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CHAPTER THAIS UEDA SOFIA COPO LLA CYNTHIA H AYASHI


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“It is kind of hard to explain, but it’s as if I could express a little bit of how I see the world through the clothes I make… Each garment is like a quote. We share and devote ourselves to this cause. The work I seek to share with the consumer... it’s very sincere and honest ”.

WHAT CAME BEFORE THAT? Before college I took some drawing classes, both artistic drawing and fashion illustration. Fashion has always fascinated me, so I always kept in touch with it, be it through magazines or going to shows. And as soon as I finished high school I spent three months in Japan (Tokyo and Nagoya). Living there it was impossible not to be influenced by that atmosphere, the freedom they have with their body and the way the dress. DID YOU WORK BEFORE CREATING YOUR OWN BRAND? In my first year at the college I worked at a knitwear factory in Bom Retiro (a retail savvy neighborhood in São Paulo) where everything was very precarious. Afterwards I went on to work at Brás (another famous retail location in the city), until I was offered a job at the high-street label MOB. I started there as an apprentice, but I gradually evolved until I was given the job as accessories and high-end designer. AND THEN YOU FOUNDED YOUR OWN BRAND. In 2009 I was invited to the Ponto Zero contest by ABIT. At that time I was finishing my course at the college and working full time at MOB, having to deliver a new collection twice a year. So I had very little time to focus on something new. Then I decided to focus on myself, on my career. I quit my job and started working on the collection I showed at the contest, which I won. After that I just carried on with it.

Since then she started showing as a participant of Projeto Lab, a project dedicated to promote up and coming designers, and to build a solid structure to her label. Cynthia is part of a new generation of designers that no longer can afford to see fashion just as a creative pull. They fully acknowledge that creative success is nothing if not backed by a strong business and a commercial plan. It is no suprise then that after just one season, Cynthia’s clothes were already displayed at two cool concept stores in São Paulo _Mercado Mundo Mix and Fernanda Yamamoto boutique.

HOW DOES SELLING INTERFERE IN YOUR CREATIVE PROCESS? I always had a very clear view of commercial products. Since I’ve worked a long time at a retail, that comes pretty easily to me. I believe time has shown me how the costumer sees the brand. That formula, though, is never precise, as if we are living in a try and error game. But I still think the fashion show is an unique experience. I don’t like the idea of turning it into a walking showroom.

On the runway her collections featured a strong conceptual images inspired by as many things as dreams (AW11) or the book “The Diving Bell and The Butterfly” (SS11). It’s there where she finds the space to explore techniques and experiment with her clothes. U+MAG >> WHAT IS YOUR EARLIEST MEMORY OF FASHION? CH>> Since I was little I already liked to play with clothes. Making clothes for my dolls and Barbies was so much fun. Drawing was also very present in my life. I always loved to draw and I believe I kind of directed it to fashion. But my biggest influence was no doubt my mother. I remember very well how she used to dress in the 90’s, with her yellow jumpsuits… I admired her a lot and it was impossible not be influenced by that. YOU TOOK CLASSES AT SANTA MARCELINA FASHION COLLEGE, RIGHT? Yes, I graduated there in 2009.

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CHAPTER EMANUELA CHARLOTTE STYLE FILE


char lotte pho to g raphed by eric mas 14

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de paula ; emanu ela photog raphed by jo達o arraes 26

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CHAPTER LU NASCIME HUIS C PATRI GIME AL KUCZ 34

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UCAS ENTO CLOS ICIA \ ENEZ LICIA ZMAN U_MAG

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By Luigi Torre

Patricia Gimenez (23) is a young designer from São Paulo, who has just graduated from Anhembi Morumbi Fashion College with a stunning collection.

Her work recalls something of Helmut Lang in the deconstructed tailoring, and in spite of the practical and minimal approach to clothing, her collections evoke a kind of aggressive and powerful femininity. “I usually find myself drawn into a somber style during my creative process”, explains Patricia. “I kind of keep myself in the shadows, channeling some aggressive vibe to my work.” It is no surprise that her starting point for her graduate collection was the movie “Silence Of The Lambs”. Thinking about the serial killer and the moth, she drew inspiration for textures and destroyed effects that run through the whole essence of her work.

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“I did a lot of research on corrosive substances and washing methods that would dissolve sequins, tulle, knits and other tailoring fabrics”. Hence the black sequined dress, cut shorter at the front and with a long dishelved tail on the back, the leather tailored jumpsuit, the chamois top asymmetrically cut and the dress with see through top and feather decorated shoulder pads. This tough feminine style is something recurring in Patricia’s works. Despite her being very young, she has already had some good retail experience. Her latest job, for instance, was at the creative team at Cris Barros, a high-end womenswear label in Brazil. It was there that for AW10 Patricia contributed with that rock-sexy featured in the collection. She now plans to do some studying in brand management and perhaps start to show her collections in a young designers event, such as Casa de Criadores. What’s important, though, is that this young creative and entrepreneur mind has perfect knowledge of what it takes to start and build a strong commercial

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secret window by daniel malva 72

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natural woman by agustin elizalde 102

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Collar by Vintage, Top BY KRISTOFER KONGSHAUG, Pants by  GUESS, Shoes  by   MC QUEEN VINTAGE

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CHAPT M N

D PORT 134

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TER MADISON NATASSJA FRANK RUBIO DANIELLE TUGUESE STAFF U_MAG

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what it feels like for a WO M A N 170

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THE FEMININITY ISSUE - MARCH 2011  

ALICIA KUCZMAN, HUGO TONI, PATRICIA GIMENEZ, LUCAS NASCIMENTO, ROGERIO CAVALCANTI, MADISON, FRANK RUBIO, DANIEL MALVA AND MORE

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