DARKSIDE - PT III

dezembro 12, 2018




Art Direction: Maria Galvão de Sousa, Patrícia de OliveiraTiago Lemos
Fotografia Tiago Lemos
Make up and Hair Maria Luís
Post-production Hugo Fortuna

I've told you about the concept for this project but I would like to explain to you a bit better the inspiration for the styling, my good friend Patrícia did such an amazing job we just have to talk about it. 
We were inspired on the biggest figures that created personas in order to thrive on their careers, the 70’s of David Bowie, from Ziggy Stardust to the Man Who Fell to Earth, and the theatricality of the 80’s of Grace Jones and Prince. Styling inspiration was drawn from brands like Marc Jacobs, Saint Laurent, Balenciaga, Isabel Marant and Adam Selman’s AW18 and from daily life situations. Bright colours, bold prints in neon, animal prints and sequins as the new neutrals.
For this particular look, we were mostly inspired by the late 70's nights at Studio 54, where glitter and glow took center stage. 
These are some of the last pictures from this project, we've had such an amazing feedback from the beginning, I'm so happy. Do let me know your final thoughts on this! 

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Já vos falei do conceito por detrás deste projecto mas gostava de explorar e explicar-vos melhor o conceito de styling, a minha amiga Patrícia fez um trabalho tão espectactular que temos mesmo que falar sobre o styling. 
Fomos inspirados nas maiores figuras Pop que criaram várias personas e alter-egos durante as suas carreira, os anos 70 do David Bowie, desde Ziggy Stardust a The Man Who Fell To Earth, e o ambiente teatral dos anos 80 da Grace Jones e Prince. 
Várias referências foram retiradas das coleções outono inverno de marcas como Marc Jacobs, Saint Laurent, Balenciaga, Isabel Marant e Adam Selman. Cores vibrantes, padrões em néon e lantejoulas foram tratados como os novos neutros.
Para este look em particular, inspiramo-nos nas noites do anos 70 no Studio 54, onde o glitter e as lantejoulas tinham papel principal.

Estas são umas das últimas fotos deste projecto, tivemos feedback tão maravilhoso desde o início, estou tão feliz. Digam-me quais são os vossos comentários finais nestas fotos, gostam deste tipo de projecto? 


Fashion and Sustainability

novembro 28, 2018




All pieces vintage.
Dress and Bag from Trash Vintage
Shirt from grandma's closet

It was really hard for me to understand where to start on these series about sustainability. There is so much I want to talk about.

It is really important that we look into the business of fashion, one that we all really love, with a critical mind. 
That we understand what is a t-shirt? Why does it cost x? What is it made of?
We all wear clothes and it's really imperative that we start to understand their impacts and make more informed decisions behind our shopping.

The democratization of fashion via lower prices it's not a sustainable model. If a business is built on fair wages and living within environmental limits then we cannot sell t-shirts at 3 euros, as we see in some fast fashion stores.

I've read a really interesting paper from the Environmental Audit Committee at Victoria and Albert Museum (find it here) where the Director at the Centre for Sustainable Fashion in the UK said
"With this idea of cheaper fashion, not only are we not getting better value, we are getting worse value, but it is also detrimental both for the makers and the wearers potentially. We have to change cultures and legislation also around advertising and what we are saying about this consumerist attitude—that more is better."

According to statistics we're now consuming 60% more garments than we did in 2000. By 2050 we will need three times the amount of resources if we are to try to satiate consumption levels with the business model that we are using. These clothes seem to be designed to last for very short periods of time. In a time in which it is imperative to take care of our natural resources and reduce carbon emissions, this is just not sustainable.

To start tackling this, I thought I should start from the beginning of the supply chain on fashion, it goes from sourcing raw materials, design and brands,  factories and labour, transport and carbon footprint, selling on stores and online, us as consumers and the life of an item and waste. So, I will start talking a bit better about raw materials and how to choose items by the materials in the next posts. 

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Tenho que admitir que começar a escrever esta série de publicações sobre sustentabilidade foi difícil. Perceber porque tópico começar, há tanto para falar sobre isto!

Em 2018 é muito importante que nós, como consumidores de moda, sejamos críticos em relação ao que compramos.
Temos que perceber o que é uma t-shirt? Porque é que custa x nesta loja e x noutra? De que é que é feita. Todos usamos roupas no dia-a-dia e é imperativo que comecemos a perceber o impacto do que compramos e começar a fazer decisões mais informadas.

A democratização da moda através de preços reduzidos não é um modelo sustentável. Se uma marca e as suas peças são criadas com base em salários justos e dentro dos limites ambientais então é impossível conseguir vender t-shirts a 3 euros como vemos em algumas lojas de fast fashion.

Eu li um paper muito interessante do Environmental Audit Committee que aconteceu no Victoria and Albert Museum em Londres (acedam aqui) onde a diretora do Centre for Sustainable Fashion no Reino Unido disse "With this idea of cheaper fashion, not only are we not getting better value, we are getting worse value, but it is also detrimental both for the makers and the wearers potentially. We have to change cultures and legislation also around advertising and what we are saying about this consumerist attitude—that more is better."

De acordo com as estatísticas, nós estamos a consumir mais 60% de roupa do que em 2000. Até 2050 vamos precisar de três vezes mais recursos para conseguirmos saciar os níveis de consumo com este modelo de negócio. As peças de marcas fast fashion foram desenhadas para durar muito pouco tempo, o que numa altura em que temos que respeitar os nossos recursos naturais e reduzir as emissões de carbono se torna insustentável.

Para começar a falar deste assunto, decidi começar pelo início de tudo, desde as fibras, design/marca, fábricas e mão-de-obra, transporte e pegada de carbono, venda em loja e online, nós como consumidores, vida após uso da peça. Sei que parece muito mas vou tentar falar disto tudo de uma forma leve e concisa. Nas próximas publicações falarei das fibras e dos tecidos e como perceber de que são feitas as peças que compramos.





DARKSIDE - PT II

novembro 06, 2018



Art Direction: Maria Galvão de Sousa, Patrícia de OliveiraTiago Lemos
Fotografia Tiago Lemos
Make up and Hair Maria Luís
Post-production Hugo Fortuna


The second part of this collaboration with Darkside Eyewear is now online. 
I want to share with you a bit of the conceptual process behind these pictures since I believe it is the core of this project. 
When we started discussing the shoot, our big dilemma was that we wanted to create a different story for each style but that all of the different images had the same storyline. We started imagining a lonely girl that loves to create different alter-egos for herself in order to escape her suburban reality. This is the full concept:
"How many versions of yourself can coexist at once? There are infinite yous out there, infinite pathways for infinite selves to live infinitely variable lives.

A lonely girl in the mid 80’s living in the suburbs, she lives the excitement of her life by creating different versions of herself and giving them life by the way she acts and dresses. She jumps from alter-ego to alter-ego as she pleases and with each change she reinvents herself and gets closer to defining who she really is. Who would she be if she wasn’t this version of herself?"

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A segunda parte desta colaboração com a Darkside Eyewear está agora online.
Queria partilhar com vocês um bocadinho do processo conceptual destas fotografias, para mostrar um lado que normalmente não falo tanto -o backstage - que acho ser muito importante. 
Quando começámos a discutir esta shoot, o nosso grande dilema era como criar diferentes histórias para os vários estilos mas que seguissem o mesmo conceito. 
Começamos a imaginar uma rapariga solitária que cria diferentes alter egos para escapar à sua realidade suburbana. 
Este é o conceito:
"How many versions of yourself can coexist at once? There are infinite yous out there, infinite pathways for infinite selves to live infinitely variable lives.

A lonely girl in the mid 80’s living in the suburbs, she lives the excitement of her life by creating different versions of herself and giving them life by the way she acts and dresses. She jumps from alter-ego to alter-ego as she pleases and with each change she reinvents herself and gets closer to defining who she really is. Who would she be if she wasn’t this version of herself?"



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