been traditionally sold at the Aveiro train station by women dressed in regional costumes.

The egg custard is sold in wooden barrels painted on the outside with moliceiro boats and other motifs related to the Aveiro lagoon. It is also sold in small ceramic bowls, as well as surrounded by wafer (a special wheat-flour dough) shaped as various maritime elements – such as clams, fish, dories and shells – which may be dipped in a sugar syrup to make them opaque and give them more consistency.

The egg custard used, although consistent, is very creamy and obtained exclusively from candied sugar and from the yolks of very fresh eggs. During its preparation, the custard must not be stirred in a circle (to avoid striation), but rather by pushing and pulling the spoon.

To the egg yolks, after they are carefully separated from the whites and whipped, about half their weight is added in candied sugar at the firm ball stage, previously cooled. Always stirring along the same line with a wooden spoon, avoiding doing it in circles, the mixture is cooked until the bottom of the copper saucepan is visible.

Awaiting at the end of the process, there will be an extraordinary dessert, capable of making your mouth water.

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