WHAT'S UP . FELIPE OLIVEIRA BATISTA . THE “IT” GENERATION . WOMAN POWER . HOT NEW TALENTS
credits
Director Editor-in-Chief
. THE “IT” GENERATION . WOMAN POWER . HOT NEW TALENTS WHAT'S UP .
. HOT NEW TALENTS . FELIPE OLIVEIRA BATISTA THE “IT” GENERATION
WHAT'S UP . FELIPE OLIVEIRA BATISTA
WHAT'S UP . FELIPE OLIVEIRA BATISTA . THE “IT” GENERATION . WOMAN POWER . HOT NEW TALENTS
. WOMAN POWER . HOT NEW TALENTS
One Magazine, Five Covers
Assistant Graphic Design Photography Styling Collaboration Illustration Special Thanks
President of APICCAPS Paulo Gonçalves wwwwpaulogoncalves@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 and Susana Ribeiro 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
2:3
2182-2298 10.000 copies Orgal Impressores
editorial
LETTER FROM THE EDITOR The year, which is now ending, has been remarkable for Portuguese fashion industry. With exports LQFUHDVLQJ VLJQLÄąFDQWO\ FRPSDQLHV GHPRQVWUDWHG WKHLU DUW DQG WDOHQW WR DÄ´UP WKHPVHOYHV LQ WKH PRVW FRPSHWLWLYH LQWHUQDWLRQDO PDUNHWV
Paulo Gonçalves
4:5
Securing new opportunities is one of the greatest SULRULWLHV RI WKH VHFWRU 6WUHQJWKHQLQJ LQYHVWPHQW LQ SURPRWLRQ DEURDG KDV SURYHQ WR EH D JRRG GHFLVLRQ for now. The footwear sector, for example, currently SDUWLFLSDWHV LQ RYHU SURIHVVLRQDO HYHQWV DOO RYHU WKH ZRUOG 7KLV \HDU LQ &KLQD DORQH FRPSDQLHV LQYHVWHG LQ VL[ GLÄłHUHQW SURPRWLRQDO DFWLRQV 7KH UHVXOWV" 7KH\ DUH SODLQ WR VHH 3RUWXJDO LV DOUHDG\ WKH th largest supplier RI IRRWZHDU WR &KLQD $ YHU\ SURPLVLQJ ÄąJXUH IRU D QHZ market of unparalleled potential. In general portuguese IRRWZHDU H[SRUWV LQFUHDVHG DURXQG WKH ZRUOG
64 The One
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30 ...Call Me
6-7
Editorial
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Portugal Fashion
Making of
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Let Me Be The One
Campaign
068
Partnerships editorial
What’s UP
076
New Generation
Felipe Oliveira Baptista
084
25 years of Máxima and Elle
Why Don’t you Call Me
090
Hot New Talents
New brands of footwear
098
Behind The Curtain
Women Power
102
Soft Metal
ModaLisboa
113
Portugal
102 Soft Metal
90 HTN 2013
overview
8-9
www.tatuaggi.pt
back stage
The relationship between designers and Portuguese footwear is increasingly clear and notorious. At ModaLisboa and at Portugal Fashion, twenty of the most prestigious brands of footwear partnered with the most famous Portuguese designers. A new relationship “from manufacture to the catwalk” that will soon reach points of sale all over the world.
Photos Pedro Sá
MAKING OF
This was the starting point for the «Let me be the one» editorial. Through the lens of photographer Frederico Martins and the styling of Fernando Bastos Pereira, we are introduced to the joint work being produced with a view to the enhancement of national supply.
10-11
footwear
Portuguese footwear exports continue to grow PU 0U [OL ÄYZ[ UPUL TVU[OZ VM [OL `LHY Portugal exported 56 million pairs of shoes, worth a total of 1.336 billion euros, which represents an increase of 7.2% when compared to the same period of the previous year.
FOOTWEAR GROWS OVER 7% IN THE FIRTS THREE QUARTERS OF THE YEAR Portuguese footwear is growing at more than twice the national average (which is 4%) and maintains a clear [YLUK [V^HYKZ HMÄYTH[PVU PU MVYLPNU markets. This is the 3rd consecutive year with a recorded growth in exports (since 2010, sales abroad have increased by over 25%), despite the economic slowdown experienced internationally. On closer analysis, it seems evident that the investment of the companies in new markets or, at least, in markets with greater potential for immediate growth, is starting to bear fruit. In practical terms, sales in non-European Union countries – with a 53% growth in [OL ÄYZ[ [OYLL X\HY[LYZ VM [OL `LHY ¶ are the ones sustaining the current upward trend.
12-13
It is worth noting the growth of exports to countries like Russia (96% growth to 42 million euros), Angola (102% to 19 million euros), USA (9% to 18 million euros), Canada (28% to 14 million euros) and Australia (91% to 5 million euros). Also noteworthy, especially because of its symbolism, are the good performances in the United Arab Emirates (24% growth to 3.5 million euros) and in China (31% to 3 million euros). In Europe, the performance of 7VY[\N\LZL MVV[^LHY PZ LX\HSS` positive (3% growth to 1.165 billion euros). In order to achieve this result, the performance of Portuguese footwear in France (2% growth to 337 million euros), Germany (5% to 1.248 billion euros), the Netherlands (15% to 167 million euros) and the United Kingdom (3.5% to 89 million euros). In Spain, sales of Portuguese footwear decreased slightly (0.8% to 12 million euros). The average price of exported Portuguese shoes increased 5.2% and reached, in the ÄYZ[ ZLTLZ[LY Á
At a different level, footwear once again reinforced its contribution to the Portuguese balance of trade (with a surplus of 1.011 billion L\YVZ PU [OL ÄYZ[ UPUL TVU[OZ VM [OL year). From January to September, imports decreased by 3.5% to 326 million euros.
footwear
AROUND THE WORLD
150 footwear companies are travelling around the world in 2014. In other words, the Portuguese footwear sector will participate in over 70 professional events all over the globe. The sector will invest in strengthening its presence in fairs and exhibitions with global reach (such as MICAM and Expo Riva Schuh, in Italy; and GDS, in Germany); in fairs with H Z[YVUN YLNPVUHS ZPNUPÄJHUJL 464(+ Metropolis, in Spain; CIFF and CPH Vision, in Scandinavia); and in niche fairs (Bread & Butter, in Germany; Who’s Next, in France; Pure London, Moda Footwear and London Fashion Week, in the United Kingdom). 14:15
Worthy of note is the great investment in markets with high growth potential, like China and Russia. Portuguese companies will also reinforce their investment in the North-American market, for which several initiatives have been scheduled, and, for the Ă„YZ[ [PTL PU :V\[O (TLYPJH ( SHYNL VWLYH[PVU is being prepared for Colombia, which will be the starting point for other actions in Chile, Panama and Peru. Entering new markets is the top strategic priority for the Portuguese footwear industry, which exports over 95% of its production to 132 countries in all continents.
AND THE OSCAR GOES TO...
The European Commission distinguished the Portuguese footwear industry within the European Enterprise Promotion Awards. Over 800 projects from 28 countries, including Turkey and Serbia, participated in the competition, and “Portuguese shoes: the sexiest industry in Europe” was included in the shortlist of nominees, in direct competition with the Champagne-Ardenne region in the Supporting the Internationalisation of Business category. «Portuguese Shoes: Designed by the Future» is the slogan developed by the Association of Portuguese Manufacturers of Footwear (APICCAPS), in partnership with the Academy of Design and Footwear, and which helped promote 120 small and medium enterprises in trade fairs around the world, promoting Portuguese footwear as an example of sophistication and innovation. «As a result of this strategy, footwear exports have grown more than 20% in the past two years,» the Commission highlighted. The runner-up participant was the International Relays initiative, ^OPJO HPTZ H[ WYV]PKPUN [LJOUPJHS HUK ÄUHUJPHS HZZPZ[HUJL [V companies in the Champagne-Ardenne region to capacitate them for the implementation of a long-term commercial development strategy for exportation.
16-17
footwear
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Unusual geometric shapes, asymmetries and bright colours are the inspiration for Guava, the brand of footwear created by young Portuguese designer InĂŞs Caleiro. The design of the Guava collections combines geometric seduction, urban experience and a new design perspective. Each piece is constructed by Portuguese craftsmen who employ their skills and experience in the execution of the most delicate elements, WV[LU[PH[PUN [OL WLYMLJ[PVU HUK X\HSP[` VM each pair of shoes.
photo: frederico martins ASSISTANT: PEDRO SĂ 18-19
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The continuous research of new materials, UL^ THU\MHJ[\YPUN [LJOUPX\LZ HUK KLZPNU innovation have always been an obsession for Valuni. -VY V]LY `LHYZ WYVK\JPUN OPNO X\HSP[` footwear for men and children, the Valuni has stated its position on the domestic and international markets, with special focus on Netherlands. Known by the know-how, new technology and design innovation, the brand has gained a strong presence in countries such Netherlands, Sweden, Australia and Japan. The detail has always made the difference.
PROFESSION BOTTIER 7YVMLZZPVU! )V[[PLY VMMLYZ OPNO X\HSP[` shoes for men, capable of providing moments of pleasure and glamour at a fair and achievable price. The brand values the artisanal process and combines the experience of the best craftsmen with modern and luxurious design. The brand was initially designed for French men “with a solid career and who love to live life to the fullest.” Nevertheless, the success of the brand has already reached other countries and made fans amongst worldwide celebrities like Nicolas Sarkozy, Michael Bublé and Hugh Jackman.
20-21
F LY
L O N D O N
With extensive experience in national and international markets, FLY London’s main characteristic is originality. In each new collection, the goal is to create innovating, KHYPUN HUK OPNO X\HSP[` WYVK\J[Z It is a timeless brand that does not merely follow a single trend. It is interested in the individual pursuit of small details, thereby creating a great variety of models, colours and materials that maintain the brand at the forefront for international fashion. Recently, FLY London opened a shop in Porto. Berlin, Lisbon and London are other major cities where the Portuguese brand already has its own points of sale.
footwear
J J
H E I T O R
This year, as it celebrated its 50th anniversary, JJ Heitor launched its own brand: JJ Heitor Shoes. Original design, careful selection of materials, attention to detail and daring high heels are the starting points for the new brand. JJ Heitor is specialised in women’s footwear and is seeking the perfect shoe: one that embodies the personality of each woman and enhances on her sophistication and elegance.
22-23
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With over 20 years of market experience, Chibs is a Portuguese footwear brand of reference, presenting products that follow the latest trends combined with a high level of comfort. It draws inspiration from
the
urban
environment
of
the
main international capitals of fashion. *OPIZ ZOVLZ MVY TLU HUK MVY ^VTLU YLĂ…LJ[ the everyday of cosmopolitan life and are split into three distinct lines (classical, casual
and
urban),
adapted
to
the
varied moments of each customer’s life.
footwear
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by Julio Torcato DeGier was born from the dream of creating the best footwear in the world, faithful to the HY[PZHUHS [LJOUPX\LZ VM [OL WHZ[ [OH[ [YHUZMVYT the best raw materials into unmistakable pieces of luxury. DeGier offers a line adjusted to the needs of the modern man, who takes care of his appearance and seeks to surround himself with products of excellence. DeGier has just entered into a partnership with JĂşlio Torcato, one of the best Portuguese designers for men. A strategic collaboration that results in a collection of excellence, combining the tradition of knowhow and modern lines with great visual impact.
24-25
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It was established only two years ago and is now starting to take sure steps in the international markets. Exceed is a new Portuguese brand of footwear for men manufactured at the Dura footwear production unit, in Felgueiras. Exceed aims at offering differentiated shoes
for
contemporary
cosmopolitan men.
It
and
combines
cutting-edge design with experience in the manufacture of excellence, which [YHUZSH[LZ PU[V [OL X\HSP[` VM [OL KL[HPSZ and in the innovation of shapes and Ă„UPZOPUNZ
interview
FELIPE OLIVEIRA BATISTA by Manuel Arnaut
26-27
*LSLIYH[PUN [OL ÄYZ[ `LHYZ VM OPZ IYHUK H[ H [PTL ^OLU Lacoste is also celebrating its 80th anniversary, Felipe Oliveira Baptista has his hands full. Portuguese Soul sat down with the designer at MUDE – Museum of Fashion and Design, in Lisbon, on the opening day of the exhibition that revisits a decade of success.
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Born in the Azores, Felipe Oliveira Baptista, the designer who Vogue called “Petit Prince,” has been able to reach where no other Portuguese designer OHK ;OHURZ [V OPZ HLZ[OL[PJZ ^OLYL OL ZO\MÅLZ J\[Z HUK KLHSZ YLMLYLUJLZ as seemingly scattered as allusions to work clothing, to technology, to nature and to the reinvention of classics, the designer has built a legion of fans, HUK OPZ IYHUK ILSV]LK I` THQVY MHZOPVU LKP[VYZ ^OV ÅVJR [V OPZ JH[^HSR shows, has a place on the displays of the world’s best shops. Not bad for a young man who has felt the calling for fashion a little later in life than normal – Felipe Oliveira Baptista wanted to be an architect - but he created the buzz YLX\PYLK [V SH\UJO OPZ V^U IYHUK ^OLU PU OL ^VU [OL JV]L[LK .YHUK Prix of the Hyères Festival.
>OH[ ^HZ TVYL KPMÄJ\S[ PU [OPZ exhibition? To select the themes or to select the pieces that are on display? It was an organic project, in which all was done at the same time. We printed all the collections in A3 format in my studio, and I started by dividing them into groups. Almost like working on a puzzle, cutting and pasting images together. When Bárbara Coutinho, from MUDE, visited me in Paris, I already had everything more or less organised, and what was left out is obvious. The wider the temporal distance, the easier it is to understand if what was created worked well or not.
2013 is a year of double celebration for the designer who, in addition to celebrating his brand’s 10th anniversary, is also blowing out the 80th anniversary candles for Lacoste, the international giant of fashion industry whose creative direction is decided by him since 2010, after Christophe Lemaire left for Hermès. Oliveira Baptista had already collaborated with Max Mara and with Cerrutti, but it was the crocodile brand that made him an international reference and one of the most anticipated names in the line-ups of fashion weeks in Paris, with the Felipe Oliveira Baptista brand, and in New York, with Lacoste. We met the designer in between bites into a croissant, during a rare visit to Lisbon, at MUDE, where Felipe Oliveira Baptista – the exhibition – has recently been inaugurated. The conversation approached his references, his (few) faux pas and the wild pace of an industry where the show really must go on.
Since this exhibition forced you to put all your body of work into perspective, what did you learn about yourself? Early in my career, especially, I was often criticised because I changed a lot from one season to the next. Nevertheless, I feel that the more I created, the more I completed by style, adding letters until I had a full alphabet. For me, the interesting part was realising that, throughout my evolution, I was able to combine “a” with “b” and then “a” with “d” and with “c.” I mean, there are themes that keep reappearing, which shows a certain coherence. I can say that this criticism annoyed me because I was always obsessed with coherence, but also with an idea of experimentation. We are not only black or white, and it is interesting to step outside of our usual register and explore other tracks and options.
How did the opportunity arise to create your retrospective at MUDE? I had a catwalk show in this museum two years ago, and that is when I met Bárbara Coutinho, who told me that she would like to have an exhibition covering my work. The conversation was left hanging, but later she approached me with more information, telling me that we could have the L_OPIP[PVU VU [OL [OPYK ÅVVY HU HTHaPUN HYLH VM ZX\HYL TL[YLZ 0 SV]L [OL ZWHJL P[ ^HZ H \UPX\L VWWVY[\UP[` [V show my work and the date coincided with my brand’s 10th anniversary. Symbolically, and even on a personal level, it made perfect sense and there was no way of saying no. >OH[ ^HZ `V\Y ÄYZ[ JVUJLYU ^OLU you moved forward with the project? I accepted it immediately, but I stressed that it was important to think of this exhibition from a scenographic point of view and that I would only be interested if the project was ambitious in that regard. It would not be enough for me to just throw things onto a THUULX\PU ;OPZ PZ H ILH\[PM\S ZWHJL but I committed myself politically and we worked together to raise the support YLX\PYLK [V PTWSLTLU[ [OL WYVQLJ[ 0[ ^HZ not cheap, but I think that you can see why.
interview
FELIPE OLIVEIRA BATISTA In an interview, you said that you wanted to approach the idea of Portuguese identity, but without falling back into clichés. In what way? Clichés are always bad. Those collections that, fortunately, are increasingly rare and that have themes like “hippie” or “my trip to Kenya” are always very limiting. In my case, there are Portuguese cultural references, connected to my childhood, because I grew up in Portugal, I\[ 0 [OPUR [OH[ [OL NYLH[LZ[ PUÅ\LUJL PZ PU my minimalism, which people do not often associate to our country. In fact, austerity, YLU\UJPH[PVU HUK X\PL[\KL HYL ]LY` 7VY[\N\LZL sentiments.
We know that you considered creating a second line for the Felipe Oliveira Baptista brand and, since you design menswear for Lacoste, there was also some talk about a collection for men. Could these be other surprises that you may be preparing to celebrate the brand’s 10th anniversary? Unfortunately, no. I had already started to work on a second line six months before I joined Lacoste, but I had to stop because my available time was cut in half and I did not want the main collection to suffer from my lack of involvement. Notice that, at Lacoste, I design the catwalk show collections, the pre-collections... I had to focus all my energy on the main projects.
The 10th anniversary of the Felipe Oliveira Baptista brand also coincides with the 80th anniversary of Lacoste, where you have been the Creative Director since 2010. What changed in your life? Everything.
One of the pieces in this exhibition was presented at the Hyères Festival, where you were also this year’s jury president. Since your career began after you won this competition, I imagine that your return had a ZWLJPHS ÅH]V\Y I had already returned two or three times before, but, when I was invited to be jury president, I was a bit stumped. It is the completion of a cycle, and there is no doubt that, for me, everything started after that festival. On the other hand, the idea that now it would be my turn to help someone else achieve success was very important on a human level. It also ended up being very intense, because I was able to see myself in the participants’ shoes, because I was once one of them. This year, it rained a lot during the festival, but the interesting thing is that the rain did not take away any of the event’s energy. The exhibitions were full, the people were walking in the rain on the beach...
At the start of this partnership we met in 7HYPZ HUK `V\ JVUÄKLK [OH[ IL[^LLU ILPUN a father, your own brand and Lacoste, there was no time left for anything else. Has the pace slowed down? Things are not any calmer and I had to learn to work faster. Working as a team has also become very important, as well as following my intuition – which often turns out to be the right instinct. The down side is the constant lack of time to rewind and analyse the work. That is why this project was also so interesting, because it forced me to slow down.
28-29
(UUP]LYZHYPLZ HYL HS^H`Z H [PTL MVY YLÅLJ[PVU If you had the opportunity to do something differently, what would it be? You also learn a lot from your mistakes and, therefore, I have no regrets. In fact, there were two complicated moments in my private life that LUKLK \W ILPUN YLÅLJ[LK VU [OL JVSSLJ[PVUZ I\[ I do not think that they were a faux pas – they were just the circumstances at that time. In any JHZL 0 JHU ÄUK ÅH^Z PU L]LY`[OPUN L]LU PU [OL things that I really like. But I consider myself lucky for never having ended a catwalk show saying “how awful!”
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Open to the public at MUDE – Museum of Design and Fashion, in Lisbon, until 16 February, 2014, and curated by Bárbara Coutinho and Felipe Oliveira Baptista, the Felipe Oliveira Baptista exhibition revisits the work of the eponymous Portuguese designer and his references. Contrary to the usual organisation of this type of exhibition, which tends to favour laying out the collection in chronological order, the arrangement of the 1,500 ZX\HYL TL[YL HYLH ^HZ THKL ^P[O PUZ[HSSH[PVUZ [OH[ JVTWYPZL JVYL [OLTLZ ^OLYL Felipe Oliveira Baptista›s work appears grouped according to present references of his universe: «protection,» «new uniforms and work clothing,» «revisiting the classics,» «variable geometries» and «technology vs. nature.» The exhibition›s centre piece is «A Screen to The )YHPU ® HU PUZ[HSSH[PVU ÄSSLK ^P[O ZJYLLUZ ¶ ZPTPSHY [V H 4H[YP_ Z[`SL NPHU[ ZWPKLY ¶ ^OLYL drawings, magazine clippings, catwalk show photos and other very Felipe Oliveira BaptistaLZX\L LSLTLU[Z HYL WYVQLJ[LK PU H ZLLTPUNS` YHUKVT THUULY ;OPZ WPLJL ^HZ \U]LPSLK H[ [OL 28th Hyères International Fashion and Photography Festival, where he was the jury president. The spectacular exhibition design was created by Alexandre de Betak (Bureau Betak), a heavyweight of the fashion industry, responsible for the scenography of catwalk shows for IYHUKZ SPRL 4P\ 4P\ =PR[VY 9VSM *OYPZ[PHU +PVY HUK =PJ[VYPHÃZ :LJYL[ 6U [OL [OPYK ÅVVY VM 4<+, )L[HR JYLH[LK PUZ[HSSH[PVUZ ÄSSLK ^P[O TPYYVYZ HUK WSH`Z VM SPNO[ [OH[ HSSV^ [OL ]PZP[VY to explore the collection from different points of view, always with a fresh look. The sound design developed by Michel Gaubert, who created different pieces that accompany each core, has moments of pure genius, such as in a remix where the voices of Naomi Campbell and of fashion critic Suzy Menkes take us to a place far away from number 24 of Rua Augusta. Open from Tuesday to Sunday, from 10 a.m. to 6 p.m. www.mude.pt
WHY DON’T YOU CALL ME photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA
30-31
Shoes - SILVIA REBATTO Top and skirt - NUNO BALTAZAR Gold bracelet - ARISTOCRAZY Silver bracelets - FU at WRONGWEATHER.NET Crystals bracelet - MANGO
Shoes - CUBANAS Jacket, top and shorts - RICARDO PRETO Socks - CALZEDONIA Necklace stylists studio 32-33
Shoes - HELSAR Coat - LUIS BUCHINHO Necklace - ARISTOCRAZY Ring - FREEDOM by TOPSHOP
Andre, left Top - RICARDO DOURADO Shorts-MAFALDA FONSECA
34-35
Karmay, right Shoes - FLY LONDON Top and dress - RICARDO DOURADO Bracelets stylists studio
Shoes - PARADIGMA Top, bomber jacket and shorts - HUGO COSTA Necklace - TOPMAN
36-37
Shoes - GINO-B Top, bomber jacket and shorts-HUGO COSTA Earing - TOPMAN
Shoes - VALUNI Top and trousers - HUGO COSTA Bracelet - TOPMAN
38-39
Shoes - BASILIUS Dress - NUNO BALTAZAR Gold bracelet - ARISTOCRAZY Silver bracelets - FU at WRONGWEATHER.NET Ring - FREEDOM by TOPSHOP
Shoes - CENTURY Shirt, sweatshirt and trousers-RICARDO ANDREZ 40-41
Top and bomber jacket - HUGO COSTA
Edgar, left Shorts - MAFALDA FONSECA
42-43
Andre, right Shoes - J.REINALDO Jacket, top and shorts MAFALDA FONSECA Socks - CALZEDONIA
Shirt - RICARDO ANDREZ
production make up hair photography assistant styling assistant production assistant models
PAULO GONÇALVES 'APICCAPS' ATELIER PATRÍCIA LIMA RUI ROCHA with senscience Shiseido PEDRO SÁ NELSON LIMA Paula Portugal AND CLÁUDIA PINTO ANDRE CHEE 'ELITE LISBON', EDGAR GONÇALVES 'L'AGENCE' AND KARMAY NGAI "ELITE LISBON" RETOUCHING LALALANDSTUDIOS
44-45
Shoes - EXCEED Top and shorts - MAFALDA FONSECA Bracelet - TOPMAN
footwear young designers
NEW BRANDS Innovation and creativity are essential in an industry that reinvents itself with each season. There are many good examples of creators and designers turning to footwear. Learn about four cases that promise to be a hit.
by Ilídia Pinto
OFFICINA LISBOA Super high and comfortable 0ZHILS /LUYPX\LZ KH :PS]H»Z JOHSSLUNL ^HZ JSLHY :OL ^HU[LK [V WYVK\JL a very high shoe, but one that was comfortable. She experimented with ZOHWLZ OLLSZ HUK WSH[MVYTZ \U[PS ÄUKPUN [OL PKLHS IHSHUJL :OL JVTIPULK [OL KLZPNU HUK [OL H[[YHJ[P]L JVSV\YZ [OL ÄULZ[ TH[LYPHSZ HUK [OL HY[PZHUHS THU\MHJ[\YL [LJOUPX\LZ ;OPZ PZ OV^ [OL 6MÄJPUH 3PZIVH ZOVLZ ^LYL born. The latest innovation is the men’s collection, entirely produced in Goodyear welt, and which will be available for sale at El Corte Inglés. As for the women’s shoes, they are available online from the brand’s website HUK MYVT [OL 6MÄJPUH 3PZIVH ZOV^YVVT H[ )HPYYV (a\S ;OL IYHUK OHZ already made occasional sales abroad, but Isabel hopes that the recent presence at GDS may serve as a platform for the internationalisation of 6MÄJPUH HZ VM `V\UN KLZPNULYZ PU]P[LK I` (70**(7:
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JOSEFINAS Shall we dance? 1VZLĂ&#x201E;UHZ HYL [OL TVZ[ ILH\[PM\S IHSSL[ Ă&#x2026;H[Z PU [OL THYRL[ ;OL HZZ\YHUJL is made by Filipa JĂşlio, the young architect who conceived and developed the project. The goal was simple. Or maybe not. She wanted to create shoes that were both practical and elegant. That honoured her past as a IHSSLYPUH HUK OLY M\[\YL HZ H TVKLYU ^VTHU :OL X\PJRS` HYYP]LK H[ [OL IHSSL[ Ă&#x2026;H[ JVUJLW[ I\[ P[ OHK [V IL JSHZZPJ HUK OH]L H Z[YVUN WLYZVUHSP[` She presented her idea at the So Pitch competition, was selected as VUL VM [OL [LU ILZ[ I\ZPULZZ PKLHZ HUK MV\UK H WHY[ULY 1VZLĂ&#x201E;UHZ THKL it out of the drawing board and were even invited to participate in the young designers showcase at ModaLisboa. With the new autumn/winter collection having been developed with an attention to the adverse climate JVUKP[PVUZ 1VZLĂ&#x201E;UHZÂť MHTL OHZ HSYLHK` YLHJOLK )YHaPS HUK 5L^ @VYR
BUENOS AIRES Versatility and originality ;OPZ WYVQLJ[ PZ [OL IYHPUJOPSK VM MV\Y MYPLUKZ 1VqV 4LZX\P[H ;PHNV )PSIHV 4PN\LS )HZ[V HUK )Y\UV 4HYĂ&#x201E;T IVYU MYVT [OL JVUJLW[ VM [YHKP[PVUHS (SLU[LQV IVV[Z ;VKH` and although it continues to sell menâ&#x20AC;&#x2122;s boots, albeit only online - Buenos Aires has transformed into a much more feminine brand, with more models, and marked by the versatility of its accessories: bows, feathers, frills, all easy to apply and remove, providing you with different boots each day. The second collection by Buenos Aires THPU[HPUZ [OL TVKLSZ PUZWPYLK I` [YHKP[PVUHS (SLU[LQV X\PS[Z I\[ IYVHKLUZ [OL YHUNL introducing new colours, such as purple, and new materials, such as the crochet and sheepâ&#x20AC;&#x2122;s wool patches, promising to be a success for this autumn/winter. â&#x20AC;&#x153;We KV UV[ ^HU[ [V IL RUV^U VUS` MVY [OL X\PS[Z /LUJL V\Y PU]LZ[TLU[ VU [OL ]LYZH[PSP[` and originality of the models,â&#x20AC;? explains Brand Manager Andreia Rocha, who has HSYLHK` YLJLP]LK VYKLYZ MYVT 8H[HY :^P[aLYSHUK [OL 5L[OLYSHUKZ ZWLJPĂ&#x201E;JHSS` MYVT Amsterdam), Poland and Canada.
ANA AMORIM Shoes made to your dreamsâ&#x20AC;&#x2122; order At a time when consumers increasingly opt for anything that is exclusive and distinctive, Ana Amorim created an individualised footwear design service. The My >H` ,_JS\ZP]LZ HYL ]LY` ZV\NO[ HM[LY I` IYPKLZ HUK V[OLYZ ^OV JHUUV[ Ă&#x201E;UK [OL ZOVLZ that they dreamt of wearing for their special day, at the market and who say what they want so that Ana can bring them to life. Additionally, Ana Amorim also has her own collection, which customers may customise with regard to a range of materials and colours that are available. Sales are done online, through her webpage. Ana Amorim was present at GDS, in September, and won a GAPI award for innovation and design in the footwear industry, in the Young Talent category. Partnerships with other brands are now part of the designerâ&#x20AC;&#x2122;s goal, but without letting go of her distinctive factor: her models will always have a detail, an add-on, something to make them dynamic and customisable.
people
by Manuel Arnaut
THE “IT” GENERATION They are young, adventurous and successful. We talked to three Portuguese youths living abroad who took the fashion industry by storm.
| Sharam Diniz New York, model. She already lived in London, but, at the moment, New York is the city she calls home. Is there anyone who does not know Sharam Diniz, the model referred to by GQ as “the new black panther”? A regular presence at the most important fashion weeks, it was in November 2012 that everything changed for the PortugueseAngolan model, when she joined a group of 33 stars on the Victoria’s Secret catwalk show. “It was, undoubtedly, the turning point of my career,” she tells Portuguese Soul. “The selection of women for the brand’s annual show is made with great rigour, in successive casting calls, and only the models who have shown V\[Z[HUKPUN WO`ZPJHS X\HSP[PLZ WLYZVUHSP[` HUK YLHZVUHISL HJ[PUN ZRPSSZ HYL JOVZLU 0 HT ]LY` WYV\K VM OH]PUN ILLU [OL ÄYZ[ (UNVSHU HUK [OL ÄYZ[ 7VY[\N\LZL TVKLS [V HJJVTWSPZO P[ ¹ Some of Sharam Diniz’s other remarkable achievements are the cover of Vogue and major campaigns, such as 7 For All Mankind and Loft, where she posed next to stars like Karolina Kurkova and Hilary Rhoda. There is no doubt that Sharam Diniz is at the forefront of a battalion of successful black models who have been standing out in the world of fashion. “The growing number of Angolan models PU [OL ^VYSK VM MHZOPVU PZ [OL YLZ\S[ VM [OLPY PUKP]PK\HS X\HSP[PLZ HUK of the growth that the country has been experiencing in recent years,” she comments. “As for the greater participation of black women and men in the catwalk shows, I think it is a complex PZZ\L MVY ^OPJO 0 KV UV[ OH]L KLÄUP[P]L HUZ^LYZ 6UL L_WSHUH[PVU may be the progressive decrease of racial discrimination in Western societies, or the discovery that the image of black models can also elicit a good commercial response.”
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| Nuno Xico New York, video editor. Name-dropping is never pretty. In Nuno Xico’s case, however, it is essential to help us understand the dimension of his path, which took him from Queijas to the city that never sleeps. A documentary edited for Madonna and Steven Klein? Check! And videos for Bottega Veneta? Check! Not bad for a young man with a degree in Advertising and Marketing who left Portugal with a bag full of courage and with the conviction that his future would involve video editing. After arriving in New York, in 2010, it was a job for the Portuguese edition VM ,SSL HUK MVY ;VTT` /PSÄNLY [OH[ W\[ OPT VU [OL MHZOPVU JYV^K THW “From that point on, I started to receive invitations for other jobs in fashion and ended up getting connected to the industry,” he explains. However, no other reached the dimension of the project that he took on in ^OLU OL LKP[LK H KVJ\TLU[HY` MVY [OL X\LLU VM 7VW ¸-VY H TVU[O and a half, I worked with Madonna almost every day, in a super-intense process. This experience could really only have happened in New York, and it feels almost surreal to think that I exchange emails and share laughs with Madonna while we discuss Godard and Alain Resnais.” Despite having been far from home for some years now, Nuno Xico is not the nostalgic type. “Much like a real-life and constant Tumblr,” New York gives him all he needs to create, whether it is “a poster on the street, in a shady alley, or a conversation with a stranger in a café.” As one would expect, his return to Portugal will not be happening soon. “I am very detached. When I am in a place, I do not usually miss what I do not have around me. I came to New York alone, and today I have a network of friends and contacts that I truly cherish. But family is always missed. My grandmother’s soups? Do they count?”
| Nelly Gonçalves Paris, Fashion editor of DSection. Today, she is the editor of the fashion pages of one of the youngest and most effervescent men’s magazines, DSection, but her résumé in the style industry is extremely long. Born and raised in Paris and with a grandfather who was a tailor, Nelly caught the fashion bug when, at age 12, she began creating her own clothes. She has come a long way since then, and has had her work published on the pages of the most respected magazines in the world, Z\JO HZ 0V +VUUH 3»6MÄJPLS /VTTLZ (TPJH 4HYPL *SHPYL HUK *P[PaLU 2 ( [Y\L ^VTHU of a thousand trades, Nelly also participates in the production of catwalk shows for major brands, like Hermès, Chanel, Lanvin or Saint Laurent Paris. It is a life lived in the fast lane – and très parisienne. “Living in Paris when you work in fashion is a real opportunity. It is the birthplace of couture and of prêt-à-porter and there is a whole heritage connected with the industry. There are speciality schools open since 1840,” Nelly Gonçalves comments, letting her love for fashion history shine through. When the topic is the City of Light, she is full of praise, highlighting this fashion capital’s capacity to constantly renew itself, even when it results in a very demanding “infernal pace.” Fortunately, there is always Portugal and its calmer atmosphere. “I discovered Lisbon a little over a year ago and fell in love with the city. I try to return every couple of months, after a period of intense work, to recharge my batteries,” she concludes.
people
SIX FACES, SIX WAYS OF SEEING AND FEELING PORTUGUESE FASHION.
WOMAN POWER by Catarina Vasques Rito
7KH SURPRWLRQ RI RXU FUHDWLYLW\ LQYROYHV WKH ZRUN DQG FRPPLWPHQW RI women like Paula Mateus, Eduarda $EERQGDQ]D )Ã&#x2C6;WLPD /RSHV $QD 6RıD (OVD *HUYÃ&#x2C6;VLR DQG 1D\PD 1DPHV WKDW WKH SXEOLF NQRZV IURP GLijHUHQW approaches to the same world, the world of fashion, and who share the same language, Portuguese. Learn a little more about these women who, HDFK GD\ VHHN WR SURYLGH DGGHG YDOXH to our talent.
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“After ten years on the job, I feel increasingly proud of Portuguese talent, with regard to both the models and the designers, and of the way in which Portuguese people want to experience their image.”
ANA SOFIA Model and TV host
/LY JHYLLY ILNHU H[ HNL HUK (UH :VÄH PZ HKHTHU[ ^OLU ZOL ZH`Z [OH[ P[ ^HZ fashion that chose her to work in this area. “I felt honoured to realise that there was a place for me in this complex world that moves around beauty and style.” She recently began working as a TV host, presenting a more personal side that the public “does not have a chance to see when our profession is objectively centred around our image.” The professional routine made her feel that she “was ready for other challenges, respecting my SPTP[Z HZ H WLYZVU ¹ -YPLUKS` ^P[O H Z^LL[ NHaL HUK H ZVM[ ]VPJL (UH :VÄH OHZ H \UPX\L WYLZLUJL PU 7VY[\N\LZL HUK PU[LYUH[PVUHS MHZOPVU ( MYLX\LU[ WHY[PJPWHU[ PU PU[LYUH[PVUHS editorials, she sees the global contextualisation of fashion as being still too focussed on the feminine, although men are starting to display a taste for images and trends, “a slow process, but one that will soon bear fruit,” she claims. After ten years on the job, she feels “increasingly proud of Portuguese talent, with regard to both the models and the designers, and of the way in which Portuguese people want to experience their image.”
people
She is the face of one of the most important platforms of Portuguese fashion, passionate about artistic vision in general and by fashion in particular. The constant search for beauty, for difference, for new aesthetic and artistic languages has driven her to travel around the world and live in one of Europe’s fashion capitals, Milan. I lived in Milan during seven years and it was there that I fell hopelessly in love with fashion and began training my sense of style and taste, also because I had access to a different type of products and contexts. I watched a lot of catwalk shows and socialised with people connected to this universe.” Fashion is made of “individual perceptions and not of genders. There are designers, men and women, who develop women’s collections that are very feminine, and others with a more minimalist and masculine concept.” She studied Fashion Design at CITEM and created two brands – one in her own name and the other in partnership with Mário Matos Ribeiro, with whom she would establish ModaLisboa. She conciliates the views of a direct participant (former designer and director of ModaLisboa, a platform for the promotion of national creativity) with that of an indirect one (fashion instructor at the School of Architecture of the University of Lisbon), helping to form and promote the best that Portuguese fashion has to offer.
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EDUARDA ABONDANZA
General Director of ModaLisboa
“The national fashion industry has undergone a revolution in the last 20 years and, these days, despite the country’s fragile economic situation, it is stronger than ever.”
ELSA GERVÁSIO
Former Model and Director of L’Agence Modelling agency
“It is with great pride that I see our professionals designing increasingly better collections and appearing in the major events of international fashion. I think that we are on the right track.”
Fashion is part of her life. This passion comes from the time when she was a model, for a whole decade, and has only increased as director of L’Agence modelling agency. She defends that “women have a sharper aesthetic sense, although the male view, in most cases, is better at interpreting the desires of the female public.” Discover, guide and promote national models in Portugal and abroad “are part of daily life, fully aware that we are working towards furthering the concept of beauty and our country’s image in very competitive markets.” Pride is the word that ILZ[ KLÄULZ [OL ^H` ZOL ZLLZ ¸V\Y WYVMLZZPVUHSZ KLZPNUPUN increasingly better collections and participating in the major events of international fashion.”
FÁTIMA LOPES
“My style was always the engine behind my creativity, respecting, over the years, an aesthetics that is faithful to who I am and which I defend through my collections each season.”
Few fail to recognise her style and creative language. In Portugal and abroad, Fátima Lopes is one of our fashion’s ambassadors. “I realised the fascination that fashion held from very early on, and fought, over the years, for the credibility of my talent and of my style.” Born in Funchal, Madeira, she moved in 1990 to Lisboa, ^OLYL ZOL VWLULK OLY ÄYZ[ Z[VYL =LYZ\Z ¶ ^OPJO ^V\SK be renamed Fátima Lopes two years later. That is also the `LHY ^OLU ZOL WYLZLU[LK OLY ÄYZ[ JVSSLJ[PVU ;OL H]HU[ NHYKL Z[`SL ZLK\JLK [OL MLTHSL W\ISPJ MVY P[Z \UPX\LULZZ “an image that is directly connected to my way of being and presenting myself in public.” She makes a direct contribution to the promotion of Portuguese fashion and is “happy with the fact that there are others experiencing success in the country and in the world.” Whether feminine or masculine, “fashion is a personal interpretation in a constant desire to please the public.” Fashion Designer
NAYMA
people
Model 54:55
No words are needed when we are talking about Nayma. Muse for designer Miguel Vieira, her absence from the catwalks does not lessen her innate talent for one of the most thankless occupations in the sector: modelling. “Professionalism should be as important as our name’s honour. Models have the duty to WLYMVYT [OL QVI [OL` JOVZL PU H KPNUPÄLK HUK mature way. This has been one of my premises.” She lives between Portugal and Angola, where she was born and where she teaches her trade secrets to future models. Every time she returns to the catwalks, her talent does not go by unnoticed, having earned the respect of the sector and being invited to embody the collections of national designers. “Portuguese fashion is also my fashion. It gives me pleasure to see the evolution of this industry, as well as seeing that it is starting to have a place outside VM 7VY[\NHS ¹ :OL KLMLUKZ [OL X\HSP[` HUK [OL talent of the direct participants in fashion, “both Portuguese and foreign. We all work to provide value to an area that is still very misunderstood by some of today’s opinion-makers. Its success is the success of many – we cannot forget that fashion employs many and promotes the image of all, and the way in which we present ourselves and in which we want to be recognised is increasingly important.”
PAULA MATEUS
Director of Vogue Portugal
“There is still a lack of know-how and greater partnership between the industry and the Portuguese designers.” The world may have lost an excellent kindergarten teacher, but the truth is that it was Portuguese fashion’s gain. Paula Mateus, director of Vogue Portugal magazine since 2002, is a woman who has been accompanying the evolution of our creativity, where, as she says, “great progress has been made in the formation of an identity of our own, especially with regard to internationalisation.” Her professional path included working as a photographer’s model and as Élan, Mulher Moderna and Máxima magazines’ fashion editor, before becoming, 11 years ago, director of one of the most important magazines in Portugal and in the world. She thinks that, in this area, the female view is “almost egocentric, although, in the last few decades, the male mentality has become more accessible to the meanders of style.” The passion for fashion gives her a permanent desire to deepen her knowledge, from the point of view of both “entertainment and aesthetics, and not only as director of Vogue Portugal, but also as a person,” assimilating the lessons learnt from day one and which still guide her to this day. Photo: Reinaldo Rodrigues Make-UP M.A.C. - Susana Reimão
catwalk
In the background, the waters of the VSUDZOLQJ ULYHU UHIJHFW WKH WLPLG OLJKW RI an autumn sun that insists on hiding. 3UHVV DQG JXHVWV DUULYH OLWWOH E\ OLWWOH blending in with tourists and passersE\ 9RLFHV DQG FRQYHUVDWLRQV EOHQG in a clamour of criss-cross languages, between colours and patterns more or less restrained, more or less GDULQJ LQ D YLEUDQW H[SORVLRQ RI FRORXU and originality. The bustle extends beyond the streets and the squares.
EVER.NOW
by InĂŞs Soares
56-57
Ricardo Andrez partnered with footwear brand Sr. Prudêncio, and V!tor WYLZLU[LK \YIHUP[` HUK YLSH_H[PVU MVSSV^LK I` [OL X\LLU VM KLJVUZ[Y\J[PVU and conceptualisation, Lidija Kolovrat, in an outlandish fairytale. The following day, Luís Buchinho opened with a collection recently WYLZLU[LK H[ [OL 7HYPZ MHZOPVU ^LLR KYLZZLZ HUK ]LY` MLTPUPUL pieces in soft tones inspired by the blank sheet that precedes creation, accompanied by shoes and sandal boots from Helsar.
MODALISBOA IS ABOUT 72 %(*,1!
Within or outside the usual venues, ModaLisboa democratises itself and takes to the streets, turns Praça do Município into an outdoor catwalk and multiplies into parallel activities open to all. Who comes out on top? The general public, the designers, but, above all, 7VY[\N\LZL MHZOPVU ^OPJO IYLHRZ P[Z IVUKZ HUK PU]HKLZ [OL L]LY`KH` Shoes take on a role of unprecedented protagonism, resulting from countless partnerships established between fashion designers and the most famous Portuguese brands of footwear. The event began with the “Sangue Novo” competition, returning after a ten-year absence in a renovated and contemporary version that surprised with the presentation of youthful and alternative proposals, \URUV^U UHTLZ ^P[O WV[LU[PHS [HSLU[ HUK [OL KLZPYL MVY HMÄYTH[PVU
catwalk
Sculptural pieces by V alentim Quaresma preceded the fun “002 Licence to go Bananas” catwalk show by duo Os Burgueses. They were followed by Ricardo Dourado and Dino Alves who, in partnership with Dysfunctional, presented a YLÅLJ[PVU VU [LJOUVSVN` VU [OL excess of information and on 3D. We could still see the collection of Polish designer Kamil Sobczyk, the beachwear of Cia. Marítima and the straight and simple lines of Alexandra Moura, with a line of footwear designed for Goldmud.
“Origens” by Miguel Vieira partnered with Everest and Nuno Gama presented his collection wearing footwear by Eureka, honouring the best of Portuguese tradition in an urban and international collection. On the third and last day of the event, we could see the latest JVSSLJ[PVU VM :H`T`UHTL I` *H[HYPUH *LYX\LPYH [LHTLK \W with Xperimental. We witnessed the début of Luís Carvalho VU [OL 3() WSH[MVYT HUK [OL PU[LYWYL[H[PVU VM ¸3H MLTTL X\P chante” by Pedro Pedro and Basilius. 58-59
;OL 4HYX\LZ»(STLPKH K\V JVU[PU\LZ [V assert itself in the international markets with V\[Ä[Z ^OLYL KLUPT HWWLHYZ HZ [OL Z[YVUNLZ[ element, followed by Ricardo Preto with footwear brand Clays in a collection inspired by Bauhaus and hyper-realism.
;OLU P[ ^HZ [PTL MVY [OL Å\PK HUK JHZ\HS silhouette of Aleksander Protic, with a line created for Dkode, and for the appealing streetwear of White Tent accompanied by FLY London, this time inspired by judo uniforms.
;OL ÄUHSL VM [OL ,]LY 5V^ LKP[PVU OHK H M\SS OV\ZL HUK P[Z Z\JJLZZ was assured by one of the most anticipated names. Nuno Baltazar, in partnership with JJ Heitor Shoes, presented the “Stabat Mater” collection, marking the 15th anniversary of ModaLisboa presentations. Free and natural lines appear in contrast to more exuberant silhouettes where femininity is always exalted.
catwalk
PORTUGAL FASHION After its already customary return to Lisbon, Portugal Fashion settled in the capital of the North of Portugal for another three days of catwalk shows. by InĂŞs Soares
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Acknowledged for the emphasis given to new talents as a platform MVY WYVTV[PVU HUK HZ H SH\UJOPUN WHK ,ZWHsV )SVVT OHZ HMÄYTLK itself not only as a display of potential, but also as a place that hosts the increasingly anticipated presentation of names that we have already gotten used to hearing and knowing. With each new edition, Espaço Bloom surprises us not so much for its character of “novelty”, but because it is part of a movement of innovation that makes the difference and has been asserting itself against more classic or consensual proposals.
In Lisbon, Andreia Lexim, Gonçalo Páscoa, O Simone and João Melo Costa preceded the much anticipated Storytailors, TM Collection by Teresa Martins and the eternal Alves/Gonçalves duo. 0U 7VY[V (SL_HUKYL ;PX\L (SL_HUKYL" ;H ZZL Daniel and Telma Orlando, Elionai Campos, (UHILSH )HSKHX\L 4HMHSKH -VUZLJH 4LHT by Ricardo Preto and Carlos Couto opened the way to the latest creative trends of Portuguese fashion.
Elisabeth Teixeira was outstanding in partnership with footwear brand Cohibas and international Katty Xiomara reinterpreted Portuguese tiles in a clean and structured form. The 3rd day included the collective shows from fashion schools Árvore, MODATEX, ESAD and EMP, while Daniela Barros, Estelita Mendonça, Susana Bettencourt and Hugo Costa showcased the interesting evolution of their most recent works.
Diogo Miranda presented a collection in honour of Oscar Niemeyer, in which urban contemporaneity and the iconic works of the Brazilian architect were used by the young designer as a starting point and source of inspiration. Next came Teresa Abrunhosa, the magic of Luís Buchinho’s resort-version knitwear, the conceptual minimalism of Carla Pontes and Klar, the sophisticated classic of Miguel Vieira and “Odissey” by Fátima Lopes.
ALVES & GONÇALVES
FÁTIMA LOPES
LUÍS ONOFRE
catwalk
MIGUEL VIEIRA
DIOGO MIRANDA
ELISABETH TEIXEIRA
LuĂs Onofre presented â&#x20AC;&#x153;Different Flavoursâ&#x20AC;?: vibrant and original tones in a palette of violets, NYLLUZ IS\LZ M\JOZPHZ Ă&#x2026;\VYLZJLUJLZ WHZ[LSZ salmon pinks and chocolate browns that dotted the shoes and sandals with different types of heels, from wide to super slim. Snake or lizard-skin handbags contrasted with the shine VM SHJX\LYZ TL[HS HWWSPJH[PVUZ HUK JY`Z[HSZ embedded in the footwear.
Saturday afternoon began with the collective show of some of the industryâ&#x20AC;&#x2122;s clothing brands, followed by the presentation of the latest footwear trends by the most famous Portuguese footwear brands. DKODE by Aleksandar Protic, FLY London, Goldmud and Alexandra Moura, J. Reinaldo, Nobrand and Silvia Rebatto. Espaço Bloom had the presence of Maria Martins, Pritt Franco, ClĂĄudia Garrido, Joana Ferreira and Diana Matias. *HYSVZ .PS Ă&#x201E;SSLK [OL JH[^HSR ^P[O L_V[PJPZT and elegance in a collection inspired by Southern India, marked by the sparkle of gold, LTIYVPKLYPLZ IYPNO[ JVSV\YLK ZLX\PUZ HUK exuberant ornamentation.
â&#x20AC;&#x153;The Sheltering Skyâ&#x20AC;? by Felipe Oliveira Baptista ^HZ H IYPSSPHU[ Ă&#x201E;UHSL MVY [OL :WYPUN :\TTLY edition of the event, leading us on an imaginary journey across the continents, which translated into the creation of sophisticated but functional pieces in architectural lines destined to dress the body and free women from stereotypes.
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LET ME BE THE ONE photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA 64-65
Top and tiara - NUNO BALTAZAR
Shirts - PEDRO PEDRO Bracelets - FREEDOM by TOPSHOP Underwear stylists own 66-67
Shoes - PEDRO PEDRO by BASILIUS Shirts, skirt and trenchcoat - PEDRO PEDRO Bracelets - FREEDOM by TOPSHOP
Dress - RICARDO PRETO
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Shoes - RICARDO PRETO by CLAY’S Jacket top and trousers - RICARDO PRETO Bracelets - FREEDOM by TOP SHOP
Shoes - ELISABETH TEIXEIRA bY CHIBS Sweatshirt and skirt - ELISABETH TEIXEIRA Backpack - EASTPACK Underwear and socks stylists own 70-71
Body - ELISABETH TEIXEIRA Bracelets FREEDOM by YOPSHOP
Jacket - LUIS BUCHINHO Sunglasses - THIERRY LASRY 72-73
Shoes - LUIS BUCHINHO by HELSAR Dress - LUIS BUCHINHO Bracelets FREEDOM by TOPSHOP
Shoes - NUNO BALTAZAR by JJ HEITOR Corset and necklaces - NUNO BALTAZAR Bra stylist own
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pproduction make up hair photography assistant styling assistant production assistant models RETOUCHING
PAULO GONÇALVES 'APICCAPS' ATELIER PATRÍCIA LIMA RUI ROCHA PEDRO SÁ NELSON LIMA Paula Portugal & CLÁUDIA PINTO alexandra nefedova "elite lisbon" LALALANDSTUDIOS
young designers
NEW GENERATION
CARLA PONTES by Inês Soares 1 – How did fashion appear in your life? Could you tell us a little about your path? My interest in fashion began when I was still a child. I grew up within the world of textiles, spent hours in my parents’ factory and soon started wanting to design and make clothes for my dolls, but mostly for myself. As for my path, I have a degree in Product Design from ESAD and I completed a Fashion Design course at CITEX. ¶ >OH[ HYL `V\Y THPU JYLH[P]L PUÅ\LUJLZ and which aesthetic currents do you identify with the most? 0 MLLS H NYLH[ PUÅ\LUJL MYVT [OL TPUPTHSPZ[ language of architecture and product design. I have always been fascinated by the idea of the object and the project in three dimensions. During my product design studies, it became evident that I share the taste for the clear and plain language of Nordic design.
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3 – Fashion: Identity or globalisation? Identity. The perspective of creation is always characterised by identity, as a being, body, WLYZVU P[ SP]LZ MYVT PKLU[PÄJH[PVU HZ H WVPU[ VM H[[YHJ[PVU .SVIHSPZH[PVU TH` IL H JVUZLX\LUJL but not a point of departure. 4 – What are your next challenges and projects? At the moment, the main challenge is internationalisation. I am involved in the Global Market Strategy 2013 project, promoted by ANJE, which has been giving me incredible and indispensable support. With the help of this project, the CARLA PONTES brand has already been present at the Scoop International in London, at VISION in Copenhagen, at Capsule in Paris and at Portugal Fashion’s Brand Up in Porto. I am working towards also increasing my points of sale and creating the conditions for online sales.
5 – Which one is your favourite piece (from this collection)? Why? The two-colour sweater made of grey cotton/ steel and white serge. It is an apparently simple piece, with good volume and contrasting materials, interesting textures and opacities, but, if we analyse it beyond its appearance, it is even more interesting because, in terms of construction, it has a complex pattern that joins the front, back and sleeves. You cannot immediately see how the piece is assembled, how it will wrap the body or what type of piece it is, because it does not follow the language that we are used to. I enjoy this challenge during the process. I like it when the pieces are a challenge for me and for others, from production to the end product, which will also challenge the consumer.
1 – How did fashion appear in your life? Could you tell us a little about your path? I studied Fashion and Textile Design at the Higher School of Applied Arts of Castelo Branco. I participated in several competitions, amongst which was AcrobACTic 2012, where I won one top prize (best collection) and one runner-up (best male ensemble)... Then, I became part of Espaço Bloom within Portugal Fashion. ¶ >OH[ HYL `V\Y THPU JYLH[P]L PUÅ\LUJLZ and which aesthetic currents do you identify with the most? As can be seen from my clothes, I am very minimalist, but I believe that minimalism must be H JVUZLX\LUJL VM JVTWSL_P[` PU [LYTZ VM ZOHWLZ and materials. 3 – Fashion: Identity or globalisation? Identity... In the end, that is what it is all about! 4 – What are your next challenges and projects? The challenge is to make the project grow sustainably and invest increasingly more in the X\HSP[` VM [OL WYVK\J[
Hugo Costa
5 – Which one is your favourite piece (from this collection)? Why? I cannot choose one piece because it is a collection that surpassed all initial expectations and objectives, which primarily involved beginning the process of internationalisation.
Luis Carvalho
1 – How did fashion appear in your life? Could you tell us a little about your path? I started with a professional course in fashion design at Cenatex, in Guimarães. Later, I got my degree in Fashion and Textile Design at the Higher School of Applied Arts of Castelo Branco. While I was still studying, I began an internship at Filipe Faísca’s studio. I was Ricardo Preto’s assistant and Miguel Vieira’s retail manager, in Lisbon. In 2010, I started to work as a designer at jeanswear company Salsa, where I stayed for two and a half years. It was, undoubtedly, a great professional experience. This year I decided to leave Salsa, launch my own brand and create a small collection. In October, I had the opportunity to present my ^VYR MVY [OL ÄYZ[ [PTL H[ [OL 3HI WSH[MVYT VM ModaLisboa. ¶ >OH[ HYL `V\Y THPU JYLH[P]L PUÅ\LUJLZ HUK which aesthetic currents do you identify with the most? I like to start a collection with one detail that I really want to work and, from there, I create the concept; I\[ T\ZPJ HUK HYJOP[LJ[\YL HYL KLÄUP[LS` T` THPU JYLH[P]L PUÅ\LUJLZ
3 – Fashion: Identity or globalisation? Both. Fashion is identity, but it marks a style, H NLUYL H [PTL HUK ILJH\ZL P[ PZ KLÄULK I` someone, even if it is later adapted to each person’s personal taste. And, at the same time, it PZ NSVIHS" ÄYZ[ ILJH\ZL [OLYL PZ TVYL PU[LYLZ[ HUK demand from the public, and second, because VM [OL ^VYSK ^L SP]L PU [VKH` ^OPJO HMMVYKZ X\PJR HUK LHZ` ÅV^ VM PUMVYTH[PVU ^OPJO THRLZ P[ TVYL encompassing. 4 – What are your next challenges and projects? A next edition of ModaLisboa, a next collection, increasing the number of points of sale and attracting new customers. 5 – Which one is your favourite piece (from this collection)? Why? It may be the printed bomber, because it is a piece [OH[ JSLHYS` PKLU[PÄLZ [OL JVSSLJ[PVU P[ JVU[HPUZ [OL key element – the printed motif – and it is a casual WPLJL ^P[O H TVYL YLÄULK SVVR ^OPJO PZ VUL VM the Luís Carvalho characteristics, a mix between classic and casual.
young designers
Mafalda Fonseca
1 – How did fashion appear in your life? Could you tell us a little about your path? Fashion appeared very naturally and has always been present in my life. I dropped out of a Law degree and signed up for the Fashion Design course at CITEX Fashion School (now renamed MODATEX), in Porto. During the course, I realised that I had a natural tendency towards menswear. I completed an internship at l’Atelier des Créateurs, in Porto, where I had the opportunity to learn a lot about tailoring. In 6J[VILY 0 WYLZLU[LK T` ^VYR MVY [OL ÄYZ[ time at Espaço Bloom, with my end-of-course collection, representing MODATEX, and I had an ensemble on display in partnership with :VÄH 4HJLKV HM[LY ^L YLJLP]LK [OL nd prize at tailoring competition L’Aiguille d’Or, promoted by Savoir Faire and by l’Atelier des Créateurs. Then, I completed an extracurricular internship with fashion designers Ricardo Dourado and with Luís Buchinho. I currently work in the textile industry, at Petratex, where I have learnt a lot.
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¶ >OH[ HYL `V\Y THPU JYLH[P]L PUÅ\LUJLZ and which aesthetic currents do you identify with the most? 6UL VM T` THPU JYLH[P]L PUÅ\LUJLZ PZ ^P[OV\[ a doubt, the view I have of my group of friends: during the creative process, I always keep in mind their image, the way I see them, their lifestyles, their paths, their histories; deep down, I try to portray them, telling a story and dressing [OLT HJJVYKPUN [V [OH[ Z[VY` (UV[OLY ZPNUPÄJHU[ PUÅ\LUJL PZ [HPSVYPUN HUK PU JVU[YHZ[ 0 HS^H`Z seek some inspiration from pure sportswear. As for the aesthetic, there is a natural interest for minimalism, always working with straight lines and blocks of colour, with a growing concern for [OL NYHWOPJ ZPKL VM [OL WPLJLZ ^OPJO PZ YLÅLJ[LK in this latest collection with the introduction of some prints. Also, in contrast with the minimalist aesthetics, there is the raw and industrial aspect that I get from the type of music and from the type of urban photography that I enjoy. 3 – Fashion: Identity or globalisation? Fashion is increasingly global and we cannot simply ignore that. We must be able to adapt our identity to fashion and to today›s reality. Understanding today›s consumer needs does not mean putting aside the message we want to get across; what changes is the fact that this message must be a lot stronger and faster, as well as our responsiveness.
4 – What are your next challenges and projects? At the moment, the main challenge is to continue balancing my own brand and my work in the textile industry; that is the only way I can OVWL [V OH]L [OL ÄUHUJPHS H]HPSHIPSP[` [V JVU[PU\L with my project. 5 – Which one is your favourite piece (from this collection)? Why? My favourite piece from this collection is the SLH[OLY WVSV ZOPY[ MYVT [OL ÄYZ[ LUZLTISL ILJH\ZL P[ ^HZ [OL ÄYZ[ WPLJL VM [OL JVSSLJ[PVU that I designed and it was the starting point for the entire graphic play, the idea of patchwork, HZ ^LSS HZ [OL JVUJLW[Z MVY Ä[[PUN HUK SLUN[O This option is also due to the fact that it is a material that I have always worked with and explored: leather. I think that it is a piece that can transmit the concept of this collection and the boy image that I want to get across.
young people
They walk down the catwalks. They embody the designers’ dreams, making those who watch from the audience desire those exclusive clothes or those amazing shoes. They are young, beautiful and have the world at their feet. And what dreams do they have?
by Ilídia Pinto
I HAVE A DREAM Joana Castro
¸;V ÄUK UL^ MHJLZ HUK UL^ [HSLU[Z¹ The fashion world commands such a fascination for Joana Castro that her dream is to stay connected to it even after she stops working on the catwalks. “I love [OL PKLH VM ZLLPUN UL^ MHJLZ UL^ [HSLU[Z VM ÄUKPUN [OLT HUK ^VYRPUN [OLT VM starting careers and creating great names. In my life, I always start from the most romantic vision and I prefer to believe that anything that may happen to us, good or bad, happens for a greater purpose in the future,” she says. And that is why, she explains, that she is Joana Castro in fashion, but Joana Silva on her ID card. With a degree in Communications, she is completing post-graduate studies on Corporate Communications. A youngster in the world of fashion, but with her feet ÄYTS` VU [OL NYV\UK ¸;OLYL PZ UV KV\I[ [OH[ T` NYLH[LZ[ WHZZPVU PZ T` ^VYR HUK every day I am grateful for the blessing of doing what I do,” she acknowledges. At age 23, the model represented by Best Models has had plenty of experience. ModaLisboa, Portugal Fashion, Tiffosi, Story Tailors, Modalfa, Manuel Alves/ José Manuel Gonçalves, UBI, El Corte Inglés and Acrobactic are only some of the many catwalk shows she has done, in addition to catalogue work for Mipa, lookbooks for Katty Xiomara, Diogo Miranda and Daniela Barros, and editorials VU +0- 7HYX 4HNHaPUL HUK 3\_ >VTHU 80-81
“An internationally successful career” To achieve an internationally successful career in the world of fashion is Tiago Grancho’s dream. At age 21, the young model represented by Elite Lisbon splits his time between Lisbon and Milan, where he does not pass up on the opportunity to work on the Fashion Week catwalks. Around here, he is a habitual presence on the ModaLisboa and Portugal Fashion catwalks. He was the male face of Tiffosi’s summer catalogue, alongside Eli and Carolina Minchetti. In September, he did an editorial for Gentleman’s Journal, which was shot at the Trindade Theatre. He is also a regular presence on Portuguese Soul.
Gonçalo Pinto “To live until I am 100” Only 18 years old, the Algarve-born model represented by L’Agence is already one of the young promises of national and international fashion. 1.87 m tall, Gonçalo Pinto is a regular presence at the main fashion events in the country, such as Portugal Fashion and ModaLisboa. From amongst his most recent editorials, there are works published in magazines like Vogue, Umbigo and Portuguese Soul. And his dreams? Gonçalo is modest... Or maybe not. He wants to be “always happy and to live until I am 100.”
Tiago Grancho
“To work with the best”
Daniela Hanganu
Dreams are one thing that Daniela Hanganu – the young model who is a Moldovan-Portuguese dual national – has plenty of. She starts right away by saying that she dreams to be “somebody,” and then adds that she wants “to be recognised for my work, to work with the best and to be featured on the best magazines in the world.” Only 16 years old and with stunning green eyes, Daniela dreams of visiting the most beautiful cities on the planet and of her name crossing the oceans and being recognised around the world. But she wants her opinion to matter. Moreover, she would like, “many years from now, to look back at my path and know that I did not merely live, but that I seized each day and did what I enjoy the most.” And there has been plenty of work for the young model represented by Central Models, including catwalk shows for Nuno Velez Durão and El Corte Inglés, catalogues for Effusive and Manjerica, and fashion editorials on Vogue Portugal, Essential Beauty and Edit Mag. Chosen for Luis Carvalho’s and Sophia Kah’s lookbooks, Daniela Hanganu was also a main feature of the DIF magazine 10 years special edition. Ah, and let us not forget the footwear... Daniela has already been the protagonist of a Cohibas catalogue.
interview
photos Frederico Martins for DSECTION
ON THE TOP OF THE WORLD
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He is only 26 years old. The world of fashion was never in his plans. From one day to the next, be began working on international campaigns and collecting cover after cover. Guinean-Portuguese Fernando Cabral is one of the models of the hour. He has travelled the world. He worked on campaigns for H&M, Iceberg and Stone Island. He did catwalk shows for over 40 brands, including Louis Vuitton, Hugo Boss and Diesel. More recently, he did the spring campaign for AnOther Man, with Kate Moss, and was on the cover of NumĂŠro. He is the only Portuguese ranked on the models.com list of top 50 male models. In 2013, he was acknowledged in Portugal and nominated for the Golden Globe in the Best Male Model category. Fashion runs in the family. His brother Armando Cabral is another portent of international fashion, with a very solid career. Fernando Cabral follows in his footsteps in leaps and bounds.
by ClĂĄudia Pinto
FERNANDO CABRAL
Which job made the biggest impression on you? 0[ PZ ]LY` KPMÄJ\S[ [V UHTL VUL 7LYOHWZ T` ÄYZ[ JHTWHPNU PU MVY / 4 0 OHK [OL opportunity to go to New York for a photo shoot with my brother. At the time, I had no idea about the impact that this shoot could have, but I now know that it was one of the most important. It ^HZ T` ÄYZ[ [YPW HIYVHK HUK T` ÄYZ[ IPN ZOVV[ 0[ happened before all else – I had not yet become a model or signed with an agency.
How did this adventure in the world of fashion begin? I began by participating in a competition by Karacter Models; I ended up winning and signing with the agency. Before that, but still in the competition process, I went to see my brother at ModaLisboa and met designers from Angola who were presenting their collection for [OL ÄYZ[ [PTL ([ [OL [PTL [OL` HWWYVHJOLK TL and asked me to be in their catwalk show. Later, I had my fashion week début, in Milan, and from there came the campaigns in Paris, London and New York. Your brother is also a reference in the world VM MHZOPVU >OH[ PUÅ\LUJL KPK OL OH]L VU your career? We have a great complicity. I have always accompanied my brother and I have always enjoyed his work. I used to watch him and feel very proud. I never thought: I am going to do this, because my brother does it too. It just naturally happened. The fact that my brother is a model gives me a lot of motivation and inspiration. He acts as a point of reference: when I want to improve something, I see his work. I want to be like him.
Given your history of work and acknowledgement, is there something you still look forward to? Is there a job that you really want and still have not been able to get? It is very hard to choose, but I think that every model has a reference in mind. I love Calvin Klein. My dream is to do a campaign for the brand, one day. It is the stage I want to reach and I hope to do so. I have not yet had the opportunity to do any work for the brand, but it is the campaign that I want the most. How do you see your rise in the world of fashion? I cannot complain about the moment I am living. Sometimes I am even afraid and think that it is all happening too fast. There are many models in the world of fashion who take a lot longer to get certain campaigns and certain jobs. -HZOPVU PZ ]LY` KPMÄJ\S[ ^L T\Z[ ^VYR ]LY` hard to maintain the same level. We must grab every opportunity and be true to ourselves. It is essential to be very focussed and to work a lot. The most important is to be aware that you can be at the top today and be gone tomorrow. I feel that I have been lucky with the people with whom I work. I have not yet had that rough stage, which happens in every profession, but which I hope to avoid. I am very pleased with all that is happening to me.
One of your works that garnered the most recognition was the cover of Numéro. I did not know that it would be on the cover when I shot the editorial. It was possible that it could be a cover, but it was not a certainty. Later, there was talk about that possibility and, of course, I was very happy for being selected.
You are currently the only Portuguese model ranked on the models.com list of top 50 male models. How do you see this nomination? I never imagined that I could one day be on that list. It is an honour. When I received the news, I did not even believe it and only asked: why? It was all so fast, I was in disbelief. Usually, a model must have a very solid career to be ranked on the list. I was thrilled!
interview
FORM AND CONTENT photo Branislav Simoncik
by João Costa
Máxima, the most highly regarded women’s magazine produced in Portugal, is celebrating its 25th anniversary. We talked to :VÄH 3\JHZ [OL KPYLJ[VY VM [OL W\ISPJH[PVU that proves that fashion is more than elegant dresses and high heels. Not that she doesn’t enjoy wearing them... At a time when many women’s and fashion magazines are thought of as devoid of content, Máxima has been maintaining its solid credibility for 25 years.
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Established by Madalena Fragoso, a grande dame of media, this 100% Portuguese THNHaPUL JVUX\LYLK [OL [VW WVZP[PVU PU HU LKP[VYPHS THYRL[ ÄSSLK ^P[O THQVY PU[LYUH[PVUHS publications, uniting the excellence of content to a carefully crafted fashion image. Máxima’s readers are in on the latest trends and drink cocktails at the latest fashion hotspot, but they also want to be at the forefront of war (literally; see box) or debate [OLTLZ SPRL WYVZ[P[\[PVU VY ZVJPHS PULX\HSP[`
Fifteen years after its establishment, in 2003, the task of directing the editorial path of Máxima for the next decade fell onto Laura Luzes Torres. 5V^ P[ PZ :VÄH 3\JHZ»Z [\YU [V JVU[PU\L [OL WH[O VM [OPZ 7VY[\N\LZL PUZ[P[\[PVU which has already won the prize for best women’s magazine at the Meios & Publicidade awards seven times. Part of the Máxima team since practically day VUL PUP[PHSS` HZ HY[ KPYLJ[VY :VÄH 3\JHZ ^HZ ILOPUK [OL IPY[O VM [OL 7VY[\N\LZL LKP[PVUZ VM =VN\L HUK .8 HSZV W\ISPZOLK I` *VÄUH 4LKPH .YV\W (M[LY ILPUN promoted, about nine months ago, her cool and sophisticated input is plain to see: a new Máxima is born, more modern, but with the same credibility it always had. As suggested by its slogan, there is no doubt that every woman should have one.
What do you remember from the day you arrived at Máxima? 0[ ^HZ (\N\Z[ HUK [OL VMÄJL ^HZ H[ H WSHJL with an amazing view, plenty of windows. The team was small, but very cohesive and united. I remember Madalena Fragoso, our founder, saying that Marie Claire (which has since shut down) was a lunar magazine, and we, at Máxima, were a solar magazine. Those were times of great change and exploration. We were there to speak to Portuguese women – until then, the press worked only for men – and were living in a time when the industries of fashion and cosmetics ^LYL [HRPUN [OLPY ÄYZ[ Z[LWZ PU 7VY[\NHS How different is the editorial market today, especially fashion magazines? In the early years, there was a concern with bringing the world to Portugal, because we had been too closed off. I believe that we are now over that stage, we have the know-how, and it is up to us to take the image of Portugal across to the rest of the world.
How was it to work in such a technologically limited time, where there was almost no margin for error? Since there were no women’s magazines, we trailed our own path. And we always had the concern of producing national content, unlike our competitors, who would simply adapt international content. The whole know-how involved in fashion production and photography was very limited. There was some tradition of make-up, modelling, etc., but it was more directed towards catalogue work. We had to learn through trial and error. There were a lot of works that were never published, which we never thought of as a waste, but rather as an investment. Remember that, at the beginning, we did not even have computers. The journalists would type their texts in typewriters and the layouts would be drawn by hand. A trends special, for example, with 300 catwalk images, meant having to cut and paste 300 illustrations by hand onto layout sheets.
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Is the everyday of a fashion magazine in any ^H` SPRL PU [OL ÄST ;OL +L]PS >LHYZ 7YHKH& No. Those who do not work with fashion usually have a completely distorted view of the everyday of a magazine. We may have a better groomed appearance, but deep down, we are all-terrain vehicles on heels. If there is a need to carry bags for a production, someone has to do it.
In such a small country with so many publications in the same segment, many of them being major international magazines, how does Máxima distance itself from its competitors? One of the things that differentiate us are the faithful readers who have been with us since the beginning, who are now joined by a younger generation that we have been winning over. And the primary concern of Máxima is to be close to the readers! This can be achieved by joining the best of two worlds: the aspirational side and a groomed image, which validates us anywhere in the world – we work with the best fashion and content production teams – but we deal with emotions that are close to the people. As for the magazine’s international positioning, we were very happy to receive greeting cards, on our 25th anniversary, from the greatest designers of today, like Roberto Cavalli and Miuccia Prada. It is a sign that we are doing a good job, acknowledged by the international brands that collaborate with us.
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In terms of national fashion, how have you seen the industry’s growth? I believe that our designers’ work is increasingly more valid. That is why, at Máxima, when we make fashion productions with Portuguese designers, we like to mix it up with major international brands. Our designers deserve it and it is high-time they come out of their ghetto, avoiding clichéd titles like “fashion made in Portugal.” The designers themselves must become more ambitious and get the courage [V L_WSVYL [OL PUÄUP[L WVZZPIPSP[PLZ HMMVYKLK [V them by this global world. The footwear market – HS^H`Z PUUV]H[P]L HUK PU]LZ[PUN PU X\HSP[` ¶ PZ HU excellent example of that, with national brands on offer at the best points of sale in the world. There is a trend of associating women’s magazines to frivolous content. What will it take to overcome this prejudice? We should start by not making frivolous magazines. At Máxima, our main cover story will never be about the length of skirts or about the colour of the season.
What is your opinion regarding the TV coverage of fashion events, like ModaLisboa, where the media prefer to ridicule some of the guests instead of focussing on the collections? Again, I think that we are perpetuating the myth JYLH[LK HYV\UK MHZOPVU NP]PUN [OL ÅVVY [V WLVWSL who know nothing about it. It is sad that it is the media, or part of it, generating this image. When the journalists themselves forget that their job is to communicate the best of what is being done in terms of fashion in our country, it worries me.
14-16 Feb. 2014 www.momad.metropolis.ifema.es ONLY PROFESSIONALS
25 YEARS T A L K I N G A B O U T F A S H I O N
by Catarina Vasques Pinto
Congratulations are in order for women’s magazine ,SSL ^OPJO PZ JLSLIYH[PUN `LHYZ ZPUJL P[ ÄYZ[ HYYP]LK [V 7VY[\NHS PU ^P[O ;LYLaH *VLSOV HZ P[Z ÄYZ[ director. One year later, journalist Margarida Marante took over the position, followed by Manuela Tereza in 1991. In December 1993, the magazine starts being KPYLJ[LK I` -m[PTH *V[[H ^OV Z[H`Z PU VMÄJL \U[PS 2012. Sandra Gato, who has been a journalist in the magazine for over 20 years, was invited last February to take the position. Established by Pierre Lazareff and his wife Hélène Gordon in Paris and published by Hachette Filipacchi Médias since 1945, it is the world’s best-selling fashion magazine, with presence in about 70 countries and with 44 different editions. ¸*LSLIYH[PUN H X\HY[LY VM H JLU[\Y` PU 7VY[\NHS PZ H reason for pride and a victory. Pride because, for two and a half decades, we were able to give our readers what they want, accompanying the changes of society; and victory because, despite the limits imposed by social and economic circumstances, we OH]L H WYVK\J[ ^P[O PU[LYUH[PVUHS X\HSP[` ¹ :HUKYH Gato, the director of the magazine, tells Portuguese Soul.
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A team of 7 people (for several years, there were 15 of them) work daily to make sure that, each month, the magazine shows the best that is happening in the world of fashion without losing its identity. “We write for women between the ages of 25 and 40 who like to follow the latest trends of fashion, beauty and lifestyle.” What is attractive about this magazine is that “there is no pretension of superiority over our readers. There is a sense of proximity that allows for greater PKLU[PÄJH[PVU ¹ ,HJO TVU[O [OL` WYV]PKL PUMVYTH[PVU to help their readers take better care of their image, use the most appropriate products for their skin and hair, and share small tricks to improve themselves. In the last few years, “women became more demanding, more attentive and better informed,” which is why [OL THNHaPUL PZ HSZV IL[[LY LX\PWWLK [V YLZWVUK [V the desires of its readers. Above all, Elle magazine’s PU[LU[PVU MVY [OL UL_[ X\HY[LY VM H JLU[\Y` PZ [V ¸LUZ\YL [OL X\HSP[` HUK WYLZLY]L [OL ZV\S ¹ YLTHPUPUN a magazine of reference with the goal of “working to make each issue better than the previous one.”
HOT NEW TALENTS photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA
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Shoes - NELSON OLIVEIRA 92-93
Shoes - RUI LIMA
Shoes - ANA AMORIM
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Shoes - ANA GOMES
production PAULO GONÇALVES 'APICCAPS' PHotography assistant PEDRO SÁ hair RUI ROCHA make up ATELIER PATRÍCIA LIMA production assistant CLÁUDIA PINTO models ELISABETH VANDENBERGH and LUCAS MASCARINI "WE ARE MODELS" CHOTHING BY ELISABETH TEIXEIRA
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people
photo by Pedro Granadeiro 98-99
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BEHIND THE CURTAIN
-HZOPVU ^HZ UV[ H SV]L H[ ÄYZ[ ZPNO[ :OL started in cinema before accepting a challenge to work with national fashion, both behind the scenes at fashion weeks and in the production of editorials and photo shoots. Isabel Branco is a woman of taste and high expectations, a supporter of talent “Made in Portugal.”
Those who work in the world of fashion in Portugal know her name and acknowledge her professionalism. Her life is split between the job she chose over two decades ago and her family. “Fashion came to me after I decided that working in cinema demanded [VV T\JO ZHJYPÄJL MYVT T` MHTPS` because, when you have six children, it is important to give them your attention. I always enjoyed every project in which I was involved, but fashion has been a pleasant surprise because it is constantly mutating,” Isabel Branco tells Portuguese Soul. She loves simplicity and discretion, avoids gratuitous exposure, enjoys laughing and listening to what others have to say, ¸LZWLJPHSS` NVVK Z[VYPLZ ¹ 4V[OLY [V Ä]L boys and one girl, she likes to take care of her children and grandchildren. Had she not been a producer, she would have been a cook. She is delighted by the sea, and by the music of The Beatles and The Rolling Stones.
“What is good must be listened to with passion. I also like Brazilian music.” She is adamant when stating her delight with national creativity, wears Portuguese fashion and admires to work that has been made over the last 20 years in this area. She is currently the producer responsible for the backstage of Portugal Fashion, “a platform that has been able to make a difference in this industry in Portugal.” Isabel Branco is not afraid to say “no” to what displeases her and remains faithful to herself, defending her ideals with a free and independent spirit, for whom the keyword is “freedom.” “Professionalism is essential in any profession, and especially so when you work with artists – there has to be guidance and rigour.” she is aware that she has not always had an easy-going attitude, but she does not consider herself as someone who PZ KPMÄJ\S[ [V ^VYR ^P[O ¸0 OH]L ILLU TVYL intransigent than I am today, and perhaps less tolerant, but I think that I have always been fair.”
fashion
Portuguese men’s fashion is a tale of creativity, perseverance and emerging new talents. The country has a story to tell, of old designers who have YLZPZ[LK LTLYNPUN KLZPNULYZ UV^ JVUX\LYPUN UPJOL THYRL[Z HUK H UL^ T\[\HS ILULÄ[ YLSH[PVUZOPW IL[^LLU [OL JSV[OPUN HUK ZOVL PUK\Z[Y`
HE’S IN FASHION by Carlos Tomé Sousa
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The birth of Portuguese men’s designer fashion can be traced back to the early 1980s and to that time when, six years after the end of the fascist regime, a generation regained its pride in the country, eager to show their skills in music, fashion and arts in general. In a country where textile and shoe factories focused their production rather on the orders by international brands, designers like Jorge Virgílio and Jose Luis Barbosa and their stores were a true oasis for a new urban Portuguese crowd. In the narrow alleys of Bairro Alto, the store by Manuel Alves/José Manuel Gonçalves and their avantgarde suits and blazers was another alternative for international minded youngsters who soon would adopt also the edgy classic looks by José António Tenente. Nuno Gama, a designer now celebrating 20 years of his own brand was also busy leaving his mark, designing for factory brands and for his
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own label, depicting Portuguese iconography in his creations. Up north, in a shoe factory hotspot, Miguel Vieira, who began his career designing shoes, extended his work, offering now designs for men and women with a modern-classic approach. In a country still lacking a comprehensive range of designer menswear Luis Buchinho would became a further household name for men’s fashion with his elegant-casual approach. Júlio Torcato and Pedro Mourão are also duly worth highlighting in [OL OPZ[VY` VM TLU»Z KLZPNULY MHZOPVU [OL ÄYZ[ ^P[O his avant-garde designs and good knowledge of fabrics and the latter with his craftsmanship applied to men’s fashion. The list is obviously incomplete but we do not want to engage in a namedropping exercise. But it does provide a context for the emergence of a men’s design scene in Portugal.
C O N S O L I D A T I O N The nineties would bring with it the birth of fashion weeks in Portugal, ÄYZ[ PU 3PZIVU HUK SH[LY PU 6WVY[V [O\Z WYV]PKPUN [OL VWWVY[\UP[` [V showcase the work by the aforementioned designers and for new designers. Ricardo Dourado, Alexandra Moura, Dino Alves or White Tent are some of the names catering also for men, bringing new perspectives to this segment. Fashion schools, where some of these designers began lecturing had been playing a new role in teaching a new generation wanting to prove their skills as stand-alone brands or working for the textile industry whose management was modernizing their production and suddenly realized the importance of focusing on the work of designers to become competitive and to launch their own brands. Working for major international clients, they had the expertise that would allow them to KL]LSVW TVKLYU JVSSLJ[PVUZ ^P[O [OL X\HSP[` VM 7VY[\N\LZL WYVK\J[PVU
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The new millennium would bring with it new names, particularly Ricardo Andrez, Estelita Mendonça and Hugo Costa, three of the most remarkable new talents. But it marks also the start of a close collaboration between designers and the shoe industry, assisted by the Portuguese shoe HZZVJPH[PVU ;OPZ T\[\HS ILULÄ[ YLSH[PVUZOPW [VVR 7VY[\N\LZL ZOVLZ to the catwalks and fashion designer names to the trade fairs where Portuguese shoe brands have a strong and duly acknowledged presence MVY [OLPY KLZPNU HUK X\HSP[` 0U H JV\U[Y` Z[PSS SHJRPUN THQVY PU[LYUH[PVUHS exposure and commercial stamina as regards men’s designer mode, despite the presence of some designers in international trade fairs and events, teaming up with an industry exporting to 132 countries and ^OVZL ZHSLZ HIYVHK [V[HSLK Á TPSSPVU PU [OL ÄYZ[ `LHY OHSM VM this collaboration can thus help operate the necessary revolution and bring Portuguese men and women designer fashion to a wider audience.
SOFT METAL photo: frederico martins STYLING: FERNANDO BASTOS PEREIRA
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make up hair photography assistant styling assistant production assistant models RETOUCHING CLOTHING MIGUEL VIEIRA FOOTWEAR LUÍS ONOFRE
ATELIER PATRÍCIA LIMA RUI ROCHA PEDRO SÁ NELSON LIMA Paula Portugal josiane monteiro "best models" LALALANDSTUDIOS
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PORTUGAL FROM NORTH TO SOUTH
by Daniel Rodrigues
A voyage from the North to the South of Portugal. This was the proposal that Portuguese Soul made to Daniel Rodrigues, the young Portuguese photographers distinguished by World Press Photo. Born in Compiègne, France, in 1987, Daniel Rodrigues has lived in the North of Portugal since he was 10 years old. In 2013, Daniel won the World Press Photo award in the “Daily Life” category, with a photo of a football match taken at Guinea-Bissau, during a humanitarian mission. That same year, the entirety of his work on football in Guinea-Bissau was honoured at the Estação Imagem Awards.
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SILENCE!
by Patrícia Gonçalves
LET’S TALK ABOUT FADO 120-121
photo Isabel Pinto
On one side, the classical guitar. On the other, the Portuguese guitar. At the sound VM [OL ÄYZ[ JOVYKZ [OL MHKPZ[H HUUV\UJLZ! Silence! Fado is about to be sung. This is how thousands of performances begin – not only in Portugal, but all across the world. Fado has already earned its place in the international music scene, largely due to the “new fadistas,” such as Ana Moura, Carminho and Camané.
It is a Masterpiece of the Oral and Intangible Heritage of Humanity. The proclamation made I` <5,:*6 PU TLYLS` JVUÄYTLK [OH[ MHKV PZ H \UPX\L MVYT VM HY[PZ[PJ L_WYLZZPVU representative of the Portuguese cultural identity. And although Amália Rodrigues will always be the diva of this musical style, the new fadistas have been taking fado across the world! It will not be easy to explain what fado is. Because, above all, more than being described, this Portuguese music style must be experienced. Close your eyes and let yourself be gently rocked by sentiment. Yes, perhaps that is it! Fado is also a sentiment. Derived from the Latin fatum, the word means fate, destiny. And that, perhaps, is the origin of its symbolic load, weighed by fatalism, nostalgia and melancholy, that leaves no one indifferent. They say that fado is also a longing… Despite being sung in Portuguese, foreign audiences have already surrendered to the melody of the classical and Portuguese guitars. They may not understand the words, but they feel the sentiment. The New York Times, for example, has already devoted articles in its editions to the new fadistas who have been taking fado to the four corners of the world. There is reason to say that fado is in fashion, not only in Portugal, but also abroad, through the circuits of World Music. The truth is that there are fadistas who only became known to the Portuguese audience several years after having achieved deserved recognition beyond our borders.
Since the early 1990s, we have been witnessing the appearance of a new generation VM MHKPZ[HZ ^P[O \UPX\L JOHYHJ[LYPZ[PJZ (UH Moura – known for having “delighted” the famous North-American singer Prince, with whom she has performed several times, and for having participated in a concert by The Rolling Stones – is one of the new voices that are part of a group that includes Mísia, Mariza, Mafalda Arnauth, Dulce Pontes, *YPZ[PUH )YHUJV 1VHUH (TLUKVLPYH 9HX\LS Tavares, Yolanda Soares, Kátia Guerreiro, Camané, Paulo Bragança, Marco Rodrigues and Rodrigo Costa FéSP_ ;OL` HYL JOPLÅ` responsible for the reinvention of fado, not only attracting a younger public to this musical style, but also massively internationalising it. The difference to Amália Rodrigues is in the approach. A renovation that does not forget the roots of fado but that reinvents it through new forms of instrumentation and of singing. Carminho, for example, is one of the youngest and most promising talents of fado. Only 27 years old, she already has an extensive résumé, having achieved wide success in Spain, after a collaboration with singer Pablo Alborán for the song «Perdonáme.» She was also responsible for driving famous Brazilian singer Caetano Veloso to tears during one of her concerts in Brazil. Kátia Guerreiro, another well-known name, has already performed in concert all over the world, in places as diverse as Japan, Macau, Morocco, Turkey, the Netherlands and Russia. There would be a lot to say about each member of this new generation of fado HY[PZ[Z ,HJO VUL PZ \UPX\L I\[ [OL` HSS OH]L one thing in common: fado!
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POR ESE PEOPLE
photo GQ
by PatrĂcia Gonçalves
Diogo Morgado Television His portrayal of Jesus has been described as the most beautiful ever on screen. Diogo Morgado made his North-American television dĂŠbut with The Bible, a series broadcast on History with record-breaking ratings in the US. At age 33, the Portuguese actor took on the lead role and delighted millions of spectators. The phenomenon reached such a magnitude that Diogo Morgado became known in Twitter as â&#x20AC;&#x153;Hot Jesusâ&#x20AC;? and ended up as a guest on Oprah Winfreyâ&#x20AC;&#x2122;s show. â&#x20AC;&#x153;Diogo Morgado was the Jesus that I always had in my mind while reading the Bible,â&#x20AC;? said the North-American talk show host. He was born in Lisbon and began his career, H[ HNL HZ H TVKLS /PZ Ă&#x201E;YZ[ Z[LWZ HZ HU HJ[VY ^LYL [HRLU PU [LSL]PZPVU HUK SH[LY HSZV PU Ă&#x201E;ST 6\[ZPKL VM Portugal, he had his dĂŠbut in a Brazilian soap opera and participated in Spanish comedy Mami Blue.
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ARE SUCCESSFUL ACROSS THE WORLD Rui Costa
Sofia Escobar
Hugo Veiga
Bicycle Racing
Theatre
Advertising
Born in Aguçadoura, Póvoa de Varzim, Rui Costa began by practising athletics in the local club, I\[ K\L [V OPZ MH[OLY»Z PUÅ\LUJL OL QVPULK OPZ brother Mario in cycling at age 13. He stood out from early on and soon proved himself as one of the best in the world, still in the under-23 category. He became a professional in 2007, and two year later moved to Spain and signed with then-called Caisse d’Epargne – later renamed as Movistar, team with which he achieved some of his most important victories. In 2011, he won stage 8 of the Tour de France, but it was only the MVSSV^PUN `LHY [OH[ OL KLÄUP[LS` QVPULK [OL LSP[L of cycling, with his victory in the Tour de Suisse. In an ever-ascending career path, Rui Costa YL[\YULK [V NSVY` PU ÄYZ[ ^P[O [^V Z[HNL victories in the Tour de France and, in September, with the most important achievement in the history of Portuguese cycling: the UCI Road World Championships.
:VÄH ,ZJVIHY ^HZ IVYU PU PU .\PTHYqLZ But it was abroad that doors opened up for this young actress. While studying vocals and acting at the Guildhall School of Music and Drama, one of the most prestigious schools of dramatic arts in London, she responded to a newspaper ad. After months of auditions, she became the understudy for the lead actress in The Phantom of the Opera. A part that later earned her the role of protagonist in West Side Story. This is how :VÄH ,ZJVIHY ^HZ HISL [V ^PU V]LY [OL )YP[PZO public and critics. Her performance won her the award for Best Actress in a Musical, in England, and a nomination to the Laurence Olivier awards. She did not win the latter, but it was nevertheless a huge achievement. “Being nominated for an Olivier at the start of my career is something that ^HZ MHY IL`VUK T` L_WLJ[H[PVUZ ¹ :VÄH ,ZJVIHY acknowledged.
Hugo Veiga was chosen as the best copywriter in the world at the Cannes Lions International Festival of Creativity, considered the biggest HUK ILZ[ PU[LYUH[PVUHS L]LU[ PU [OL ÄLSK VM advertising and which took place in June 2013. The Portuguese creative tops the list of the best WYVMLZZPVUHSZ PU [OL ÄLSK [OHURZ [V [OL JYLH[PVU of the “Dove Real Beauty Sketches” campaign, PU ZLY]PJL VM [OL :qV 7H\SV VMÄJL VM 6NPS]` Brasil. Hugo Veiga was born 33 years ago, in Porto, but has been living in Brazil for almost seven. Alongside Diego Machado, he is part of a winning duo that has been collecting multiple awards. In the “Dove Real Beauty Sketches” campaign, forensic artist Gil Zamora sketches portraits of women from the descriptions made by themselves and by strangers. In a few days, [OL JHTWHPNU»Z VMÄJPHS ]PKLVZ [OH[ ^LYL YLSLHZLK in the USA, Canada and Brazil had received millions of views, catching the Portuguese creative by surprise: “We were not expecting it to be so fast and to have such an impact all over the world.”
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They wear brass masks and dress in wool quilts turned into costumes with bright colours, like green, yellow and red. As an accessory, they carry sticks that support them as they run and jump about. Fashion? Yes! The caretos of Podence, in Macedo de Cavaleiros, enliven the Carnival of the Portuguese Trás-os-Montes region. And they never go out of fashion...
by Patrícia Gonçalves
C ETOS OF PODENCE A tradition that never goes out of fashion!
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You may have never seen anything like it. But it is worth it! In a blend of colour, joy and great euphoria, on the great days of celebration of Carnival, in -LIY\HY` VY 4HYJO KVaLUZ VM `V\UN TLU ÅVVK the streets of the small village of Podence, in Macedo de Cavaleiros, representing diabolical and mysterious images. With their masks made of brass HUK JVZ[\TLZ THKL VM X\PS[Z ^P[O IYPNO[ JVSV\YLK frills, they produce a real racket, from the rattles and bells attached to the bandoleers strapped around their waists. Originality is, undoubtedly, one of the trademarks of these great Portuguese festivities that attract thousands of curious onlookers seeking an unforgettable experience. As the saying goes, “There is no Shrovetide without mischief,” and, in Podence, there is no Carnival without caretos. Starting from the city of Porto, our journey begins along the IP4, towards Bragança. On the route through the Marão mountain range, the landscape takes on a variety of shapes and colours. A little over two hours separate us from our destination. ([ ÄYZ[ ZPNO[ P[ TH` SVVR SPRL Q\Z[ HUV[OLY ]PSSHNL the kind that, located between the Bornes and Nogueira mountains, can be found right in the heart of Trás-os-Montes, in Northern Portugal. But the truth is that Podence, a small parish within Macedo de Cavaleiros, hides an incomparable ritual.
This fashion is for men only. A careto is a man – never a woman! – in disguise who goes through the streets wearing a mask intended to provoke fear, a demon running loose. In large groups, they wear brass masks from which a sharp nose stands out. ;OL` HYL KYLZZLK PU VSK ^VVS X\PS[Z [YHUZMVYTLK into costumes with bright colours, such as green, yellow and red, and carry with them a stick that supports them as they run and jump about. It is said that, from the moment the man puts on his costume, he becomes mysterious and his behaviour changes completely, possessed by an energy that comes from no one knows where. The mask gives him power and the stick that he holds gives him a warrior’s visage. When a man puts on the costume and dons the mask, he transforms. He embodies a different character and releases its energies. The result is simple: the boys then take it to the streets in search of girls to “rattle.” Between shouts and clamours, in a strong connection to the springtime fertility of the rural world, “they ‘rattle’ the most daring girls, mischievously attack the voluntarily heedless women and share naughty caresses with the smiling and nostalgic older women.” In addition to the colours and to the merriment, the Carnival of Podence is also made of matchmaking rituals. On Fat Sunday (two days before Fat Tuesday, Carnival Day), the boys position themselves in strategic locations around the village and, using an embude – a wide funnel for pouring wine – trumpeting provocations about possible courtships between the village’s boys and girls. Then, it is told that all the mischief ensues spontaneously. Each year, gestures and expressions are repeated and reinvented. The highlights of this great celebration are on Fat Sunday and Fat Tuesday (Carnival Day). It is a variable-date holiday that takes place 47 days before Easter. In 2014, Carnival Day will be on the 4th of March, an excellent opportunity to visit Portugal and learn about the caretos of Podence. They are never out of fashion!
ZAPPING
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by Susana Ribeiro
Maria Pia Bridge One of the ten most beautiful in the world The Guardian has picked the ten most beautiful bridges in the world and included Porto’s Maria Pia Bridge as the 7th on the list. The British newspaper highlights the beauty of the bridge built by Gustave Eiffel’s construction company Eiffel et Cie and designed by engineer Théophile Seyrig. It began construction in 1876 and, considered a masterpiece VM LUNPULLYPUN ^HZ [OL ÄYZ[ YHPS^H` IYPKNL [V QVPU [OL [^V IHURZ VM [OL +V\YV 9P]LY The structure, employing over 1,600 tonnes of iron, has a height of 61 metres and a deck with 352 metres in length. It was inaugurated in 1877 - after being built in record time – by King Luís I and Queen Maria Pia. The newspaper also refers that the bridge became a symbol of the city and places it amongst the 10 most beautiful in the world, a list that also includes the old London Bridge; the Millau Viaduct, in France; the Nanpu Bridge, in Shanghai, China; the )\YSPUN[VU HUK 5VY[OLYU )YPKNL PU 6YLNVU <:(" [OL 7VU[J`Z`SS[L (X\LK\J[ PU Wales, UK; the Khaju Bridge, in Isfahan, Iran; and the Punt da Suransuns, in Viamala, Switzerland. The selection was made by the British newspaper’s architecture critics.
In London Portuguese cork at the Victoria & Albert Museum
Guincho One of the best beaches of Europe CNN chose Guincho Beach, in Cascais, as one of Europe’s ten best city beaches. The North-American TV station recommended [OL 7VY[\N\LZL ILHJO MVY Z\YÄUN HUK HSZV MVY sightseeing, since the location, only a few minutes outside of Lisbon, offers a completely different scenery from what is found in the capital city. The windy Guincho Beach, a popular destination for many surfers and bodyboarders, is also MYLX\LU[S` ]PZP[LK I` ^PUKZ\YMLYZ HUK RP[LZ\YMLYZ Amongst Europe’s ten best city beaches listed by CNN, in addition to Guincho, were beaches in Prague, Venice, Paris, Barcelona, Vienna, Berlin, Amsterdam, Copenhagen and Brussels.
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(U PUUV]H[P]L ÅVVYPUN THKL ^P[O 7VY[\N\LZL JVYR ^HZ unveiled at the London Design Festival. Portuguese company Corticeira Amorim, in collaboration with design and architecture practice FAT – Fashion Architecture Taste, JYLH[LK H ÅVVYPUN [OH[ ZOV^JHZLZ [OL ]PZ\HS HUK [HJ[PSL WYVWLY[PLZ VM JVYR ;OL ÅVVYPUN ^HZ VU KPZWSH` H[ [OL =PJ[VYPH & Albert Museum’s Medieval and Renaissance Galleries and was seen, during the 10-day period of the London Design Festival, in September 2013, by over 111,000 visitors. The project, made up of a series of cork tiles laid in a repeating geometric pattern – recalling architectural characteristics of the Douro region – also served as a showcase for cork’s characteristics in terms of both thermal HUK HJV\Z[PJHS PUZ\SH[PVU ;OL >PJHUKLYZ JVYR ÅVVYPUN was presented using a new, modern and contemporary approach, providing a new understanding and appreciation for the material.
European tourism Portugal wins nine “Oscars” The Algarve, Madeira Islands, Lisbon and Portuguese golf won the so-called “Oscars of the travel industry” as Europe’s leading destinations in the World Travel Awards (WTA). Amongst Portugal’s 41 nominations, the country won nine awards for Portuguese tourism. Portugal was chosen as Europe’s Leading Golf Destination, the Algarve as Europe’s Leading Beach Destination and Madeira as Europe’s Leading Island Destination. As for Lisbon, it was voted as Europe’s Leading City Break Destination, an award ^VU MVY [OL [OPYK [PTL PU [OL SHZ[ Ä]L `LHYZ H[ [OL >;(Z ¶ [OL TVZ[ WYLZ[PNPV\Z [YH]LS industry awards in the world. The Portuguese hospitality industry was also presented with several awards. Quinta da Casa Branca, in Funchal, Madeira, was considered Mediterranean’s Leading )V\[PX\L /V[LS" HUK 7LUOH 3VUNH /V[LS .VSM 9LZVY[ PU :PU[YH 4LKP[LYYHULHU»Z Leading Spa Resort. Multiple-award-winning Vila Joya, in Algarve, was elected as Europe’s Leading )V\[PX\L 9LZVY[" ;OL =PUL /V[LS PU -\UJOHS HZ ,\YVWL»Z 3LHKPUN +LZPNU /V[LS" and Hotel Quinta do Lago as Europe’s Leading Golf Resort. Conrad Algarve is Europe’s Leading Luxury Resort, while Martinhal Beach Resort & Hotel, in Sagres, stood out amongst the nominees as Europe’s Leading Villa Resort.
International Wine Challenge 57 gold medals for Portuguese wines Portuguese wines garnered a total of 57 gold medals at the International Wine Challenge competition, in London, with a panel of almost 400 judges from several countries. The most H^HYKLK 7VY[\N\LZL ULJ[HYZ ^LYL [OL SPX\L\YZ followed by the reds (mostly from the Douro and Dão regions) and the whites. Amongst the gold medals awarded to Portugal, were, for example, the 10-Year-Old Malmsey from Madeira, produced by Blandy’s, and the Bacalhôa Moscatel Roxo 2001 muscat from Setúbal. Amongst the many Port wines awarded with the gold medal were the Ramos Pinto 30 Years, the Sandeman 40 Years and the Kopke Colheita 1941. Red wines that were awarded with gold included, amongst others, the Cadão Douro Reserva 2007, the Herdade do Perdigão Vinha do Almo Escolha 2008 and the Quinta de Lemos Dona Georgina Dão 2005. As for white wines, two of the many winners were the Cabriz Colheita Selecionada 2012 and the Herdade do Esporão Reserva 2011.
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The francesinha is one of Porto’s most distinctive delicacies and one of the most representative in the north of the country. As the story goes, the idea originated from a Portuguese emigrant in France who adapted the croque-monsieur into the francesinha (meaning “little Frenchy”) upon his return to Porto.
POR ESE CUI NE
No matter how many stories are told, the fact remains that this delicacy is owed to emigrant Daniel David Silva, who worked at Regaleira, the ÄYZ[ YLZ[H\YHU[ [V ZLY]L MYHUJLZPUOH PU The sauce is, without a doubt, the best-kept secret of local restaurants – and each place has its own. Therefore, every person has a different favourite. Artur Ribeiro, owner of Lado B, has recently registered the trademark “The Best Francesinha in the World.” And since this delicacy deserves to expand beyond our borders, he agreed to share the recipe of the francesinha that is served in his restaurant, in Porto.
FRANCESINHA TRADITIONAL RECIPE Francesinha ingredients
Sauce
2 slices of bread
Chopped onion
1 slice of mortadella
Whisky
Cloves of garlic
3 slice of ham
Beer
Bay leaves
2 fresh pork sausages
Water
Vegetable oil
1 linguiça cured pork sausage
Tomato pulp
Strips of bacon
1 veal steak
Piri-piri sauce
Linguiça sausage
2 slices of Edam cheese
Paprika
Port wine
Sauce
Salt
Brandy
>OLH[ ÅV\Y
Bon appétit! The sandwich preparation method Grill the fresh sausage and the linguiça. Grill the veal steak. Place the mortadella, the ham and the fresh sausage on a slice of bread. Top with two slices of cheese. Top with the second slice of bread, which must be toasted on both sides. Cover with slices of Edam cheese. Place in the oven to melt. Pour the hot sauce on top. The secret: the sauce preparation method* Sauté onion, garlic, vegetable oil, bay leaf, bacon and linguiça sausage. Leave to cook for 20 minutes. Add the beer, salt, paprika, piri-piri sauce. Bring to boil and cook for 20 minutes. Add the tomato pulp, whisky, Port wine and brandy. Leave to cook for about 15 minutes. (KK [OL ÅV\Y KPZZVS]LK PU ^H[LY HUK IYPUN P[ IHJR [V IVPS Z[PYYPUN JVUZ[HU[S` :[YHPU [OYV\NO H chinois and save. *Note from Lado B: The recipe for “The Best Francesinha in the World” has a few secrets, regarding the ingredients and the preparation, that are not disclosed here. 128-129
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