Flashes and Footfalls – SPFW N58

To the thrills of first times, I attribute my wonders from the 58th edition of Brazil's fashion week, São Paulo Fashion Week. And confirmed companies were the first impressions—impactful and exhilarating.

Sou de Algodão, via @agfotosite

There is a chasm between the fashion that is observed and the fashion that is witnessed; the anticipation, the exposure, the post-show reflections—all gain an immeasurable dimension when you are truly, physically, present. Comparable to this sensation is witnessing a musical idol in concert—being in their proximity is to acknowledge the reality of awe.

Lilly Sarti @agfotosite

The experience begins with the arrival of the invitations, igniting curiosity; setting ground, people-watching, finding your seat; a vibrant tension reverberates while waiting for the cue from the soundtrack. May the show begin—garments and accessories parade down the runway, draped on the bodies of models, less than thirty centimeters from my eyes. Like sculptures in museums, it is almost irresistible to cross the invisible barrier of proper behavior—not to touch, to try on, to wear.

Weider Silveiro @agfotosite

The veracity of the expression "para Inglês (or Italian, or French) ver" has perhaps never been so exiled from Brazilian fashion—in any interpretation. In an era of easy access to information, trends paraded in the fashion weeks of the Northern Hemisphere tend to reverberate in collections worldwide, but not in São Paulo.

“Paraguaçu” de Handred @agfotosite

 And, in relief, comes the realized absence of hasty, careless craftsmanship. The Jewels of the Queen (the theme of the edition in homage to Regina Guerreiro) are, perhaps, the very creations presented, genuine works of meticulous art.

"BRASILIANO" de Dendezeiro, via @agfotosite

From the hands to the head, hats (and their variations) marked their presence on the runways, transforming according to each collection's proposals. At Herchcovitch;Alexandre, hats appeared as quasi-veil crochet, a result of collaboration with Matheus Igor (Sem Nome Ateliê). At Foz, head accessories crafted from ouricuri fiber, a native plant from the south of Alagoas and produced by Pontal Art, "mimic the solar strength of the Nordeste." Meanwhile, the wide-brimmed hats showcased by Dendezeiro undoubtedly provide enough shade to escape such scorching sun.

“O Conto de Laura” de Foz @agfotosite

Herchcovitch;Alexandre via @agfotosite

Carrying immense aesthetic weight, the bags were respectively attention-grabbing. Innovative and playful, from the catupiry-cheese-on-handles of Herchcovitch;Alexandre to the Amazonian fish at Normando, where style definitely does not swim against the tide; tagged in yellow, "DAVID LEE," the intertwined black threads overflowed into fringes, while at Angela Brito, the leather pouches caught attention with their vibrant colors.

“Vândalos do Apocalipse” de Normando @agfotosite

On the feet, an ode to flip-flops—a staple in any Brazilian wardrobe, with infinite versatility—whose sound intensified as each look approached on the runway, sharing the sonic space with the background music. With fabric straps and rubber soles, Kenner sandals dominated the styling of David Lee, while the classic Havaianas were presented adorned with woven straw embellishments on Catarina Mina's runway.

“Herdeiras do Futuro” de Catarina Mina, via @agfotosite

“Grão” de Apartamento 03, via @agfotosite

From the neck to the ankles, the main elements of the narrative, the clothes, complemented the true visions of celebrating the diversity and richness of materials and textile techniques from Brazil. Earthy tones, with a foundation of "natural," predominated.

“Crioula” de Angela Brito, via @agfotosite

Brown, beige, terracotta, and moss green subtly blended, evoking the color palette of the Cerrado, the Amazon, and the Nordeste beaches. Dialoguing with each other or conversing with somber reds and blacks, or the vibrant hues of yellow and blue, the contrasts further enriched the visual discourses of each collection.

“Coração Suburbano” de Lucas Leão, via @agfotosite

The crochet, from David Lee's "balloon" pieces to Lucas Leão's vests and sweaters with a twist, appeared in the dresses showcased in the compilation show, Sou de Algodão. Along these lines, diving headfirst into the vastness of embroidered works; present in Lilly Sarti's prints, composing the fabric-paintings presented in Handred's "Paraguaçu" collection, recalling the formative past of our nation in the phrases from Apartamento 03. The beads, made of açaí (Dendezeiro) or in reflective radiance (Lino Villaventura).

“Leste Oeste” de David Lee, via @agfotosite

Lino Villaventura, via @agfotosite

The bold layering (e.g. MARTINS) and deconstruction of classic forms challenged conventions, all while honoring the craft and the value of our ancestral artisanal techniques. In a meeting between the past and the future, pieces that, while laden with history and heritage, presented themselves with a contemporary freshness, capable of dialoguing with the global without ever losing their genuinely Brazilian character.

Each thread and bead carried within it a narrative of resistance, reinvention, and pride.

“MAURICIO” de Rafael Caetano, via @agfotosite

At São Paulo Fashion Week #58, my first, the collections paraded on the runways put on a show, demonstrating so emphatically what fashion is in Brazil, the identity reflected and revered in creatively distinct yet undeniably complementary ways.

I express my gratitude, in particular, for the opportunities to be amid such essences to Martins and David Lee, and with great emphasis, to the brilliant Raquel André.

I've already got an eye onto the next edition!