Between November 26 and 20, the 54th edition of SPFW - São Paulo Fashion Week - took place, with 48 fashion shows, out of which 43 were physical shows. This season four brands made their debut on the São Paulo catwalk: Greg Joey, Heloisa Faria, Maurício Duarte, and Buzina. The event took place at Komplexo Tempo, in the east zone of the city and also at Iguatemi Shopping Mall and other various locations outside São Paulo.
Mooca, a traditional neighbourhood in São Paulo, historically characterised by the large number of Italian immigrants, housed the warehouse that was transformed into a fashion hub, with catwalk spaces, sponsor lounges and an artistic area with an exhibition of murals, installations and paintings.
The SPFW+IN.PACTOS Festival - Creativity, Fashion, Art, Sustainability, Innovation, Knowledge, which was launched during the last edition and was wrapped up during this edition, provoked reflection on the changes that need to be made today to achieve the goals of a more human and harmonious planet by 2030.
The consideration of human diversity, a trend that has been growing, was consolidated at this edition of SPFW. On the catwalks, the diversity was clearly present. Curvy and plus size models showcased collections in almost all the brands present at the event. In addition, the 54th edition of São Paulo Fashion Week saw all-black castings on the catwalks of the brands Apartamento 03 and Meninos Rei, among others, especially on the last day of catwalk presentations, November 20, which is Black Consciousness Day in Brazil.
Angela Brito, photo: Marcelo Soubhia
Silverio, photo: Marcelo Soubhia
João Pimenta, photo: Marcelo Soubhia
Lenny Niemeyer, photo: Marcelo Soubhia
Misci, photo: Marcelo Soubhia
A. Niemeyer, photo: Marcelo Soubhia
Modem, photo: Cássia Tabatini
Volumes versus clean cuts
In this edition of SPFW, two types of silhouettes are noticeable. One of them uses exaggerated volumes, especially on the sleeves, as showcased in Brazil by Silverio. The balloon silhouette was recovered from the 1980s and brought back to the runway, making an appearance in the bars of skirts and dresses as seen in the Angela Brito show, and sometimes manifesting itself as frills in necklines and sleeves. This was seen in the male silhouette presented by João Pimenta, who opted for detailed sleeves and trousers with volumes he obtained from massive pleats. The stylist also used overlapping prints on pieces such as overcoats and jackets. Lenny Niemeyer, on their part, brought volumes with wavy frills to beachwear, which the designer added to short pieces alternated with long, exuberant dresses. Renata Buzzo used round fringes in a wheel format on tops. Anacê opted for supreme sleeves.
The second dominant silhouette came with more loose-fitting garment pieces, with basic but sophisticated cuts. It appeared at Misci, showing comfortable pieces and luxurious tailoring, at A. Niemeyer and also at Neriage. Another Place brought trousers with lateral openings under the waistband. Ellus' tailoring brought sophistication in straight lines. Lily Sarti showed light and fluid pieces, with a touch of transparency. At Soul Básico, male, comfortable cuts with contrasting colour finishes reigned supreme. A more sophisticated, straight look featuring cut-outs was exemplified by Modem.
De Pedro, photo: Zé Takahashi
Projeto Ponto Firme, photo: Marcelo Soubhia
Ateliê Mão de Mãe, photo: Marcelo Soubhia
Santa Resistência, photo: Marcelo Soubhia
Lino Villaventura, photo: Marcelo Soubhia
Thear, photo: Marcelo Soubhia
Crochet, macramé and embroidery
The handcrafted techniques that were only previously used for detailing pieces have gained prominence, even in menswear. SPFW designer De Pedro brought male crochet trousers to the runway, with fringes and looks composed of crochet combined with plain fabrics. The Ponto Firme Project highlighted jacquard, which the label presented on long dresses, trousers and tops, in a successful development since its first appearance at SPFW a few years ago. Finally, the Mão de Mãe atelier uses crochet to create luxurious creations.
Patches sewn onto fabric were used to detail overlays at Santa Resistência and Thear presented macramé in details and overlapping pieces. Patchwork appeared in Sou de Algodão, and intricate embroidery, normally used in cushions and rugs, featured mini-fringed pelerines, in the same show. On their part, designer Lino Villaventura makes embroidery, appliqués of fabrics and ribbing, true works of art, and uses these on flowy or structured dresses. The label Thear used the application of wavy stripes overlaid on plain pieces and also macramé on blouses.
Meninos Rei, photo: Marcelo Soubhia
Naya Violeta, photo: Zé Takahashi
Meninos Rei has a strong affinity for prints that reminds one of African garments. Prints are vibrant, geometric or organic. They also can be seen in the collection by Santa Resistencia. Another brand that brings prints to the forefront is Naya Violeta, where prints came with an exuberant colourfulness, in strong shades. Prints of coffee cups and fish offered a playful mood to the pieces. At Dendezeiro, prints were presented in organic shapes and at Maurício Duarte they were hand-painted.
Patrícia Vieira, photo: Marcelo Soubhia
Apartamento 03, photo: Zé Takahashi
Weider Silverio, photo: Marcelo Soubhia
Lilly Sarti, photo: Marcelo Soubhia
Ellus, photo: Marcelo Soubhia
Neriage, photo: Marcelo Soubhia
Pleated and laminated
Laminated fabrics, in a variety of colours, including gold and silver, were present at Patrícia Vieira, in the silver pleats of Apartamento 03, and in the puffed sleeves of Weider Silvério. Glitter presented itself more discreetly in the feminine costume of À La Garçonne. Even in Tryia's beachwear, glitter appeared in bikini waistbands and tops. On the Lily Sarti runway, laminated fabrics took center stage in jackets, and Ellus used them in bomber jackets. Pleating was prevalent in Neriage, especially in a sober wine-colored gown.
Greg Joey, photo: Marcelo Soubhia
Buzina, photo: Marcelo Soubhia
Heloisa Faria, photo: Rubens Crispim Jr
Maurício Duarte, photo: Bruno Barreto
Newcomers on the catwalk in São Paulo
Greg Joey brought pieces with comfortable modelling, localised crimping and ribbing detailing pieces such as a chemise-style dress. He worked knitting in giant stitches, which acted as an accessory.
Buzina presented the Vichy plaid on skirts, tops and overcoats and worked the cuts with large volumes. Some pieces from their new collection; a dress and jumpsuit, for example, came in a straighter cut, belted by bands of fabric.
Heloisa Faria worked with both volumes and prints, prioritising pieces where some sleeves can be highlighted. Vibrant colours and sometimes ample modelling, as in the caftans worn by men and women, sometimes more fitted.
Maurício Duarte is the first stylist from the Brazilian state of Amazonas to participate in the event, which he did via a fashion film. The professional, who works to promote the circular economy, showed handpainted pieces using the colours of nature.
Cria Costura trains 42 professionals
Cria Costura photo: Zé Takahashi
Cria Costura photo: Zé Takahashi
The Cria Costura project participated in São Paulo Fashion Week for the second time. It is a creative acceleration project developed by INMODE, in partnership with the Municipal Secretariat of Economic Development and Labor (SMDET) of Brazil, aimed at training women from the outskirts of São Paulo in pattern-making techniques under the guidance of stylist and consultant Jefferson de Assis. This way, they are able to develop creation and design skills using a zero-waste approach. In partnership with the companies Ellus and Vicunha, Cria Costura has trained over 42 new fashion professionals.
On the catwalk, the organisation presented creations in line with the current fashion trends, using volumes, asymmetric pieces and designs in vibrant colours such as purple and yellow, as well as black, white and silver. The show showcased the evolution of the professionals since the last edition of SPFW.
This article was originally published on FashionUnited.BR and has been translated and edited into English by Veerle Versteeg.