Portuguese Soul - June 2018 by Portuguese Soul

PORTUGUESE SOUL

www.portugueseshoes.pt 2

PORTUGUESE SOUL

PORTUGUESE SHOES

PORTUGUESE SOUL

All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including photocopying or other electronic or mechanical methods, without the prior written permission of the editor, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law. For permission requests, write to the editor, addressed “Attention: Portuguese Soul Permissions”, at the address paulogoncalves@mail.apiccaps.pt _

Director Editor-in-Chief

President of APICCAPS Paulo Gonçalves paulogoncalves@mail.apiccaps.pt Cláudia Pinto Mário Teixeira (www.manifestoworks.com) André de Atayde, António Freitas de Sousa, Catarina Vasques Rito, Ilídia Pinto, Irina Chitas, Joana Jervell, Patrícia Gonçalves, Sónia Santos Pereira and Susana Ribeiro António Soares (www.antoniosoares.tumblr.com) AICEP Portugal Global, ANJE, ModaLisboa, Ana Paula Andrade (ANJE), Fátima Santos (AORP), Manuela Oliveira (ModaLisboa), Mónica Neto (ANJE), Museu da Chapelaria, Paula Ascenção Laranja (Min. Economia) and Paula Parracho APICCAPS Portuguese Footwear, Components, Leather Goods Manufacturers’ Association Rua Alves Redol 372 4050-042 Porto

Editor Graphic Design Collaboration

Illustration Special Thanks

Owner

_ Tel: +351 225 074 150 apiccaps@mail.telepac.pt _ www.apiccaps.pt www.portugueseshoes.pt | www.portuguesesoul.com www.portugueseshoestv.pt

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2182-2298 10.000 copies Empresa Diário do Porto _ The views expressed in PORTUGUESE SOUL are those of the respective contributors and are not necessarily shared by the owner or its staff.

CMY

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At Daily Day we like to team up with portuguese independent brands, combining new ideas and experimental points of view. These special editions, created upon both brands philosophies, value the inherent tradition and legacy of portuguese craftsmanship.

Daily Day reflects the inner city vibrations and creativity. With this unique multi-concept store, we defy and connect your daily routines. Located in a corner in Av. dos Aliados, we stand as an immersive point in the city cultural flux. The name of this store stands also as an own brand - Daily Day Women & Men Collection.

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Live music, launch parties, poetry and writing sessions, exhibitions, performance and installation - that´s how we blur the lines between cultural production and mainstream style.

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EDITORIAL ________

FIFTEEN It could be a random number. But no. It is not a round number; it is an odd number. A number

in the image of our conviction. 15 is the number of times Portuguese Soul was conceived and distributed across five continents.

15 is the scale of our ambition. In 15 editions, Portuguese Soul has drawn up the most complete

portrait of the Portuguese footwear industry. Since its first issue, Portuguese footwear exports have

grown more than 60% and achieved several records. The industry has created more than 10,000

jobs and 350 new brands. Dozens of promising young people have launched themselves intothis demanding global marketplace. During this period, Portuguese Soul has been an active witness to this accelerated transformation of the Portuguese footwear industry.

But Portuguese Soul never tired of itself or of the Portuguese footwear industry. It widened the spectrum. It showed a country that, while not denying its roots and nine centuries of history, had

reinvented itself. More than a business card from a modern country, Portuguese Soul is proof of a country full of talent.

15. Fifteen is a small number. It is not yet sufficiently consolidated. It has not reached maturity. 15

is a number in the image of our conviction. At APICCAPS we believe in concerted networking, and we advocate a long-term business vision. 15 editions of Portuguese Soul is just the start. The best is yet to come.

________ PAULO GONĂ&#x2021;ALVES 6

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CONT ENTS 100 NO GENDER NO SEX JUST... 102 THE OFFICE 114 JEWELLERY IN LIQUID STATE 116 OUTSIDE THE BOX 118 LAST NIGHT I DREAMT ... 132 AN ENCHANTED STORY 134 WASTED RITA 138 SNEHA DIVIAS 140 AFONSO ROMANO 142 GAME ON 146 SAVAGE HILLS BALLROOM 160 THE ALLURE OF MODALISBOA 164 NEW BLOOD 166 MARIA GUEDES 168 PORTUGAL FASHION 172 WE CAN ONLY BE WHO WE ARE 190 THE ART OF PORTUGUESE JEWELLERY 192 LUÍSA ROSAS 194 SUMMER VIBE 196 THE POETRY OF PURPOSE 200 OUT OF THE BOX

08 EDITORIAL 14 MAKING OF 16 A NEW VISON 18 NUMBERS MATTER 20 AROUND THE WORLD 22 WHAT A RIDE 24 DAYLY DAY CALLING 26 10 YEARS 28 IN HER WORDS 32 FOOTWEAR CREATES 300 BRANDS 34 ON THE RISE 36 FOLLOW ME 38 FASHION WITHOUT BORDERS 40 STEP BY STEP 42 GENTLEMAN CODE 56 MIGUEL VIEIRA 60 HERITAGE 62 RISING STAR 64 GOLDEN BOY 66 SUIT & TIE 68 OLGA NORONHA 70 WHAT’S UP 84 OH HONEY 98 WE WILL ALWAYS HAVE FRANÇA

PORTUGAL 203 CAFÉS WITH HISTORY 206 PARADISE RIGHT HERE 208 CLAUS PORTO 210 HOW TO BUILD A HOME 212 TAYLOR’S 214 MADEIRA 216 REASONS TO VISIT PORTUGAL 218 RECIPE

MAKING OF ________

When we meet Daniela Ruah, we feel we have known her forever. Perhaps it is a peculiarity of public figures, of actors, musicians: there are millions of people always looking at them, and they do not even know we (the spectators) exist. So, when we meet them in person, it is both intimidating and comfortable for us: we’ve seen that person hundreds of times, even if it’s only on a small screen: but they don’t know we exist. It was like that with Daniela. More so because she is a major reason for national pride. In recent editions of our magazine, we have travelled through Europe, this time we brought the world to us. Daniela Ruah remains in character, and she gives a major interview in this Soul, accompanied by a photo shoot captured through the lens of Frederico Martins. And words are not enough to describe what you will read and see in this issue.

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PORTUGUESE FOOTWEAR IN NUMBERS ________

154

Million euros. The exports value of the leather goods’ sector. The largest part, 103 million, refers to the subsector of bags and purses.

49 034

The number of workers within the Portuguese footwear sector. Since 2010, employment has increased 26.2% to 40.034 professionals and 7092 new jobs were created. Considering the whole industry, the numbers are even more expressive, with the creation of 10.227 jobs.

8,3%

1 525

The number of footwear companies in Portugal, by the end of 2016, according to APICCAPS’ Studies Office. Since 2010, 280 new companies were created (over 22.4%).

1 965

Millions of euros. The maximum value registered by the Portuguese Footwear Industry, in 2017. This is the eighth consecutive year of growth of exports.

83.257.409 The number of pairs of shoes exported by Portugal, in 2017. In comparison with the previous year, there’s an increase of 2.9%,

The percentage of growth of the Portuguese exports of footwear components, to a total of 51 million euros. France, Spain and Germany are the three main markets.

Photo: Frederico Martins

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CHLOE.COM

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CONTEMPORARY ICONS ________

Photo: Miguel Flor Words: Eliana Macedo

Music is a constant presence in our life. We listen to it waking up, while driving to work or with our friends. The truth is that certain songs have the ability to connect us, motivate us, touch us in such deep personal ways that are beyond words to describe. Isnâ&#x20AC;&#x2122;t it wonderful to think that one simple rhythm or melody has the power to induce such deep and ecstatic states of being? As a collective of musicians and artists, makers and thinkers, Daily Day has been inspired by the rich cultural and emotional experience that music represents. Looking into the past to design the future, the brand-new collection explores fresh takes on timeless silhouettes to create the contemporary icons of our everyday wardrobe. A wardrobe made of reinvented classics and must-have essentials, meant to be worn all day by urban women and men. Seven days a week. Simple, timeless and functional clothes meant to last above and beyond the seasons are the highlights of Daily Day Pre-Fall Collection. With emphasis on quality, all pieces are designed and manufactured in northern Portugal, paying maximum attention to detail and with a minimal appeal at its heart. Comfortable, relaxed and slightly oversized, they naturally fit almost everyoneâ&#x20AC;&#x2122;s taste, regardless of their age, gender or body type. But what really sets this clothing line apart is the curatorship of unconventional technical materials, such as easycare premium paper touch and waterproof fabrics combined with quality cottons. Created from an off-white shades and clear-cut blue, red, black and eggplant colours palette, the new collection of contemporary pieces will be available soon online and at the Daily Day concept-store.

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Charlotte Olympia Designer

C RYSTA LS - F RO M - SWA ROVSKI .CO M

AROUND THE WORLD ________

A journey around the world in 365 days. This year, the Portuguese Footwear is going to attend over 60 promotional initiatives abroad. Altogether, over 180 companies are part of the ambitious promotional campaign of the Portuguese Footwear in external markets. The Portuguese Footwear will participate in the most relevant professional fairs worldwide. If Germany, Spain, France and Italy already have a substantial attention from the Portuguese companies, this year the main investment is on two strategic markets: Japan and USA.

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AS NOVAS FRAGRÃ&#x201A;NCIAS

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PORTUGUESE LEATHER GOODS ________

Young. Modern. Sophisticated. This is the new Portuguese industry of leather goods. After decades of exclusively undertaking subcontracting work for leading international specialty brands, the industry is now focused on developing and producing its own high-end items. On its own label. It is a reborn leather goods industry that APICCAPS will now present to foreign markets. “This image and communication campaign aims to reposition the leather goods sector in international markets,” says Luís Onofre. According to the president of APICCAPS, “the potential for growth is clear and the focus on foreign markets is a growing reality”. A BIG LEAP FORWARD The leather goods sector has taken a very big leap forward in recent years. Growth is evident in all fields, but especially in external trade. In 2016 (latest available data), the sector exported 178 million euros, triple the figure for 2011 (58 million euros). Growth is even higher in the “handbags” segment, which is the most representative, where there has been a 240% increase since 2011, reaching 92 million euros by the end of 2016 (in November 2017, the value exported was already higher than that for the whole of the previous year). The number of companies has also grown, up 6% to 120, and the number of employees has risen by 58% to 1546 at the end of 2016.

25 (QUICK) QUESTIONS ________

FOR EDUARDA ABBONDANZA

Photo: Tomรกs Monteiro

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Do you still remember the first names on the ModaLisboa catwalk? Of course I do. Abbondanza / Matos Ribeiro; Ana Salazar; José António Tenente; Júlio Torcato; Lena Aires; Luís Barbeiro; Luís Buchinho; Manuel Alves / José Manuel Gonçalves; Manuela Gonçalves; Nuno Eusébio; Nuno Gama What major difficulties did you find in that first stage? The first editions were very exciting but especially difficult because everything had to be done. There was no fashion industry like there is today. Everything was just starting out. Do you miss being a designer? A bit, but I still have a very creative activity in various disciplines. At what point did you decide to leave the design process and move to the leadership of the ModaLisboa project? From the moment one became incompatible with the other. Was a great designer lost? I continue to work and fulfil myself professionally, so I think nothing was lost. ModaLisboa is a design project and, besides that, I also collaborate as an art director for other brands. What has changed in Portuguese fashion over the last 25 years? Literally everything. What have been the main achievements since that first moment? The paradigm shift from textile industry to a fashion industry and the recognition of Portuguese fashion designers. Now, in addition to the appreciation of the “made in”, “designed in Portugal” is also increasingly valued. Which fashion show marked you the most? The first shows in S. Luiz, Museum of Natural History. The City Museum and the Galé Patio.

Does ModaLisboa have an iconic stage? It has several. That was one of the roles of ModaLisboa: discover the city and give the public an opportunity to get to know some of the capital’s most iconic spaces. What was the most difficult time in these 25 years? We have overcome some difficulties but this only makes us stronger. Who was the designer you would have liked to have who has never exhibited at ModaLisboa? ModaLisboa’s role comprises the creation and promotion of designers’ brands. That is our focus, to discover and put new talents on the stage and turn them into strong brands. Who was the main protagonist of Portuguese fashion over these 25 years? Various: Ana Salazar; Nuno Gama, Miguel Vieira, Marques Almeida, Dino Alves, Luís Buchinho, etc. How is ModaLisboa perceived from the outside today? The international press refers to us as one of the most attractive and innovative independent Fashion Weeks. What will ModaLisboa be like in 25 years? I hope it’s an even more international event

How do you think Portuguese fashion should evolve in the coming years? More sustainable, more technological and more recognised. What do Portuguese designers need to achieve greater international recognition? Private investment. Who in your opinion will be the great protagonists of Portuguese fashion in the future? Young designers, of course. What is the role of New Blood for the affirmation of young talents? New Blood gives new talent the opportunity to show their work to the various industry players. Would you like to have benefited from an initiative like New Blood 25 years ago? It would have been easier, but 25 years ago the reality was different... ModaLisboa is primarily managed by women. Is there any reason for that? Not particularly. There is a constant concern to recognise people for their merit regardless of gender or any characteristic other than the quality of their work. What does Lisbon have to offer compared to other European fashion capitals like London, Milan or Paris? Lisbon is a cool and very attractive city for the younger generations. We enjoy a wonderful climate, we have more and more tourism, more buying power, more cultural events, etc. Now, 25 years later, can we say there is such a thing as Portuguese fashion? Undoubtedly. What do you feel when the lights go out at the end of an edition? Nostalgia, but it quickly disappears because there is always more work to be done. There is no time to lose. What is the word that best describes the last 25 years of ModaLisboa? One word is not enough: Love, innovation, collaboration, teamwork, entrepreneurship and tolerance. What has still to be done? At least 50 more editions of ModaLisboa.

350 NEW BORNERS ________

INLU. This is one of more than 350 new footwear brands created in Portugal in the last decade. “Align the originality, colour. Attitude and comfort in a pair of shoes” is the company’s business card. INLU is a global company of Portuguese origin that is fascinated by nature.

CMY

“A young, modern, forward-looking industry that combines tradition with state-of-the-art technology and know-how with the best design ever: the Portuguese footwear industry is constantly evolving.” This is how Portuguese companies have presented themselves in international markets since 2008, under the campaign slogan Portuguese Shoes: Designed by the future. But this is just one part of the equation. Over the last decade, more than 342 footwear brands have been created in Portugal. In the first half of this year, eight new brands appeared nationally. The figures are provided by GAPI (Support Office for the Promotion of Industrial Property), part of the Portuguese Footwear Technological Centre. They demonstrate a new reality in the sector: the enhancement of collections, products and of “made in Portugal”.

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The creation of new brands is the practical translation of an industry priority that was defined at FOOTure2020 - Strategic Plan for the Footwear Cluster: ”despite the image gain achieved by Portuguese footwear, the reality of the cluster is still very varied in this regard. It is therefore important to mobilise the skills that have been used to build a collective image favouring the companies.”

I N H ER WORDS ________

Began working with gold at an early age. She showed evidence of great irreverence, which she combined with undeniable talent. FĂĄtima Santos is the most visible face of a sector undergoing a profound transformation.

Do you still remember your first day at AORP? Yes, as if it were yesterday. I answered an advert for a professional internship to provide legal support to AORP members. I was 23 years old and it was my first job after finishing my law internship and studies with the Portuguese Bar Association to qualify as a lawyer. When I started I knew nothing, absolutely nothing, about Portuguese jewellery. Neither I nor others could have imagined in a million years that my entire professional life would be spent around jewels, and that I would be leading the team that helped change the sector. How has the world of Portuguese jewellery changed since then? I think almost everything has changed. In fact, the way the jewellery business was conducted during the 2000s does not compare with how it works today. The industry, and AORP, have worked hard internally, using a philosophy partially based on sharing, networking, innovation... I came here almost 15 years ago at a very challenging time for a business that was experiencing moments of extreme crisis. Since then the Portuguese jewellery business 26

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has reinvented itself and modernised while retaining its traditions. It has created an identity and gained new impetus. New companies and new players have entered the industry, the network of partnerships has widened, one eye is on the world of fashion and I believe we are on the right path to proclaim Portuguese jewellery as a true treasure, as national heritage. Everything was there, we just needed to show it! What do people in outside Portugal think of Portuguese jewellery? I will answer with what at first may seem common knowledge, but outside the country Portuguese jewellery is seen to be of a very high quality in terms of technique, with exemplary finishes and some boldness in design. More recent brands and designers are winning innovation and design awards at major fairs and they are being invited to take part in very interesting, reputable and highly visible projects. In fact, because we stayed at home for so long there was no notion, and perhaps even the perception that we were not very good. We are very good!

What remains to be done? I would say almost everything! We have cleaned up our "house" very well, which will allow us to go further. And that really is a lot. It has been achieved after many years of hard work. But we all know Rome wasnâ&#x20AC;&#x2122;t built in a day! We have set out a strategy and we want to believe the sector sees we are on the right path and that it is aligned with it. In any case, there is a long process of shaping our companies to fit in with the international dynamics, to the challenge of online business, the digital world. But the essence of Portuguese jewellery is here, it provides us with unique heritage that is made up of people, techniques, talent and true masters, who leave a legacy for the younger generations. These are characteristics that are not to be found elsewhere. Our craftsmanship and attention to detail set us apart and elevate us! You can see I really like this, right?

BLOOMERS ________

ALL THEY NEED IS LOVE Words: André de Atayde Love costs two coins in Rome. If thrown into the Trevi Fountain, according to legend. It is cheap, if we think of the ratio of the amount thrown into the fountain and the number of butterflies in the stomach when you are in love. With someone or something. Love in Rome is cheap, isn’t it? Yes, we can say with some conviction, it is. It›s the love you feel when you walk down the street, when you turn corners and cross small squares. The love you feel when looking at the Colosseum or when you are in St Peter›s Square. It was for love, with love and butterflies, that Inês Torcato, Nycole and David Catalán showed their collections on the catwalk at AltaRoma, on 28 January.

Nycole

Inês Torcato

David Catalán

Music and love

In love as in shirts

Be a scout for love

It is strange to love an artist for their work. It is not so strange to seek inspiration from an artist to work on their essence. Nycole did this with King Krule, and from that union a collection inspired by the hip-hop artists of the 1990s was born, a look that is more streetwear, mixed here and there with classic notes. It is the love of the arts at work.

It was the love for classic suits and tailoring that helped with the creation of the collection Inês Torcato presented in Rome. Time moves on, changes and won’t stand still. Just like the shirts Inês presented and which were the essential, and main, point of her collection. Deconstructing them and thinking of them in a special way. Different cuts, twisted and even doubled, the shirts were like love... mouldable.

David Catalán was a scout for 10 years. During that time he was a teacher and a cook. For the love of the scouts. And it was in this world that he found the inspiration for the collection he took to Rome. The uniforms. Large pockets, patches and embroidered messages, in that style he has made his own: of sportswear and oversized. If the world gives you lemons, David, do not make lemonade. Make a mousse

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instead and share it with friends.

MAST ER OF LIGH T ________

FREDERICO MARTINS Words: Paulo Gonçalves

He is an excellent professional and a talented artist. A true magician of the lens and master of light. Frederico Martins is the photographer of the moment in Portugal. He has just celebrated the 20th anniversary of his career. Portuguese Soul travelled to the dawn of time. 32

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He dreamed of becoming a veterinary doctor. He graduated in agronomy, but it was his grandfather’s National Geographic magazines that were to broaden his horizons and invariably change his life. He travelled to Angola and, through the lens of an old camera, managed to capture the faces, landscapes and even the scents of the former Portuguese colony in a sublime manner. The prestigious magazine Photo took note of his talent, his immense talent, and in a click the universe awakened. As so often happens, recognition came first from abroad. The admiration of the Portuguese came later.

Revealing an ambition that so often raises good professionals to the category of immortals, Frederico invested all his assets in the task and went to London to study photography. He said to those closest to him: “I want to be the best at what I do”. He became a kind of master of light, combining great artistic sensitivity with an unusual technical capacity.

Fernando Sá was the first to notice his unusual characteristics and welcomed him into the fashion world. “I met Frederico when I created N*Style magazine. At the time I was looking for a photographer to do my cover photo and Fred was suggested by a common friend. He caught my attention right away. Although he had no experience in fashion photography, I felt in him an enormous passion and desire to create. His contribution and dedication were essential to the magazine’s growth.” N*Style magazine succumbed to the new rules of the Portuguese publishing industry. Frederico Martins’ career, however, was only just beginning. Today he splits his time between Porto and Paris, London and NY and regularly works for major international magazines, such as Elle, Glamour, GQ and Vogue. “He is a leader. Very demanding, a perfectionist,” says Pedro Sá, his friend from childhood and most faithful collaborator. “I have been his assistant for more than ten years. We have worked hard, but this has been an extraordinary journey”. The statement was inevitable from someone who has always followed his progress. “In a short space of time, Frederico Martins has earned a prominent place in national fashion and the evolution has been constant. I believe that his career, especially at international level, is still at the beginning and that much more success and recognition will come,” asserts Fernando Sá. Frederico Martins, the master of Light, has collaborated with Portuguese Soul since the first issue. After two decades of work, the signs do not deceive: he’s just getting started.

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RISING UP ________

According to Statistics Portugal’s data, in 2017, Portugal exported 83 million pairs of shoes, worth 1.965 million euros, which represents a growth of 2.8% compared to the previous year. It’s a new historic high in terms of external trade. In 2017, the Portuguese footwear has registered the 8th consecutive year of exports growth (over 55%, since 2009). Over the past year, Portugal exported footwear to over 150 countries throughout the five continents. Europe is still the main market, absorbing over 80% of exports. The growth within the European Union represents 2% with a highlight to Germany (over 11% to 375 million euros), the Netherlands (over 4.5% to 281 million euros) and Denmark (over 12.9% to 107 million euros). In contrast, there were negative results in France (drop of 1.5% to 410 million euros), Spain (drop of 6.6% to 174 million euros) and the United Kingdom (drop of 6.1% to 125 million euros). Outside the European Union, notwithstanding the devaluation of the dollar, the Portuguese exports have increased 7.1%. However, the exports of footwear “made in Portugal” to Canada and USA decreased to 1.5% to 99 million euros. Lastly, a very positive appreciation was registered to Russia (over 63% to 33 million euros), Angola (over 6% to 18 million euros) and China (over 3% to 13 million euros).

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Shoes: Friendly Fire

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GENT LEMAN ’S CODE ________ Photos: Óscar Almeida Retouching: Paulo Ferreira

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Bag: Belcinto; Shoes: Centenรกrio PORTUGUESE SOUL

Cosmetics: Antiga Barbearia do Bairro

Shoes: Nobrand

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Belt: Goro; Shirt: The Board: Tie: Vandoma

Shoes: Gino B

Bag: RÃºben Rua for Rufel

Shoes: Exceed Shoe Thinkers

Shoes: Ambitious

Shoes: Profession Bottier

Shoes: Dark Collection 48 PORTUGUESE SOUL

Bag: Belcinto

Shoes: Luís Onofre

Belt: Goro; Shirt: The Board

Shoes: Carlos Santos

Shoes: Rolando da Cunha e Melo

A QUESTION OF ST YLE ________

Suit and tie. Shirt and tie. Just ties. A classic. In any part of the world. And in any male wardrobe. They are never left behind by trends: they are reinvented. In Portugal, the accessories sector is starting to gain ground. Year after year. It´s a simple question…of style.

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T H E GOLDEN WOMAN ________

PAULA AMORIM Words: André de Atayde

She was born with a silver spoon in her mouth, but that was not why she wanted to be served from a golden tray during her life. As soon as she could leave her father’s shadow, she rolled up her sleeves and started creating her own path. We can say, based on her journey so far, that she has inherited the genes and an eye for business and the ability to conquer and fight for what she wants.

In 2005 she bought Fashion Clinic, the luxury clothing store that has such brands as Prada, Balenciaga and Givenchy. She later partnered with Gucci to open the brand’s first store in Portugal. Since the sky is not the limit for Paula Amorim – another idiom that fits her like a glove - through the Américo Amorim Group she became a director of Tom Ford International in 2007.

Even though the Amorim surname was already powerful in the business world, Paula put a first name to it and added value. She did not need to borrow her value. They say unity is strength, and Portugal’s most powerful businesswoman is the result of the union of “Paula” with “Amorim”. In Portugal and abroad. And Paula was not satisfied with the Galp oil company.

Américo Amorim eldest daughter has two children, a boy and a girl. She’s professional, organized and values teamwork. She began working alongside her father at the age of 20, and worked in the different areas in which the Amorim Group operates: property, forestry and agriculture.

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WWW.LUISONOFRE.COM

AVENIDA DA BOAVISTA 3483 PORTO

G E N E R AT I O N 4 . 0 ________

Words: ClĂĄudia Pinto Photo: JosĂŠ Gageiro

A new generation of talent emerges in the Portuguese footwear industry. They are young, ambitious and face the greatest challenge of their lives: to succeed in a sector that has in recent decades walked in new worlds.

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MARIA JOÃO LIMA, JÓIA CALÇADO She graduated in law and dreamed of being a lawyer, but since 2009 she has been showing signs of maturity in the footwear industry. In May 2017, she became chairwoman of the APICCAPS general assembly.

Why did you choose to work in the footwear industry? The fact the company was family-owned certainly influenced my decision, without taking away from the fact it is a very captivating area, even for those with no background in this area. What changes do you see in the sector? I realize I am part of a generation living through change. I also feel I am making a contribution and that I am part of this transition. It is interesting to be in this position of adapting, with balance, to the new management paradigms in view of the legacies from the previous generation that has entrusted us with this mission. It is a daily challenge and the responsibility is enormous. But our determination to do as well or even better is a challenge we have accepted. As in every sector, change is constant. What I›m saying today may not make any sense 20 years from now. Advances in technology and the resources we have available to us now are decisive and make our job easier, but they also present us with problems and challenges.

What advice would you give a young person starting out in the industry? I would say that, despite the apparently duller idea of the manufacturing process linked to production, today’s sector is surprisingly pleasant, with constant and growing social responsibility. The wide range of specialised professional categories is certainly a way to attract young people who, with commitment, talent, creativity and the proper training, can look forward to a rewarding and fulfilling career.

Can we incorporate the components of innovation and creativity into the development of our traditional activity as a way of differentiating us from the competition and gaining a competitive advantage? The demands and requirements of modern customers are much more elaborate. We have to produce high-quality articles that are personalised and detailed and we need to be able to respond almost immediately to the growing trend to produce something that stands out. We must mention APICCAPS’ important contribution to ensuring the sector is giving out a positive image. The momentum it has provided through the “Sexiest Industry» campaign has produced very notable results. The association of this image with the industry, which has always attracted female and male audiences, seems to have encouraged the trend for good taste in shoes, fashion and comfort. This world is indeed seductive. And we, who are involved in the process of creating shoes, have naturally absorbed this passion.

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W H AT â&#x20AC;&#x2122; S U P ________ Photos: Carmo Amorim

Shoes: Gladz

Shoes: Relance

Shoes: Josefinas

Shoes:JJ Himitsu Shoes: Heitor

Bag: Antรณnio

Shoes: Xica da Silva

Bag: Fly London

Shoes: Nobrand

Shoes: Tatuaggi

Gloves: Feralex

Shoes: Nano

IT FITS... LIKE A GLOVE ________

Words: Cláudia Pinto

If cold hands are synonymous with a warm heart... the rule is clear at Feralex. Gloves are a girl’s best friend. Created in 1985, this company from Sintra specialises in the production of high-quality leather gloves. Everything you can possibly imagine in a pair of gloves, this company makes: colours, furs, appliques... Feralex is well established in the glove market, with Portuguese reversed lambskin, curly skins (from New Zealand) and peccary skins (from South America). Every year Feralex creates a new collection, following the fashion trends and the market. And, after 33 years in business, this company has – quite literally – passed through the hands of the entire world.

PORTUGUESE SOUL

FOLLOW ME ________

“The world jumps and moves forward.”

The Portuguese poet Antonio Gedeão did not know the power of his words, let alone that change would occur almost every minute in the modern world. Instagram is becoming more important, even surpassing Facebook, especially among young people. The fashion industry has adapted its sales and promotion strategies, with that social network as the principal focus. Following these accounts ... is not only a right but a duty.

Sara Sampaio @saramapaio

She could almost be the apple of our eyes, if the Portuguese girl were not starting to fly so high that our gaze (almost) doesn’t reach her. Sara Sampaio has conquered all there is to conquer. Living in New York, the Portuguese model has been involved in campaigns for the most important international brands. The wings fit her like a glove, and she became the first Portuguese to represent Victoria’s Secret on international catwalks.

PORTUGUESE SOUL

Friendly Fire

Marques Almeida

Glitter, pearls, pompoms and sequins. All this is possible in a shoe. Now, imagine being invaded every day by shoes that are a real fantasy world. That is why it is essential you follow Friendly Fire's Instagram account. The young brand has been on the market since 2015 and has been a real success on and outside the (social) networks. Created by two friends, Alexandra and Rute, the irreverence that characterises the personality of both was the foundation for the creation of a brand combining disruptive design with the savoir faire of a distinct product.

A pair of designers who take the name of Portugal across borders and who are a regular presence at London Fashion Week. Marta Marques and Paulo Almeida are the designers responsible for Marques Almeida. Currently living in London, the duo launched the brand in 2011 and in 2014 won the LVMH award for Young Designers.

@friendlyfireshoes

@marques_almeida

D A N I E L A R UA H ________ Words: Catarina Vasques Rito

She was destined to go into acting. She began by taking her first consistent steps in Portugal, but opportunity took her to the United States – to the mecca of cinema. Daniela Ruah studied to be an actress, fought to win her place, and succeeded. Living and working in Los Angeles, she is one of the characters in the series “NCIS: Los Angeles” that is about to start its tenth season. She fell in love, married and became a mother. Her kindness is contagious and her professionalism is well-known. This interview was conducted on the day she was photographed for the fashion production the magazine proposed and she agreed to without hesitation. A conversation intended to let us know a little bit more about the woman and actress so loved by Portuguese …

Photos: Frederico Martins Fashion: Cláudia Barros

Shoes: Luís Onofre; Dress: Alves/Gonçalves; Belt: Ás de Espadas.

â&#x20AC;&#x153;I manage my life in a way that minimises annoyances: in other words, I do not make indiscriminate public statementsâ&#x20AC;?.

Dress and belt: Dino Alves.

Shoes: Eureka; Jacket, dress and belt: Christian Dior at Loja das Meias. Hat: Stylist own

Shoes: LuĂs Onofre; Dress: Diogo Miranda

“In this profession, where the competition is fierce, the more prepared we are the better chance we have!” Countdown to the start of another season of NCIS: Los Angeles... …It’s true, we are going to start shooting season 10!! Is the fact you have been on the air for almost ten years an indication that audiences like the show? Yes, we’ve been very fortunate. You never know how long this or any other shows will be on the air. It always depends on a number of factors. The audience has reacted well and CBS, the television station that owns the series, is enjoying it and the result so far is continuity. But if it's going well, is there any possibility of more scheduled seasons? We cannot be so linear. We always live for the moment. The reasons that lead a television station to extend or to end a series vary. You were born in Boston [2 December 1983]. When you were three you moved to Minnesota, and aged five came to Lisbon to live. You studied at Saint Julian’s School and later at London Metropolitan University and in New York at the Lee Strasberg Theatre and Film Institute. Are those essential tools for anyone wanting to follow a career path in acting? That’s what I did. I’m a proponent for education. There must be training in any field of work. In this profession, where the competition is fierce, the more prepared we are the better chance we have! But this was my journey, every artist’s path is different. Your career includes acting on Portuguese television in the series “Jardins Proibidos”. Has the work you have done on national channels been important in helping you on the international stage? Very important, because it taught me to work at a very demanding and intense pace. In Portugal on a telenovela, we’ll shoot up to 40+ pages of dialogue a day, from different episodes. In the us, we shoot an episode at a time, 10 to 12 pages per day, with strict working hours rules; our rest period must be 12 hours between the end of one working day and the beginning of the next. If the working hours are not respected, the production loses money because they have to pay overtime. There is organisation and respect for the work of the various teams.

Can actors and actresses offer suggestions for dialogue, character behaviour? Always. Our scriptwriters are present during filming, which allows the actors to make suggestions For a scene, previously recorded as the script says, and that can be taken into account or not. Usually they are. As long as the changes make sense and aim to improve the action. Does ten years working with the same team allow friendship bonds to be created that end up favouring the work? We are fortunate to get along very well, to have succeeded in creating a relationship that allows us to always be available to help each other, Being open to offer and recieve constructive criticism or suggestions. Everyone’s focus is on the success of the show. in the span of 9 years we have experienced marriages, births, divorces, deaths, etc. all this creates an extraordinary closeness. Does the fact you work on this series limit you in relation to access to other work proposals? Access to other proposals is not limited, my availability is. At the moment I am dedicated to the series full-time, but I am patient and everything will happen in its own time. What was it like working with the actor Miguel Ferrer (1955-2017)? He was one of the people who surprised me most, with his simplicity, generosity, quality and commitment. Miguel was a storyteller. He grew up in Hollywood, was the son of great actor Jose Ferrer (1912-1992) and singer Rosemary Clooney (1922-2002) and the cousin of George Clooney. He was a great friend and was very interesting, particularLY for someone who grew up in a world so full of stars. He was generous and discreet and always ready to learn. Another one of the things I liked about him was the love he had for his children. He was a wonderful father... It was a great loss and I miss him very much.

How has your character been perceived in the USA? It’s been very good. Our average audience in the usa is around age 40 and up while in europe it seems we have a younger following. Was adapting to Los Angeles easy? No it wasn’t. The first two years were spent adapting to life there. Living in Los Angeles is different from living on the East Coast, where I had been for a year and a half. I felt lonely at the beginning until I integrated with more people and found a core group of friends and eventually a family. It was a journey to growth and now I’m very happy on the West Coast. How would you assess the overall experience of presenting the Eurovision Song Contest? The overall experience was incredibly positive. Of the four presenters, I was the one with the least amount of hosting experience. An intimacy was created between all of us, we were there to give our best and to make this edition special. I think those goals were achieved. The myth that women do not work well together and that they do not help each other is a lie. It was fabulous working with Catarina (Furtado), Silvia (Alberto) and Filomena (Cautela). The whole team and production staff were wonderful, and the organisation of this edition was considered the best by the ebu (european broadcasting union) it was an honour to be a part of this project! In Los Angeles you fell in love with and married David Paul Olsen. Does your husband’s profession scare you? At first I was a little scared because I didn’t really understand how it worked and the fear that something might happen was very present. I decided to find out more about it. The special effects team, stunt performers and my own experience helped me understand how it all works, the safety procedures, etc. Today I’m much more at ease because I see how much preparation goes into minimizing any risk, it spite of what an audience sees on their screen. Daniela, you are Jewish and David is Lutheran. How do you manage to reconcile two different religions in your day-today life and in the education of your children? Before we decided to have children we talked about religion and how we wanted to implement it. We chose to educate them in both – in other words, integrating them into the rituals and festivities of both faiths and making them realise it’s possible to live in harmony having different religious beliefs. In fact, the underlying education David and I had is similar, we are aware of our responsibility as educators, we want to teach and promote balance. Be a unit!

Do you care about your image, especially since you live in the North American movie mecca and in a society that promotes the cult of the image, sometimes to excess? Honestly I’ve never cared too much. However, I naturally worry about my skin, protecting it daily with sunscreen, I am also concerned about my food. I do physical exercise and drink a lot of water. Otherwise, I do not give too much importance to my image. In my day-to-day I wear comfortable clothes but when I have events that require a more glamorous approach, I enjoy dressing up for the occasion. What do you think of the “Time’s Up” movement? Fortunately I’ve never had problems in that regard. The truth is that in the United States the victim is almost always devalued and questioned. I think it’s very important that this movement exists, not only in North America but in a global context, and at this time with this american President these issues are fortunately being brought to the foreground. Portugal is in fashion and Lisbon is one of the nerve centres of this attention. Several international public figures are choosing the capital to live or to spend long periods of time. Would you do the same? Actually, I already do. When I’m not shooting NCIS Los Angeles I’m here. My family is here. I’m not sure I will move to Portugal permanently in the near future because for now I go where work takes me... but I spend a lot of time here with my husband and kids. You recently had your first tattoo. Was it always a desire or did the will come with age? I actually never felt the desire to get a tattoo, but I always thought that if I ever changed my mind, it would be something related to what I love most in life – my children. You chose a profession in which you are in the public eye. How do you deal with fame? There are differences between being a celebrity and a public figure, especially in this day and age: I consider myself more of a public figure. I manage my life in a way that minimizes negative attention. I like to be constructive and lead those who follow me into positive healthy places.

“I manage my life in a way that minimizes negative attention. I like to be constructive and lead those who follow me into positive healthy places.”

Shoes: Guava; Dress: Emilio Pucci at Loja das Meias; Earrings: Ă s de Espadas

Shoes: Guava; Shirt and leggings: Carlos Gil; Earrings: Ă s de Espadas

Shoes: LuĂs Onofre; Shirt and skirt: Ricardo Andrez at Les Filles; Earrings: Ă s de Espadas

Dress: Nuno Baltazar

Talent: Daniela Ruah Hairstylist: Miguel Viana with products Wella Professional, and Dengo Extensions of natural hair Make-up: PatrĂcia Lima Production: Snowberry Photography Assistants: Pedro SĂĄ and Michael Matsoukas Hairstylist Assistant: Jaime Gomes Fashion Assistant: Guilherme Pamplona

From left to right Marlon - Total Look: Filipe Augusto Tomás - Jacket, hood and cap: Filipe Augusto; T-shirt and trousers: David Catalán Joaquim - Shoes: Ambitious; Vest: David Catalán; Shirt and shorts: Filipe Augusto Lourenço - Shoes: Ambitious; Vest: Filipe Augusto; Shirt: David Catalán; Jeans: Levi´s

Photos: Celso Colaรงo Styling: Fernando Bastos Pereira

Shoes Wolf &Son; Total Look: Alexandra Moura

Total Look: Filipe Augusto

Shoes: J. Reinaldo; Total Look: David Catalรกn; Scarf: Alexandra Moura

Shirt: David Catalรกn; Scarf: Alexandra Moura

Bag: Rufel; Sweat and Trench Coat: David Catalรกn; Apron: Filipe Augusto

Scarf: Alexandra Moura

Shoes: Gino B; Sweat: David Catalรกn; Leggings: Alexandra Moura

Shoes: Exceed Shoe Thinkers; Jacket: Alexandra Moura; Shorts: David Catalรกn

Bag: Belcinto; Trench Coat and Shirt: Alexandra Moura; Suit: David Catalรกn

Marlon Shoes: J. Reinaldo; Jacket and Shirt: David Catalรกn; Leggings and Trousers: Filipe Augusto

Joaquim Shoes: J. Reinaldo; Sweat and Trousers: David Catalรกn

Hat: David Catalรกn

Shoes: Ambitious; Vest: David Catalán; Shirt and Shorts: Filipe Augusto

Production: Snowbery Hair: Zé Carlos Taipa with Lupa Styling Make-up: Helena Almeida Styling Assistant: Nelson Lima Models: Lourenço ‘Central Models’, Joaquim Arnell and Tomás Dinis ‘We are Models’ and Marlon ‘Elite Lisbon’

TENDER IS THE NIGHT ________

Words: Irina Chitas

Hardness, sweetness, madness and freedom. João Magalhães’ trips aboard Morecco are the pages we needed to turn into Portuguese fashion. They are often acid nights with bright lights and powerful dresses that live beyond us and land in the candour of mornings. They are the poetry of difference, the mark of love and the clothes that the heart most wants to wear.

What is the importance of freedom to you? The same as for any human being. Luckily I have always had what I can consider to be a high degree of freedom, so I enjoy it, without forgetting its value. How far do you travel when you create a piece of clothing? As far as time allows. My problem is to know how to stop travelling. In fashion, what is infinity? The possibilities of the human body. Contrary to what many people say, I don’t think “everything has already been done”. The pursuit of form and the play on proportions are far from being exhausted. If the night was a person, how would you dress it? Neon. Is a blank page scary? Very.

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Does fear play any part in creation? Yes. I think the creative process has both torture and pleasure. The fear of failure is always present. Maybe it’s masochism. If you have thousands of ideas within you - which is the most impossible and, at the same time, the most seductive one? An idea that one day I can make my ideas come to life. How much of what you create is an exploration of what has never been done? A small part. I think the best things I do come close to that. The rest of them are experiments and reconfigurations from other works. And how much of what you create is love? Love is too strong a feeling, too powerful and complex for me to transmit through clothing (until now!). But passion, yes.

LUร S BUCHINHO ________

Photo: Tomรกs Monteiro Words: Clรกudia Pinto

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Central Porto is bustling with activity. There is traffic an curious people passing in front of the new Luís Buchicho strore at 812 Rua Sá da Bandeira. He is close to celebrating 30 years of his career. He does not like to look back. He likes what he has achieved, believes he is a more complete designer now and, in his words, the future will certainly be better.

If you had to describe your career in one word what would it be? Agitated. Agitated...Why? Change is a constant in this field. But not just in relation to the seasonal change, when there has to be a surprise every six months. I often say I always tell the same story but with different narratives; and this implies not only a change in the theme of the collection but a constant reassessment of how to create the collection and of how to communicate, sell and to be able to reach new markets and new audiences. There is endless work in what it is to have and to be a fashion brand. And this generates constant change... this constant seasonal change that is not only transmitted in looks that differentiate but in an approach and strategy that has to be refreshed and renewed.

Are you nostalgic? Actually, I’m not at all nostalgic. I can be and try to avoid it. But I don’t look at the past nostalgically. I do a better job now: I have a better, more solid team, I work the creative part differently. The best is always yet to come. The future will be my time! Is there any moment you remember with particular affection? I don’t think there is...maybe the first time I presented at the ModaLisboa fashion week. I was only 21 years old and I had never done a fashion show. I remember that it was a very violent moment emotionally. It was a shock...As for the rest, I always try to project a stronger, more extreme emotion for the next season. My fashion shows always have a strong energy component. I try to ensure it is a worthwhile event. I want the models to enter with security, and feel they are strong women.

The fashion shows are always a very artistic moment, but then there is a need to have more commercial collections. How do manage this? 70% of my so-called “commercial“ collection is present in the fashion show. The clothes are worked in a more artistic manner in terms of styling and idea, but the idea of what will be available to the public to buy is on the catwalk. There is an immediate identification of what we see on the models and what we see later in the stores. I think the fashion shows have had a clarity of theme and a conceptual idea behind the very clear commercial collection. It is this emotion that the public captures.

How has Portuguese fashion evolved? I think it has evolved in the sense that there are ever more brands. There are increasingly fine-tuned fashion proposals in individual terms. However, there is very little progress in terms of marketing and reaching the general public.

What is the most difficult part of the creative process? The most difficult part is starting from square one. Getting an idea that serves as a driver to start the collection. An idea that starts from an emotion, a moment, a graphic inspiration. For me, it generally comes from my personal universe. From there it gains material form through a collection. The basic idea is very distressing. Often it comes naturally, but other times...we have to stop a bit and wait for it to come. I also have a special list of specifications that summarises everything I have to have in my collection: blouses, trousers, jackets. There is a very pragmatic background to my collections. But there is also the whole entertainment universe. The better the theme is, then the better the collection will be.

What does the future hold for national fashion? I think the future is to believe that we will flourish internationally.

ADN PORTUGUÊS ________

Além-fronteiras…é a cidade que acolhe mais portugueses no mundo. Meio milhão de personalidades lusas que todos os dias conquistam mais um pedaço de mundo. Se contarmos as famílias e descendentes chegamos ao milhão e meio. Ou não fosse a sina portuguesa…a de descobridores, vários são os casos de sucesso além-fronteiras com ADN nacional. Conheça Mariana, Nelly e Anne. Três portuguesas que estão a dar cartas na cidade da luz.

Mariana Carmona

Nelly Gonçalves

Nem tudo o que brilha é ouro, mas na vida de Mariana Carmona tudo o que reluz é, de certeza, um diamante. “A minha grande paixão é fazer esculturas que sirvam para as pessoas adornarem os corpos”. Mariana Carmona trocou o Porto por Paris há 6 anos para cumprir um sonho: ser designer de joias numa das maiores marcas de joalharia do mundo. “Estudei e trabalhei no Porto, em joalharia. Mais tarde decidi fazeruma especialização em Londres em diamantes e pedras de cor. Entretanto uma colega de curso falou-me de uma oportunidade na Swaroski e poucos dias estava a trabalhar em Paris. É especialista em pedras preciosas e a responsável pela coleção clássica da Swaroski. As jóias desenhadas por si, em Paris, são vendidas em todo o mundo. E uma única peça pode chegar aos 7 milhões de exemplares. “Todos nós temos um backgroud diferente e, por esse motivo, a Swaroski aposta em designers de diferentes nacionalidades. Sem dúvida que as minhas raízes portuguesas influenciam muito aquilo que crio”. Pelas mãos de Mariana já passaram milhares de jóias, entre elas, a mais vendida de sempre, usada por grandes estrelas mundiais. Para o futuro, a designer ambiciona criar uma linha própria. “Sempre tive uma vontade de ter a minha própria marca: de fazer as minhas prórprias esculturas… um dia quem sabe. ”

Formou-se em Design, mas atualmente é nos bastidores da moda que passa a maior parte do tempo. Produções, desfiles e campanhas publicitárias são o dia-a-dia da stylist Nelly Gonçalves. “Nasci em Paris. E lembro-me de ter dois anos e enrolar tecidos à volta das minhas bonecas. Quando cresci sempre tive um gosto muito especial por moda”. A luso-descendente coordena os bastidores e a coreografia dos desfiles de grandes marcas internacionais, como Channel, Hermés e Dior e ocupa o cargo de editora de moda na revista Dsection. “Muitas pessoas pensam que faço roupa, mas não. Trabalho com revistas; faço campanhas publicitárias. Vejo os sítios, a maquilhagem, os looks... Também trabalho na Semana de Moda: quando começa um desfile a sensação é… surreal!”

Anne Amorim Anne Amorim é mais um exemplo de sangue luso com uma prestigiada carreira no mundo da moda. A paixão começou muito cedo…com apenas 17 anos trabalhava na Maison Christian Lacroix. Hoje é relações públicas na Zadig et Voltaire. Há já 6 anos que toda a comunicação da marca passa pela luso-descendente. Mas é a liberdade criativa o que mais aprecia na profissão. “A Zadire e Volteire é uma empresa familiar onde toda a gente pode dar opinião e contribuir com novas ideias. Por exemplo, estou sempre presente no lookbook por exemplo, intervenho na escolha do manequim, do ambiente e da construção dos looks”. Filha de pais portugueses, os traços latinos não escondem as raízes que muito preza e a vontade de um dia, quem sabe, trabalhar em Portugal. “Eu adorava viver em Portugal, porque a moda, a criatividade e a arte tem muito potencial. Gostaria, por exemplo, de abrir uma loja no Porto”.

Designed and Crafted in Portugal

JUST LI KE BROTHERS ________

Photos: Frederico Martins Styling: Nelly Gonรงalves

JONATHAN & KEVIN Shoes: Dark Collection; Coat: Cerruti 1881; Polo Shirt: Nycole; Shirt: Cerruti 1881; Pants: Cerruti 1881; Belt: Lanvin

Shoes: J. Reinaldo; Jumpsuit: Zadig & Voltaire; Knit: Ermenegildo Zegna; Blazer: David Catalan; Belt: Lanvin

Dressing Gown: Charvet; Underwear: La Perla

Shoes: Harper; Dress: LuĂs Carvalho; Earrings: Topshop

Jonathan Blazer: De Fursac

Kevin Shoes: De Gier; Trench: Zadig & Voltaire; Polo shirt: Nycole; Pants: Lanvin

Jonathan Shoes: Centenรกrio Shirt: Drome Polo Shirt: Nycole Pants: Defursac Belt Lanvin

Kevin Pants: Michael Kors

Jonathan & Kevin Shoes: Undandy; Blazer: De Fursac; Shirt: Zadig & Voltaire; Pants: Lanvin

Jonathan Knitwear: Cerutti 1881

Kevin Knitwear: Michael Kors

Jonathan Shoes: Carlos Santos; Total Look: Nuno Baltazar

Kevin Shoes: Carlos Santos; Total look: Cerruti 1881

Jonathan Blazer: De Fursac

Kevin Blazer: Ermenegildo Zegna

Jonathan Shoes: Rolando da Cunha e Melo; Coat: Nycole; Shirt: Cerruti 1881; Pants: Missoni; Belt: Lanvin

Kevin Shoes: Rolando da Cunha e Melo; Coat: Wendy Jim; Shirt: Lanvin; Pants: Cerruti 1881

Photographer Assistants: Pedro Sá, Diogo Oliveira and Michael Matsoukas Stylist Assistant: Patrícia de Oliveira Hair Stylist: Miguel Viana Make up: Patrícia Lima Make up Assistant: Ana Raquel Ribeiro Models: Jonathan Sampaio and Kevin Sampaio ‘We are Models’ Production and Retouching: Lalaland Studios

Jonathan & Kevin Blazer: De Fursac

EVEN A BROKEN CLOCK IS RIGHT TWICE A DAY ________ Words: André de Atayde

It’s very cold way out there. It’s far, far away in Denmark. There are many hours of daylight in the summer and many hours of darkness in the winter. There is time, far away in Denmark. There are people who arrive on time, there are those who make the time... and there is a Portuguese, far away, who gives time to the others because he joined forces with two Danes who also wanted to give time to other people. To the others. And when you have the idea of giving time to others, you create a start-up, call on a renowned designer named Jakob Wagner, who lives far away too, and a brand of watches called Nordgreen is born. Daniel Rocha, the Portuguese who moved away, and who is one of the brand leaders, was studying physical engineering. Or rather, he studied it for four years until he realized it was time to take a management course in Aarhus. Far, far away. The funds for the brand were achieved in just two hours through Kickstarter, the world’s largest online collective financing platform focused on creative and innovative projects. In time. Since the world needs times of change, Nordgreen focuses on social causes and on trying to bring people closer to problems that they often think only happen “far away”. If a watch can provide drinking water to one person in the Central African Republic for one month, if it can protect 200 square metres of forest in South America or provide an education to a child in India for two months, then it is time well spent. As well spent as looking at the hands move around the dial for an entire hour.

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PRETTY GIRL ________

She dreamed of being a footballer, but it is on the catwalks she enters the big international stages, and last September, a 16-year-old Maria Miguel surprised everyone when she opened the Saint Laurent show in Paris. Born in Porto, she is the first Portuguese woman to model for the French brand. This year, now aged 17, she has taken to the Parisian catwalk for Chanel. She returned to the city of love in May, this time for the French fashion houseâ&#x20AC;&#x2122;s Cruise Collection show, where she modelled alongside Bella and Gigi Hadid, Barbara Palvin and Stella Maxwell, among others. So far, her career has been short, but the backing she receives from Lâ&#x20AC;&#x2122;Agence proves that with word of mouth, there is no age to talent.

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SHOES

WITH

CHARACTER

ETERNAL SUNSHINE OF THE CREATIVE MIND ________

Words: Irina Chitas There is always something we can do to support creative talent. Even if it’s very little, even if it’s very hard. And there are those who do it for a living, and so many times ask for nothing in return. We talked to Showpress, the Portuguese communications agency that doesn’t think twice before doing whatever they can to elevate new talents. That’s how Co.Lab was born.

Showpress has a strong track record in supporting Portuguese designers, but this Co.Lab is a milestone in popularizing young creatives. First of all, how did the idea come about - and why did you feel the need to create the platform? The idea comes as an extension of Showpress’ identity as a communications agency. Since 2002, the history of Showpress intertwines with Portuguese fashion by the proximity to its protagonists. We have always had designers as clients and we have always been involved in the main fashion events in Portugal. [The step of ] reaching out to the younger brands was also obvious. Fashion is future and we know that this future is constantly promoting emerging brands and ideas that do not always have space to affirm and develop all areas of their businesses. What, for starters, were the criteria for choosing the designers that are featured on the platform? Creative and business development potential are essential criteria. As a support platform for the incubation of young creators and emerging/independent brands whose creativity and willpower set a promise for the future in the industry, the potential has always been and will always be the main starting point. We try to combine the evaluation of objective criteria beyond subjective ones. Of course Modalisboa's Sangue Novo or Bloom of Portugal Fashion are two ideal showcases for a first casting but then we always have a more detailed conversation that evaluates that potential in a more specific way. 138

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And the feedback so far? It has been fantastic because fashion feeds on the constant renewal that these brands/designers represent. Would journalists, stylists or influencers have access to the contents of Gonçalo Peixoto and Nycole if they were not accessible in a space that positions them and helps them grow? Globalization brought unlimited access to information but also the inability to keep up with all that creative frenzy that surrounds us. What new doors have been opened with this Co.Lab? In addition to the increasing demand for the clothing by the press, influencers and stylists, which already represents, per se, a conquest of note in an increasingly demarcated brand territory, [the brands that were featured on our first season of this Co.Lab have grown], like Imauve, that presented for the first time a collection in the SS18 edition of Modalisboa. David Catalán has a second point of sale in Portugal, inserted in the Inês Torcato Store. Susana Bettencourt had a full profile published in Elle magazine. And what next steps have you planned for the platform? In the immediate future, we want curatorship to go beyond fashion, that is, we want to welcome other creations that also force us to deform communication approaches as an agency. A kind of collective laboratory where creativity is complementary and unexpected.

GOLDEN SHAP ER ________

He is a sculptor of dreams in the shape of diamonds. He celebrates a 30-year career in a sector with a strong tradition in Portugal that is beginning to be a success story abroad. Meet the Portuguese jeweller Eugénio Campos.

What is it like to be a man in such a feminine business? I feel comfortable and close to my clients, whether they are female or male. In my jewellery, I can convey personality, beauty and character, which is what women like to feel when wearing it. I feel that as a man I can better interpret the desires and the tastes of the female market. I also have my men’s line for the male market, with irreverent jewellery for the man who follows fashion. Has there been a time during your 30-year career that has marked you? There have been several; however, I do recall one that was very special and quite recent: the creation of two liquid jewels. I wanted to create something exclusive to mark the 30th anniversary of my career, but like other jewellery created by me, it had to touch and be worn on the skin. Gold Rose, a fragrance specially designed to personify the Eugénio Campos woman, and Gold Stone, an irreverent perfume with which I identify. Two very special and 100% Portuguese fragrances.

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How would you define the woman who wears Eugénio Campos? The Eugénio Campos woman is, and always will be, a special and unique woman. A sophisticated woman, exquisite and above all independent and passionate about life. What is the potential of the jewellery industry? It is a very old sector that is constantly changing. Its greatest potential is in the creativity and the design. It is a sector in which we feel comfortable and, above all, where we can practice our art with quality and distinction.

w w w . m a r t a p o n t i . c o m

VAVA ________

WELCOME TO THE FUTURE

Is a new Portuguese eyewear brand with a futurist spirit. Vava is derived from today’s post-industrial society and the growing belief of belonging to a post-human age.

Vava is inspired and fascinated by the post-industrial world in which cities like Detroit, once a symbol of industrial prosperity, dramatically collapsed and was forced to re-invent itself to ensure its survival. At the same time the Techno movement emerged as a significant step in this process of rebirth; indeed, when it appeared in the 80’s it was part of a movement towards the creation of a Techno City, the city of the future, where technology would emerge as the salvation. Also, there is a strong link with Berlin, another postindustrial city, that shares many similarities with Detroit – as well many differences, which is what makes both cities so interesting and unique.

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Vava’s mission is to represent the mankind being in control of the technological world and at the same time in control of himself, expressing the antithesis of acceleration and rest. Vava associates the highly conceptual language of machinery and the arts. Welcome to the future.

“A L A C A R T E ” ________

SÓNIA BALLACÓ IS THE NEW FACE OF PORTUGUESE JEWELLERY Words: Ilídia Pinto

‘À La Carte’ is the name of the new international campaign to promote Portuguese jewellery, an initiative of AORP Portuguese Jewellery and Watchmaking Association. This campaign aims to “sharpen the appetite” for an industry displaying “insatiable hunger for growth and expansion”, adapting to the new market dynamics and to the taste of the “most demanding consumers”. Portuguese jewellery, ranging from brands that renew traditions to designer jewellery, now comes in “generous doses of creativity and innovation”. AORP secretary general, Fátima Santos, explains the analogy: “For a number of years Portuguese jewellery focused on the domestic market. Now, it displays a voracious appetite for internationalisation, registering record participations in international fairs and winning the most prestigious prizes and recognition”.

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The campaign, starring model and actress Sonia Balacó, produced by Snowberry and with photography by Frederico Martins, is part of the industry’s internationalisation project for 2017-18. “It is the most complete and ambitious ever, covering 41 initiatives in 17 markets and involving more than 50 companies.” The scenography was designed by Ana Neto and Joana Lima, of S.P.O.T. “Portuguese jewellery is more attractive than ever. The art of making jewellery, which has been honed from one generation to the next, has achieved its sweet spot in the creative boom of the new designers, intensifying desire and awakening the senses,” says Fátima Santos. The ‘À La Carte’ campaign forms part of the “560 Jewellery: Made (and Designed) in Portugal” internationalisation project, which is co-financed by Portugal 2020 and which involves a total investment of 2.5 million euros.

LUÍS SEQUEIRA ________

Words: Catarina Vasques Rito

"My work is made of dedication, organisation and commitment. When we are nominated for or win a prize it is confirmation that we are doing something very well" Luís Sequeira

One of the most recent members of the Portuguese Academy of Cinema, nominated for a BAFTA (18 February), winner of a Guild Award (20 February) and nominated for an Oscar (4 March), in the category of Best Costume Designer, for the film "The Form of Water", by Guillermo del Toro, which won this year's Oscar for Best Film. Luís Sequeira, who was born and raised in Canada, saw his life change overnight. He designed the costumes for films like “Carrie”, "The Thing”, for three series of the Fox show "The Strain" and "Being Erica", and recently finished working on the latest Netflix film "Christmas Chronicles“ with Kurt Russell and Goldie Hawn.

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The interview took place during a brief trip by Luis Sequeira to Portugal, his mother's home country and where he has a house in São João de Loure, Albergaria-a-Velha. “I come here twice a year to recharge my batteries. Although I was not born here, my soul is absolutely Portuguese,” confides the designer and costume designer who has gained a new profile outside Canada since being nominated for some of the most important prizes of the seventh art, and for which he won a Guild Award. "I've been working in this area for more than 30 years. I started as a fashion designer and from there I gained experience, through contacts with different areas that complement each other, until I reached where I am today," he said. He admits there is a very romantic idea about professions associated with fashion and the cinema. "If most people, particularly young people, the future professionals, knew what it takes to gain respect and recognition, I think many would not even think twice about a career in these areas." His workshop is in Toronto but he often travels to the United States, the United Kingdom and South Africa for work. His dream is to have a project in the land of Camões. "My profession forces me to travel regularly, and each project may involve a season in a different place in the world. Winning each project implies a series of constraints inherent to the profession itself. But above all, we must always be attentive to what is happening and open to learning new looks and new aesthetic and creative approaches,” he adds, without forgetting that part of this work is only possible with the support of a cohesive team.

He was born in Toronto, Canada, the country his mother chose to live and work in. "My mother was a tough woman and although it may seem like a cliché, from her I learned not to give up and to choose a career as a fashion designer”. As a child he often played with some of his mother’s tools and utensils, “and I often hindered her rather than making it easier for her,” he admitted to Portuguese Soul. Portugal and the Portuguese diaspora have discovered the talents of this man due to his Best Costume Designer Oscar nomination for the film "The Form of Water”, as well as for his other award nominations: BAFTA and Guild Award, having won the latter. "Winning or not is irrelevant, because being nominated represents recognition by film industry 'players'. I'm living the present and taking full advantage of it." His research for the costumes of "The Shape of Water”, winner of the Best Film Oscar 2018 took the context of the 1960s Cold War action into account. He researched photographs, films, articles and other material, contacting professionals, analysing the fashions of the time and having access to private archive images. "All the work preceding the meticulous choice of costumes is essential. It both serves as a reference to guide the team working with me, and provided tools on the style notes of that period for the other departments. Finally, there was a selection of suggestions from other decades that I considered provided context and which I wanted to integrate into the film in some way,” he explains, restating the importance of historical facts. This can be seen in the items used by the characters, which do not include "adapted clothing, that is, the research took the textiles and the techniques of manufacture existing at the time in question into account, a fact that was identified from the outset by the director Guillermo del Toro and I."

He studied at the Galasso School of Design in Toronto, where he learned techniques and patterning for haute couture. He later obtained a degree in fashion design. He is a self-confessed fashion enthusiast, an area in which he worked for about six years. He came to realise that the "fascinating side of the profession is less than he imagined", with the dedication and solitude eventually leading to the move to cinema and television costume designing. "I'm a costume designer who remains associated with fashion, in a different light." He says that the art of costume design lies in convincing the public that this or that character are framed in the context of a certain story: “It is our responsibility to create credibility”. That same credibility comes from confluent factors that "create noise and can destroy a character or a story if they are not aligned. Working on the costumes of a film or a series requires us having full knowledge of the script in order to understand what is going on in the head of the screenwriter, the director, the actors, the set designers, etc." Although he has moved away from the world of fashion design he remains aware of what is happening in this field, and he admits that one day he would like to have a project involving Portuguese know-how in terms of the fashion industry and design. In the international arena, he is a faithful “observer of the collections of Dries van Noten, Maison Margiela, John Varvatos, Paul Smith, Balmain and Balenciaga". He is admittedly passionate about what he does and would like to work as an art director (production design), which is an “area with a more complete and comprehensive view of the artistic and visual construction of a film”. The restlessness in his gaze tells us this will be a step he will take sooner than you might think.

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ANGELS ________

Photos: Ricardo Santos Styling: Joel Alves Make Up: Inês Aguiar Hair: Zé Carlos Taipa with Lupa Styling Models: Elizabeth Yeoman ‘The Hive Models’ and Jozef Hrivnak

Elizabeth Jacket: Dino Alves

Jozef Jacket: Dino Alves PORTUGUESE SOUL 149

Shoes: Ana Lusitana; Headscarf and Dress: Alexandra Moura; Socks: Stylist own

Trench coat: Dino Alves; Tartan Jacket: Alexandra Moura

Jacket and Pants: Filipe Augusto

Shoes: Lemon Jelly; Headscarf and Jacket: Dino Alves; Socks: Stylist own

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Shoes: Marla Pais; Headscarf, Puffer jacket and Dress: Alexandra Moura; Socks: Stylist own 154 PORTUGUESE SOUL

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Elizabeth Bag: Cavalinho; Headscarf and Jacket: Dino Alves 156 PORTUGUESE SOUL

Jozef Hat and Jacket: Alexandra Moura; Turtleneck and Pants: Dino Alves

Shoes: Marla Pais; Coat and Pants: Filipe Augusto PORTUGUESE SOUL 157

Bag Elenco; Headscarf, Puffer jacket and Dress: Alexandra Moura

Shoes: Perks; Hat and Coat: Alexandra Moura; Blazer and Pants: InÃªs Torcato; Turtleneck: Dino Alves; Socks: Stylist own

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Shoes: Felmini; Jacket: Alexandra Moura

Shoes: Fly London; Total Look: Dino Alves; Socks: stylist own

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MANUEL ARNAU T ________

BRIEF INTERVIEW Words: Catarina Vasques Rito

“The invitation came as a surprise, but I knew I gave me an opportunity to show that I was up to the challenge” Manuel Arnaut

Director of Vogue Arabia since May 2017. The adventure in Dubai began in 2015 when he was invited to launch the Architectural Digest Middle East. In Portugal, he spent seven years as a journalist with Vogue magazine then as editor of GQ. Portuguese Soul spoke with Manuel Arnaut a year after he had agreed to direct the destiny of one of the fashion world’s best known publications.

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You were invited to become director of Vogue Arabia last April. Did the offer come as a surprise? Yes, I was surprised. I went to Dubai to take on the new challenge of managing Architectural Digest. It was a very challenging process, and there was no indication Condé Nast was interested in proposing another project to me. How would you sum up your first year at Vogue Arabia? The most positive possible. The team works well together and we have managed to meet our readers’ wishes. There is a sensitivity to tackle topics shaped to the cultural and social context of all the countries in which the magazine is distributed. Was it difficult to adapt to a different culture, with habits that are so different from those of the Portuguese? I had to contextualize myself, to understand the habits and customs, but it is not a complex process. Once you realize how the society works and our rights and duties, then the adjustment begins.

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Have the experiences you gained with Architectural and Vogue Portugal or GQ Portugal been important in the task of leading this magazine? Very important. In the case of Architectural, it helped me to understand the habits and to narrow the distance that exists when we come from a different culture. I was able to do reports and articles that were considered impossible, such as photographing the interiors of the homes of important people in Dubai. All this was done gradually and with great respect. Must fashion have focus different from that of other international publications, as is the case with Vogue? Not necessarily different. We have to take some factors into account so as not to offend, but Arab women are the same as women in the rest of the world. They like to be beautiful and to feel beautiful. How do you spend your free time? Almost in the same way as I did in Portugal. Would you think about returning to live and work in Portugal? It’s not something I think about. I visit the country whenever I can. I have family and friends here…

Carlos Gil

Alexandra Moura

T H E LI T T LE P RI NCE ________

Words: Irina Chitas He has the face of an angel, the heart of a poet, the eyes of an endless explorer. Rui Palma dances as if the morning always arrives too soon and photographs the dream that lives inside every reality.

Do you remember the first picture you ever took? I don’t remember it. I know it was with a plastic camera and a Lidl roll, which my mother offered me one summer when I was a child.

What do you think we need to look at in the world in a more kindly manner? Culture, self esteem, availability, sense of humour.

Have you ever thought you looked at the world in a way that no other person has looked at it before? I began by becoming interested in the universe of other people, artists, musicians and exploring my perception of the world.

If you could photograph inside a human being, what would you capture? The dreams. It would be incredible to have a device that would allow us to photograph the images we see when we are sleeping, to register this inner world, to see its colours and forms. Once I dreamed that I was decorating a garden somewhere in the Mediterranean and in the middle of the dream I was aware that I was dreaming and I thought: I have done this entire work and none of this will live on...

What, in a human being, is purer to you? Childhood, sleep, love as a force that moves us? Or if it is pure in the sense that is inherent to us, I would say destruction. What is the one thing you look at with eyes full of love? Freedom. What stories do you feel you want to tell with your vision? I prefer to let the gaze tell me stories, to use the camera as an instrument of the mission, to dive in, to be searching in the space between the documentary and the artifice, like the title of that [António] Variações’ song, “Visões, ficções”, so that later the images belong to those who see them. Of course this search that needs to be subconscious ends up being reflected in what worries me and my context. What is beauty to you? Very difficult to define. I think it’s the feeling of being close to the truth. It is something imperfect, sometimes contradictory, that confronts itself with the idea of finiteness and the present, of the strength that lives in fragility. Maybe it’s how light forges shapes, I don’t know. Is there beauty in the dark? There is beauty in sound ... Whatever it is, it is something that causes ecstasy and seems to hurt. What about poetry? Poetry can determine things, unlike photography. In the poem, that universe is alive there, ready to be revisited, to move; photography is more like the corpse preserved in formaldehyde of a passing moment. I think poetry is a way of recognising the world, something that fills space. It is surreal how the days are made up of moments of poetry. 166

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You’re images are raw, they have a very pure viscerality. Do you think we are in the habit of living apart from our own reality? The images were already there, what I did was to photograph them... Maybe they can give the illusion of being raw, but even if that was the intention, no image can be an impartial reproduction of a subject. It will always be inflated by those who take the image, by the angle, light, intention, it may end up being a self-portrait. And yes, I think we live far from ourselves. We are constantly pushed into behavioural and aesthetic tendencies, standardising, chauvinistic and exclusionary, driven away by the anaesthesia of social media, it is the age of anxiety. Luckily we have things that can help us get closer to ourselves – like books, music, dancing. Dancing can be a mystical, religious experience, connecting with ourselves and others, regardless of words. What do you need to immortalize in images? I think this is a utopia, we are limited to the durability of the file, the link, the paper, the memory ... Of course there is the desire and the illusion to crystallize moments, the camera is a way to get involved in them, to relate to the world, of trying to delve down beneath the surface. That’s why everything is still to be lived, all the adventures are yet to come. But I would like to be able to pin sensations into images: for example, what would be the sound of a musical instrument in an image? Not illustrate, rather translate.

50 EDITIONS FOR N AT I O N A L FA S H I O N ________

MODALISBOA Words: Catarina Vasques Rito Photos: ModaLisboa

Awaytomars

odaLisboa emerged 25 years ago to publicise and support fashion design created and produced in the country. Each edition seeks to validate the talent of fashion designers, and always has a place for young designers who have chosen to make fashion their career

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Filipe Augusto

Dino Alves

Wind and rain were the cicerones of the 50th edition of ModaLisboa, welcoming those who wished to discover the seasonal suggestions of Portuguese designers at this event. The autumn-winter 18-19 collections varied between ideas for the colder seasons that contrasted with others for fresher seasons, which sometimes created confusion among the audience. At a time when fashion validates new forms of business, such as the “see now buy now” concept, rather than having collections for this or that season, the idea involves – or perhaps it does not – presenting suggestions to the consumer to induce them to manage the perfect formula according to their consumerist drives and to encourage their desires to wear what they have just seen on the catwalk.

David Ferreira searched through his grandmother’s chest to draw inspiration from a collection separated by three distinct tones: black, beige and blue. The beige stood out as the highlight of his collection. Known for his theatricality, David Ferreira is not afraid to be daring and to surprise, although with this latest collection, his showmanship was less elaborate than usual. Dino Alves was the major surprise of the show, with one of his best collections of recent times and the best in the 50th edition. Definition of concept, alignment of presentation, well-defended construction of the clothes, exquisite choice of colours and deconstruction of the items that, in their entirety, shone through due to their aesthetic balance.

Eighteen individual shows and New Blood (with shows by eight new talents) were spread over two spaces during three days: The Carlos Lopes Pavilion, split between the main hall and the lounge, and the Estufa Fria. The work of some of the participants should be highlighted: Rita Sá, Inês Nunes do Valle and Filipe Augusto all from New Blood; Gonçalo Teixeira, Kolovrat, Aleksandar Protic, David Ferreira, Dino Alves, Nuno Gama, Patrick de Pádua, Filipe Faísca, Awaytomars and Nuno Carvalho.

Filipe Faísca chose delicacy, using the embroidery of Madeira to create ideas mirroring the femininity of city woman. Linen was the fabric of choice in a game of transparency and perfect fluency. Although it is not a collection designed for the cold days of the autumn and winter seasons, the challenge may also lie in this, without forgetting that the purpose may be to “see now buy now”.

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Patrick de Pádua

Filipe Faísca

Men’s fashion was well represented in the Nuno Gama show, enhanced by pieces the stylist knows how to do so well, such as leather jackets, cashmere overcoats and two and three-piece suits in well-defined patterns. The show also included the Caretos de Podence – traditional masked dancers from Trás-os-Montes. Patrick de Padua’s show was aimed more at a streetwear audience, combining ideas for men and women. Some of the suggestion can be worn by men and women. The pace was adjusted to the concept and enhanced by the colours that varied between more sullen and more cheerful tones. Accessories provided one of the highlights of this stylist’s collection. The Awaytomars brand is an example of creative success. Conventional ideas worked with boldness and without fear of causing strangeness or surprise. The designers evolve with each edition, varying in terms of the result, in an interpretation of what international trends propose in conjunction with an artistic and revivalist vision. The positive balance of yet another edition is a fact, on a path that can always be more ambitious, more captivating and more demanding. The fashion created and developed by Portuguese designers deserves to be recognised and respected, which means this path is also that respects the consumer, encouraging them to choose national products when making their purchases.

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INFO@JJHEITORSHOES.COM WWW.JJHEITORSHOES.COM

CAN YO U REMEMBER WHO YO U WERE BEFORE THE WORLD TOLD YO U WHO YO U SHO ULD BE? ________ Photos: Ricardo Santos Styling: Fernando Bastos Pereira

Dress: LuĂs Buchinho; Earrings: Aldo

Shoes: Tatuaggi; Shirt and armbands: GonĂ§alo Peixoto; Trousers and choker: LuĂs Buchinho

Poncho and sunglasses: LuĂs Buchinho

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Shoes: Perlato; Dress and sunglasses: LuĂs Buchinho

Jacket: Luís Buchinho; Trousers: Gonçalo Peixoto

Shoes: JJ Heitor; Dress: LuĂs Buchinho; Earrings: Aldo

Shoes: Gladz; Windbreaker: Gonรงalo Peixoto; Earrings: Aldo; Socks: Oysho 180 PORTUGUESE SOUL

Shoes: Relance; Dress, poncho and sunglasses: LuĂs Buchinho; Armbands: GonĂ§alo Peixoto; Socks: Oysho; Vintage ring

Shoes: Elisabeth Moments; Dress: LuĂs Buchinho; Earrings: Aldo

Coats: Carlos Gil 184 PORTUGUESE SOUL

Production: Snowbery Stylist Assistant: Nelson Lima Hair: Rui Rocha Make up: PatrĂcia Lima Models: Adama Jobe

PORTUGAL FA S H I O N ________

Words: Clรกudia Pinto Photos: Portugal Fashion

It has criss-crossed Europe during the main fashion weeks. Paris, Rome, Milan, London. Portugal Fashion has taken Portuguese fashion onto international catwalks and it docked in Lisbon, in March, to close the season.

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In the Portuguese capital, the new Cruise Terminal hosted the suggestions for the 2018-2019 winter collections. Storytailers set the standard with 111, “a collection that reflects the multiplicity of entities in one single facet; pieces of clothing exist in more than one dimension: they are reversible, manipulative or message carriers”. Alexandra Moura followed with ‘I am’, an authentic return to the past and to the designer’s childhood and Alves&Gonçalves presented a new approach to feminine reality. Carlos Gil and Pedro Pedro returned home, after charming Milan. Pedro Pedro broke away from “casual sportswear” and the presentation of more formal items that represent a new “workwear” attitude is evident. A new take on the office concept, making it more versatile.

Carlos Gil again placed women at the centre of the equation. The winter collection, with the theme “24 hours”, suggests looks for all occasions in the day. Practical and current pieces describe the ‘Carlos Gil’ woman who, in the designer’s view, must always be ‘ready to go’. Portugal Fashion went up to northern Portugal, by sea, and the “City of Fashion” was built right on the waterfront. Parque da Cidade welcomed the confident steps of Portuguese fashion over a period of three days, in a new space of 10 thousand square metres. The first day was marked, as is customary, with the presentations by the young talent of the Bloom platform. The day ended with more “experienced” designers: Anabela Baldaque, Estelita Mendonça and Júlio Torcato closed the first day up north.

On Friday night, Portugal Fashion took the sea currents onto the catwalk. Or rather, the two catwalks: black or white, as needed. Diogo Miranda, Luís Buchinho, Luís Onofre, Micaela Oliveira, Miguel Vieira, Nuno Baltazar and Katty Xiomara warmed up the mood. Also of note in relation to designer fashion was the presence of other promising designers such as Carla Pontes, Hugo Costa, Inês Torcato and David Catalán; the last two debuting on the main catwalk after having been on the Bloom platform. On the final day, the festivities opened with an ode to Paula Rego, through the eyes of Nuno Baltazar. This was followed by Ana Sousa, Concreto and Lion of Porches. The golden key was entrusted to Diogo Miranda who presented a collection inspired by a crystal of a family candelabra: “An imposing image, that is sophisticated, severe and austere”.

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J. Reinaldo

PORTUGUESE FOOTWEAR STANDS OUT Once again, Portuguese footwear stood out on Portugal Fashion's main catwalk. On the third day, the SHOES collective show presented the proposals of six national brands. Ambitious, Fly London, Nobrand, J Reinaldo, Rufel and The Baronâ&#x20AC;&#x2122;s Cage took to the catwalk those shoes that will be the rage in winter 2018. LuĂs Onofre presented Over18 at the end of the third day. To celebrate its 18th anniversary, the brand has literally come of age! There are new accessories, the influences cross themes as different as rock and the Old West and the main highlight of the collection is, once again, the balance between the diversity of the materials in each model.

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THE FEETING ROOM ________

Words: Cláudia Pinto

Have you ever imagined a store in which everything is... Portuguese? Now the idea is no longer in the realm of imagination. While the business of this trio of partners was restricted to Porto at the beginning, today you can find The Feeting Room in the capital. It began with a unit in a shopping centre and, at that stage, it was possible to notice irreverence was the company’s trademark. We could read “I’m a shoeaholic…no I don’t need help”. Two floors in which only Portuguese brands are to be found. A cosy space, that aims to promote products made in Portugal. Focusing on shoes, the project wanted to spread the word on the quality of handmade shoes and domestic production. The year was 2014. At that time, the three friends, Edgar, Guilherme and Bruno, promised the store would only stay six months in the shopping centre...then it would be time to dock in new ports. They kept their promise. Six months later the new TFR home was in Largo do Lóios, right in the heart of Porto. Again with two floors, divided by gender, it presented the best of Portuguese fashion. In the store, where they remain to this day, it is possible to find jewellery, accessories and clothing. In a kind of paradise in which everything is national.

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But the project continued to grow. In 2017, TFR expanded to Lisbon! On Calçada do Sacramento it is now possible to buy Portuguese, in a truly passionate space. But the passion for Portuguese shoes promises to continue. «We will remain obsessed with the curatorship of supply and of creating a remarkable experience for all visitors. Over the next year we plan to open the first The Feeting Room outside of the country and increase investment in the online platform to meet the needs of a wider range of customers. Always in close connection with the partner brands,” says Edgar Ferreira. For now...we have to live in this paradise of shoes that The Feeting Room offers us. Locate your store Porto 89 Largo dos Lóios 4050-338 Porto Lisbon 26 Calçada do Sacramento 1200-394 Lisbon

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S T O R Y TA I L O R S ________

WHERE THERE’S BLOOD THERE’S A HEART Words: André de Atayde Photos: Portugal Fashion

CMY

Without light there is no shadow. Without reflection there is no form. Without texture there is no body. And without a body there is nothing to wear. Nor heart to beat. Onetwo, one-two, one-two... the beats in the rhythm of a song. Without heart there is no blood, without blood there is no life. And without life, and without force there can be no revolution. And love can never be known. Re(Love)ução! is the new collection from Storytailors, at 111, a master number. Because they woke up at 01:11, because they looked at the clock at 11:11, because on the doors they noticed was the number 111. The powerful number of the manifesto, of the manifestation. Of assertiveness, independence and uniqueness. Lovers aside, because if it is anything fashion must be rational, the Re(love)ução! [re(love)ution] by Storytailors

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seeks the creative and interpretive freedom of emotions, expression and sharing. Divisible items with zips that can be combined with one another! Like the souls that complete each other perfectly without ever having met. Revolution. Love. Two concepts that depend on each other. Two words that are so different and yet have so much in common. The love affair of this designer duo is created from the combination of such materials as neoprene, woollen fabrics, leather, metallic sweaters, cotton poplin, denim, satin, marocain, georgette and tulle, in the equation art + crafts + technology, which translates into timelessness. The body needs light. The shadow grows in the reflection. Blood runs through the veins and makes the heart beat. Love grows and transforms. The revolution is inevitable. Ours, theirs... and fashion’s.

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THE WORLD AT YOUR FEET ________

RUG’SOCIETY If there’s anything good about this digital era is that it is making us return to who we were, what we did, how we did it and why we loved it. Micael Carvalho’s Rug’Society is one really fine example about how great it is to look up while looking down.

In this day and age in which we are living everything too fast, how important is it to recover special techniques and crafts that time made us forget? We currently live in a fast fashion era. Rug’Society appears in the market in a way somewhat antagonistic to this sense. Our main mission is the valorization of the manual arts, as well as the use of noble raw materials, which gives added value to the product, each one has its history, charisma and exclusivity. We work the emotions together with the lifestyle in order to conceive each project in its uniqueness and exclusivity, inspired by the different cultures of the world and with a great imprint of Belle Epoque and the Twenties, where the main synergies were united in the quality of life of allies to the liking of living We are a unique brand that transports the past of craft techniques to avant-garde and multicultural design. You have done a great job at reinventing the concept of a rug, from being a purely utilitarian object to almost like a work of art. In terms of design, what are your biggest inspirations? In the eyes of Rug’Society, a rug is much more than a simple piece that normally goes unnoticed in the whole of an environment - we value the tapestry in a very iconic way, being the main element and that can finish and give the nickname for the development of a major project. We enter differently in the market, the rug no longer just a trivial accessory and is worked as one of the main parts. We are inspired to inspire the world, there is no specific thing that is the source of inspiration, quite the contrary, everything around us is an inspiration.

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Your team is very young. Do you feel that this new blood injection into markets that were stagnant is essential to PORTUGUESE SOUL

move the national design industry? Yes, without a doubt, much of what is said in international design fairs is that Portugal is again waking up, there is indeed a new era that lives the design in a very special and particular way. so strong is not only the design component, but also the quality of production that the country offers. The quality of what we do is not allied to an age, since from design to production the age groups are very varied, the new blood is inspired by the old guard and the old guard is motivated by this new youthful energy. Who would you like to collaborate with? All those who dominate Portuguese art from tile to basketwork, past ceramics and arraiolos, these Masters who bring with them the valuable legacy that was passed to them to perpetuate the arts in our country - this is undoubtedly the nucleus of people that we would like it to work with us. In the area of design, we would like to have a collaboration of solid and iconic names like Jonathan Adler, Kelly Wearstler, Karl Lagerfeld, Joana Vasconcelos ... There are countless names of those who can add something to Rug’Society. What projects do you most want to do that have not yet materialized? With the development of the new product categories, textiles, accessories, homeware, upholstery and wallpaper we aim to make a total project where we can apply all our knowledge and ideas. Noting that it is something highly promising and that may happen in the coming times, because the adhesion to the brand has been very strong.

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VA N L E L E S ________

WHERE THEREâ&#x20AC;&#x2122;S

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PORTUGAL ________

Photos: Carmo Amorim All Clothes: Massimo Dutti

TRAVEL BACK IN TIME TO WHEN A HAT WAS OBLIGATORY _______ Words: António Freitas de Sousa Not so many years ago, a man with the least concern for his public appearance would not leave home, under any circumstances, without a hat on his head. The same was true for women, although perhaps not all, who also wore hats with a frequency is unheard of and so admired these days. This demonstrates that the once flourishing hat industry is almost nonexistent today - or, at the most, just a niche product. Many companies making hats collapsed with the emergence of a modern trend that made them obsolete; however, some resisted both the more practical transformations of modern society and the international giants (across the sector). Feasibly, and for as long as it lasted, Fepsa wanted to help the six businessmen from S. João da Madeira who, in 1969, created a conglomerate that made hats. It survives to this day, still making just hats - some of which have been worn by fashion leaders and film stars. Almost all of its products are exported (in a business worth more than €15 million), and it remains in the top-5 in an industry in which North American’s Hatco and the Czech Republic’s Tonak remain the benchmark in a ranking with fewer than 20 entries. The United States, Israel (Fepsa produces the Jewish kippah) and Australia are the markets most sought after by this family company from S. João da Madeira and its CEO, Ricardo Figueiredo, who is a member of the family that owns the company. The North American market has seen better days - there too hat wearing is becoming more of a niche. On the other side of the Atlantic, a narrow but wealthy high-end niche is being consolidated - people who view hats as a luxury item and are not too concerned about the price. The traditional or ethnographic headwear segment is also important - the people of the Austrian Tyrol and Spanish Andalusia still like to go outside with their head covered. However, the Portuguese company has not been able to focus on the production of the Fez, the brand image of the Ottoman Empire, which found a more accessible industry (in terms of price) in China and the Czech Republic. Fepsa continues to have the look we expect of a traditional industry, but that is not why it has not focused on technology. More than a decade ago it invested in new dyeing processes, in the development of new industrial technology, in information technology and sustainable energy management. The Hat and Headwear Museum is definitively traditional and seeks to demonstrate the importance of this traditional industry to the region, where once there were dozens of factories that helped men and women leave their homes without embarrassing themselves. The Hat and Headwear Museum, run by S. João da Madeira municipal council, is the result of the acquisition in 1996 of the industrial assets from several hat-making factories after they closed. The council also bought the building that belonged to one of the most important factories, the Empresa Industrial de Chapelaria (EICHAP), to house the museum. Between acquiring the first batch of industrial assets in 2005 and the inauguration of the museum (in June), several multidisciplinary teams conducted a number of research projects that were mostly funded by the Portuguese Institute of Museums/Portuguese Museums Network and S. João da Madeira municipal council, and which form the basis of an industrial museum that allows us to travel back in time to when most adults wore a hat.

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Make up: Helena Almeida Model: Diogo Filipe ‘Elite Lisbon’ Special Thanks: Museu da Chapelaria

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P O R T U G A L I S I N FA S H I O N , AS ITS CUISINE ________

Words: Ilídia Pinto

“I think Portuguese cuisine is one of the best in the world.” This comment was made by José Avillez, one of Portugal’s most renowned chefs, who wins awards year after year. The most recent, in 2018, was the Le Grand Prix de L’Art de la Cuisine from the International Academy of Gastronomy, which named him best chef of the year. Belcanto, his restaurant in Lisbon, is ranked 85th on the list of the World’s 50 Best Restaurants (which despite its name is a selection of the world’s 100 best restaurants) and is one of five Portuguese restaurants with two Michelin stars. It was the first in Lisbon to achieve that. It is a “great responsibility”, says José Avillez. The Yeatman, in Vila Nova de Gaia, is another on the list, and its executive chef, Ricardo Costa, says that the star “is a recognition” but “it is not, and nor can it ever be, a goal”. The goal is, he says, “to always work harder and better”, and “to constantly and consistently evolve, always with a view to our responsibility and commitment to our customers”. Avillez agrees, “Every day I tell my team we have to be committed in our work in order to please those who sit at our table and that every day we must seek to go further and to exceed expectations”.

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Vítor Matos, of Antiqvvm in Porto, has one Michelin star, and he assures us he does not feel under pressure to get another. “When we do what we enjoy, everything is easier. A second ‘possible’ star will come in good time, with the evolution and consistency in the detail, the quality of raw ingredients and the meticulous work of the entire team.” Portuguese Soul also asked these three big names of national cuisine in which country they would work if they weren’t working in Portugal and if they would try other flavours. José Avillez is blunt: “In Portugal. I am proud to be Portuguese and to always [be] linked to cuisine”. Ricardo Costa says his current project involves The Yeatman, Portugal and Portuguese gastronomy. “I cannot imagine anything else, at the moment,” he said. Victor Matos chose Switzerland, the country in which he spent most of his childhood. He would dedicate himself to local cuisine, “while always being influenced by the country in which he was born,” he added.

José Avillez

Ricardo Costa

Vítor Matos

Avillez’s first gastronomic memories are from his grandparents’ home, where “everyone always ate very well”. He began cooking at home when he was young and started his first business when he just 10, when he and his sister started selling tarts to family and neighbours. Now he has more than a dozen restaurants in Lisbon and Porto, from Belcanto and its “revisited Portuguese cuisine”, Cantinho do Avillez, for “good Portuguese-inspired cuisine that is influenced by travels”, to the Pizzaria Lisboa and Barra Cascabel, a partnership with chef Roberto Ruiz to offer a taste of “the best Mexican flavours”. These restaurants that welcome more than 25,000 foreign tourists every month.

First came curiosity. Then “the passion and dedication to gastronomy intensified”. These traits that mark Ricardo Costa’s journey through the world of gastronomy. “Only in this way does it make sense in a profession as demanding as this,” said the executive chef at The Yeatman, a man who has worked in such restaurants as El Girasol, the Sheraton Porto Hotel & Spa and The Portal in London. He also worked in Largo do Paço at the Casa da Calçada hotel in Amarante, where he won Michelin stars in 2009 and 2010.

Evenings in front of the fire eating farmhouse soup from his grandmother’s pot fill the memories of Vítor Matos, who was born for the culinary art simply through his liking for the kitchen. Raised in Switzerland, he admits that it was there he developed his initial fascination with food. He returned to Portugal in 1998 and has since worked at the Grande Hotel da Curia, Tiara Park Atlantic Hotel and Casa da Calçada Relais & Chateaux, where he won his first Michelin star. He repeated that feat at Antiqvvm, in the former Solar do Vinho do Porto mansion that overlooks the river Douro. “It’s always a source of pride because we are a team behind a successful project where our goal is to provide the best gastronomic experience possible,” he says. On the possibility of winning second star for Antiqvvm, he says, “I see the responsibility as something natural, but without any pressure because when we do what we enjoy everything is easier”. He is also in charge of the Vidago Palace Hotel kitchen.

José Avillez has no doubts about the reasons for all the international attention on Portuguese cuisine, “Portuguese cuisine is extraordinary,” he said, “we have a very rich heritage, excellent products and excellent professionals”. But it is not only in his restaurants that Avillez helps to let the world know about the best of Portuguese cuisine. “The trips I go on – I spend about three months a year travelling – during which time I cook and exchange experiences, are also a way of spreading the word about Portuguese cuisine and to promote young chefs. They also give me the chance invite internationally-renowned chefs and opinion-makers to come to Portugal to discover our cuisine. I never tire of discovering the treasures of Portuguese cuisine, and this is also a way of promoting it internationally,” he says. What is your favourite dish? Mergulho no Mar at Belcanto, which is sea bass cooked at a low temperature, and which therefore “retains all the flavours of the sea”. That dish was originally created more than ten years ago at the Tavares restaurant in Lisbon, where he won his first Michelin Star. “I never tire of it,” he says.

He has two Michelin stars at The Yeatman. Named rising chef by the Relais & Châteaux chain in 2016, Costa says Portuguese cuisine has obtained a growing international reputation in which the potential “was all here”. He said, “we have excellent raw materials, a food culture that cuts across generations and the art of knowing how to host. What has happened over recent years is that we have begun capitalising on this heritage in new gastronomic concepts, refining the techniques, raising the quality of service and, through this, attracting international attention,” he said. It is a “fast but consistent development,” he says, drawing on international recognition as proof of this. “Taking the Michelin Guide as an example, there has been a significant increase in one- and two-star restaurants in recent years, which is a good reflection of this increase in the quality of Portuguese cuisine.” The growth of tourism, especially of quality tourism, offers “unprecedented projection” he believes, that “will bring crosscutting benefits that are, above all, sustainable over the long term”. Favourite dish? Ricardo Costa goes back to his roots, “I am from Aveiro and the seafood stew is a dish that always brings back good memories of good times spent at the table with my family”.

According to Vítor Matos, Portugal is in fashion and not just its cuisine, and this is a result of the sustained growth in tourism. The “special quality” of our internationally-recognised produce, such as olive oil, wine, fish and seafood, cheeses and sausages, along with “respect for our traditions, concerns for the sustainability of our resources and [the use] of techniques more suited to modern times” are the distinctive factors of Portuguese cuisine, he said. He names not one, but three favourite dishes: Roast goat, Cozido à Portuguesa, which combines boiled vegetables, meats and spiced sausages, and Bacalhau com Todos, which – for those who don’t know – is cod boiled with vegetables, chickpeas and eggs.

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VÍCARA ________

A UNIQUE EXPERIENCE FROM THE HEART OF A DESERT Words: António Freitas de Sousa

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It is in the space between two large cities that the worst (economic) deserts can usually be found, where it is difficult to sustain investment, retain populations and inject life and durability into business projects. Leiria lies to the north of the largest southern centrifugal city (Lisbon) and to the south of the largest northern centrifugal city (Porto), in a kind of limbo in which the economy is more challenging.

Paulo Sellmayer is one of the project’s founders. He says he is fascinated by the interaction between man and nature and the cultural implications of objects. He intended to give a voice to young designers in the region. But not just that, he “had a desire to create a brand that would represent” the region, and one that “might produce items for the home from these young designers” as the embodiment of that representation.

That is why a few years ago, in 2011, a group of friends apparently with the intention of changing the statistics and filling a part of that desert - decided to invest in a project that, while not something totally new, contained risks and potential for failure arising from everything that is different in an adverse environment: Vicara.

Since it is easier to work as a team than to work alone, Sellmayer and three friends set off on what turned into an adventure. Paulo Sellmayer wanted to add an industrial dimension to the cultural expression of the designers’ output - it would always be necessary to produce what was, until then, just a sketch on a sheet of paper - while retaining the mark of the region.

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It was in this context that this particularly good idea emerged: to seek “small factories, artisans and companies operating below the stairs” in the region that might turn these sketches into real products. It was like “uniting cultural with material expression”, “relating them with that which surrounds us”, which is the only way to add a business philosophy to design that will guarantee its survival. Some years passed between the idea and its transformation into something real, and Vicara only began marketing its products in 2015. But it developed very quickly: at the moment “there are four of us working full-time, and we have 10 more employees in various areas of production”, while the project already involves “15 to 20 companies”, ranging from those operating “below stairs” to small craft businesses and industrial operations. Surprisingly – or perhaps not – the rational side of the business went well - while the success of the design side was already guaranteed. Paulo Sellmayer adds that “in 2017 we achieved a turnover of €70,000, which is practically double our sales in 2016”. And, as governments, associations and investment support organisations all appreciate “almost everything has to do with exports”.

Unexpectedly, the domestic market also woke up to design from Leiria: “domestic demand is growing”, which is reason to conclude that the sustainability of the business may be assured and to forecast “that by the end of this year we will grow in terms of turnover – perhaps not by 100%”, but close to that. The rest is just putting the pieces together. Vicara Studio “uses a design approach to create strategies, products and stories for brands and manufacturers. We use our experience to guide product development and innovation,” according to the usual source of information: the internet. The products are divided into categories and collections, which bring together abundantly beautiful materials – wood, cardboard, stone, glass and ceramics, among others – in an improbable and beautiful succession of colours, angles, projections and edges.

CHRISTOPHE DE SOUSA ________

Words: Joana Jervell

Passionate about the creation and production process, Christophe de Sousa has seen his work recognised internationally with several awards, and it was on his return from Milan that we interviewed him. He is a graduate in industrial design, who early in his career worked for a number of companies and studios, where he encountered and explored various areas of design. With his restless and determined spirit, this FrancoPortuguese designer is a careful observer of all that surrounds him, and it is in his studio in Porto that he lets his creativity run loose, coupled with his constant desire to embrace new challenges.

What was your professional career like before you established your studio?

I would say it was evolutionary, one of affirmation, but mainly non-conformist. When we leave university, we have a very “romantic” notion of what a creative profession is, and the reality is very different, especially when we are just setting out. In my case, after graduating, I wanted to get into the job market, get to know the heart of the industry and understand how things were produced, how to make something rather than just a sketch. I soon realised that my student ambitions were not practical in daily life, so I had to adapt very quickly to the reality of the labour market. Even so, I did not conform. I worked at several companies in different sectors and in studios. I did a little of everything – graphic design, web design, interior design – and took part in several national and international competitions. This gave me a different view from the one I had become accustomed to: I was able to create a portfolio and assert myself as a designer. The studio was not planned, it is the result of my professional evolution. I realised I could not reconcile these two “worlds” for much longer. To carry on creating good work, you need to be available and have time. With the studio I can dedicate myself to what I really want: new challenges, new projects.

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How do you define the work you have done so far? It has been a path of growth. The projects I’ve been involved in have allowed me to explore various sectors of industry, use new materials and apply creative processes. These experiences have allowed my creative traits to mature. What is the common denominator you try to convey in your items? The relationship between form versus function has always fascinated me. By definition, design exists to create products that improve the life of the user. When I create something, this is evident throughout the creative process – the product exists to provide something more to its user, but not just that. I always seek to give my products their own DNA, an aesthetic that defines them, something that makes us fall in love with them. With what materials do you like to work?

Usually the project I’m working on “dictates” the choice of materials, or it is defined in the briefing from the client I am working with. The goal is for the result to be faithful to the initial design. However, if I had to choose a material it would be wood, because it is an organic material, warm to the touch, textured and capable of provoking sensations.

How do you feed your creativity? By absorption. I absorb everything that goes on around me: I like to look, to hear, to feel, to touch. The details catch my attention. Then “something” happens, and that’s when I commit it to paper. Who are the designers and creatives you most admire and whose work inspires you? Looking back I would say Dieter Rams, Charles and Ray Eames and Alvar Aalto. Currently, the Bouroullec brothers, Jaime Hayon, Ross Lovegrove, Eugeni Quitllet, Noe Duchaufour Lawrance, Luca Nichetto, Patrick Norguet, Philippe Starck, Nendo and Stefan Diez. Nationally, I would highlight names like Toni Grilo, Marco Sousa Santos, Rui Alves, André Teoman, Ana Fonseca and Le Brimet (Digitalab). What was the most important moment or moments of you career? Luckily, I have a few of them. My first commercial project, the Paper Form handle, which was developed for JNF and on which I worked while I was still at university; my first international award, an A’ Design Award for the Vertik desk; the Slim Chair that after much struggle was finally born and is standing on its own feet, and which is today sold on several continents; the fact I presented a collection at an international fair, the Salon del Mobile in Milan; the invitation I received to exhibit at the BID2016 Ibero-American Biennial of Design; and, more recently, the Kaniv desk, winner of the world’s oldest design award, the 2017 Good Design Award.

Tell us a little about your latest creation, the Brigde Desk, recently presented at the Saloni del Mobile in Milan... In 2017, Associative Design challenged me to create a piece that could enhance the use of wood. The city of Porto is a place that fascinates me, and I have long wanted to do something in homage to it. It served as my inspiration. I wanted to design a product for daily use that the user could relate to. It seemed to me that a desk would to be the best object, and “bridge” was the perfect metaphor to give it the form that would be its final DNA. We partnered with Wewood to produce and market the product, which was presented internationally in Milan last April, where, fortunately, it was a success. What are you working on now? I am working on collections for next year, designing products for some brands and I am thinking about perhaps creating a personal collection. What fascinates you the most in your profession? The fact you can reinvent everything again with nothing more than a blank sheet of paper and a pen. What are your plans for 2018? To continue in this direction, to evolve, learn more and take part in new projects. And continue to draw a lot! And a yet unfulfilled dream? To design a car that can be produced.

ZAPPING ________

Words: Susana Ribeiro

THE BEST OF EUROPE AND THE WORLD ARE IN PORTUGAL After Portugal was voted Best European Destination, the country won the Best Tourist Destination in the World at the World Travel Awards. The award was even more special because Portugal was the first European country to win it. While the country is riding the crest of the world tourism wave, Lisbon was also named «Best City Break Destination» and Madeira named «Best Island Destination». But the Portuguese tourism awards don’t end there. Praia de Carvoeiro, in the Algarve, was voted one of Europe’s best beaches of 2018. The assessment was made by European Best Destinations, which says Carvoeiro is a «small town full of charm» and notes that its beach was «one of the most beautiful» they came across on their travels around Europe. Also in the Algarve is the Best Luxury Leisure Resort, with Pine Cliffs Resort a winner at the World Travel Awards. The Best New Golf Course in the World is at Óbidos. The West Cliffs course, designed by Cynthia Dye, is the new international golf star following this distinction at the World Golf Awards.

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Further north, in the Douro region, Quinta da Pacheca was chosen by the renowned magazine Forbes as one of the best wine tourism destinations in the world and “it is worth visiting for its offer in terms of product quality, catering quality and accommodation,” said the publication. In Porto, Porto Palácio Congress Hotel & SPA was chosen as Luxury Hotel & SPA of the Year by Luxury Travel Guide, highlighting the location and the added value of a World Class Spa. Also connected to tourism and gastronomy, the Portuguese chef José Avillez was awarded the international Grand Prix de l›Art de la Cuisine prize in February.This top prize awarded to «the best cook of the year» in 2018, was awarded by the International Academy of Gastronomy. It was the first time a Portuguese has received an award from this global institution. José Avillez manages several restaurants, including Belcanto in Lisbon, which has received two Michelin stars.

ECOPISTA DO MINHO PATH IS THE 3RD BEST GREENWAY IN EUROPE The River Minho Ecopista greenway was chosen as the 3rd Best Greenway in Europe. The prize was awarded at the European Greenway Awards. Nominations for the prize was jointly submitted by the municipalities of Monção, Valença, Vila Nova de Cerveira and Caminha. The River Minho Ecopista greenway, which covers a distance of more than twenty kilometres between Monção and Valença, opened on 14 November 2004. This ecological path, which follows an old railway line, was the first in Portugal. It combines two factors: proximity to nature for those who like to walk, and the practice of sports, in this relaxing environment. Located on the route from Monção is the Torre de Menagem Museum Hub in Lapela, which is a national monument. But it is the panoramic views of the river, with its boats and fishing vessels, that delight those using the path. Also with an enchanting scenery is the landscape at Troporiz, where the River Gadanha meets the Minho. Traces of the past are to be seen along the greenway, especially at the international bridge that crosses into Spain, where the old customs posts have since been renovated and turned into an environmental education centre, and the seat of the Monção - Salvaterra de Miño Eurocity (that Spanish village is also very picturesque and worth a visit). And the River Minho always keeps you company!

SISTELO LANDSCAPE IS A NATIONAL MONUMENT The village of Sistelo, in the municipality of Arcos de Valdevez, was named Portugal’s “little Tibet” because of the landscape and its terraces. This was the first place to have its landscape recognised as a National Monument. According to the Portuguese Government Gazette, the cultural landscape of Sistelo “is composed of a natural space of superior landscape, natural and environmental quality, to which a remarkable ethnographical and historical heritage is added, the preservation and authenticity of which it is fundamental to guarantee, especially from the threats faced by traditional economies and the organisation of the rural world”. The Cultural Landscape of Sistelo, in the district of Viana do Castelo, includes the communities of Igreja, Padrão and Porta Cova, all of which lie between the River Vez and the Serra da Peneda hills. A bucolic landscape, among hills and valleys full of waterfalls, green sites and the soft mountain. The village of Sistelo, which nestles at the bottom of a valley, now has about 270 inhabitants. It is situated at the entrance to the Peneda-Gerês National Park and is part of the Natura Network. It is a place where the landscape also tells the stories of those who lived here.

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PASTEIS DE FEIJÃO ________

FROM TORRRES VEDRAS

The bean pastry, pastel de feijão, is one of the best known and traditional cakes from Torres Vedras, in the western part of Portugal. The story goes that at the end of the 19th century, Joaquina Rodrigues was the first person to make pastéis de feijão in Torres Vedras, using a recipe that came from Brazil. The recipe was disclosed to several relatives and so more and more cake stores began to be established that sell the bean and almond sweet pastries to this day.

There are also those who say that the pastel de feijão are from a recipe dating to the days of the monarchy in Brazil. In fact, it is said someone brought this pastry from Brazil to Torres Vedras, and the recipe remained with some families... before falling into the hands of Joaquina Rodrigues, who kept up the tradition. Tales apart...they are one of Torres Vedras’s most typical sweets.

Ingredients for Pastry (to line the mould; it should be very thin) 250g flour 2 tablespoons butter or margarine 1.5 dl water Salt to taste

Ingredients for the filling 100g white beans 25g almond kernels 500g sugar 6 eggs 6 egg yolks flour

PREPARATION 1 - Mix the flour with the melted butter in a bowl, add a pinch of salt and a little water. Knead well until the pastry is in a ball. 2 - Cover the pastry with a dry cloth and place a damp cloth over the top of this. Set the pastry aside. 3 - Peel the almonds, if necessary, before grating them. Grind the beans until they form a puree. 4 - Add the grated almonds to the bean puree, then add the whole eggs and the yolks (which must be added through a sieve). 5 - Add the sugar and water and place on the heat. Let it boil until it reaches the soft-ball stage (150º) and becomes syrupy. 6 - Add the syrup to the previous preparation (beans, almonds and eggs) and mix well. Allow to cool. 7 - Meanwhile, prepare the cupcake tins, lining them with the previously prepared pastry that has been rolled until very thin. 8 - Fill the tins with the filling. The top can be sprinkled with flour and powdered sugar at the end. 9 - Bake in preheated oven (225º) for about 25 minutes. Keep checking on them to ensure they do not overcook. 10 - Remove the pastries from the tins and let them cool before trying them. BON APPETIT!

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