(images via ffw)
maybe not always in exact, like, aesthetic, but definitely in tone, fernanda yamamoto‘s s/s 2014 presentation at são paulo fashion week reminded me quite a lot of the work of irish designer john rocha and his promising up-and-coming london-based daughter, simone rocha. and quite honestly, i mean that in the most complimentary way possible, as those two are particular favourites of mine (though generally speaking, so too is ms. yamamoto, of course).
actually, maybe i’d even say there was a little christopher kane tossed into the mix, as well, but there was definitely something british isles about ms. yamamoto’s work at spfw this season, or rather, like she’s moving away a little from the more brazilian-global-eclectic-aesthetic she’s carved out for herself over the number of seasons we’ve been following her work (see s/s 2011, a/w 2011, s/s 2012, a/w 2012, s/s 2013). but it looked good, and after a year off the brazilian catwalks, i was certainly pleased to be having her back.
right, so. for this turn on the catwalk, according to elle, the designer’s theme was centered around (trans.) “a housewife from the 1950s,” while she “has integrated an apron styled with pieces of different proportions, with many overlaps…Prints like plaid and floral pastesl – the best climate in Grandma’s house – graced jacquard fabrics like cotton, linen and plasticized organza (like a shower curtain). Applications of small plastic flowers on clothing and leather lined with cutouts reinforced the image of kitsch couture looks.” aha! so here i think i do understand why i was seeing ms. rocha’s work–didn’t she base her last collection on her grandmothers’ looks?
yes, i think so. and watch out kids, the hipster grandma is going to be a maaad new trend in the upcoming seasons, no? and she certainly played up to this hipster-ly ideal even further with her rather ‘diy’ approach to design, as chic gloria kalil related that her girls were (trans.) “desperate housewives – who are so desperate, she decided to cut up the plastic tablecloth and aprons to see what happens.” but even that difficult-to-please site found it charming, and it was hard not to, what with all of the bright colour and unexpected, jolie-laide looks.
there was something about the insouciance of ms. yamamoto’s girls–they just looked so breezy, it was hard not to appreciate them. or at least, i thought, and vogue seemed to agree, stating that (trans.) “(t)he highlight, however, was on account of the embroidered outfits – Fernanda is evolving her handiwork every season, either folding, patchwork, or now embroidery. It was the first time that the designer used this artifice, but gave a show of originality and mastery in construction, and [these are] both attributes that go scarce in these parts.
meanwhile, ffw caught up on this train of thought, rather, as well, opining that (trans.) “(i)n printing, floral tablecloths appear alongside [geometric prints and grids], with a gradient effect. Tiny plastic leather flowers appear in many pieces, in a delicate and painstaking work of embroidery. It is good to see how the designer has evolved and reinvented herself every season without sacrificing her DNA.”
then, finally, the brazilian site closet online chimed in with the thoughts that (trans.) “(t)he decade that inspired it was reflected in every detail of the parade. The prints of the dresses were easily compared to tea towels and aprons. The floral…had a three-dimensional effect, with floral applications on plastic transparencies….Coloured hair infantilized the models, who wore almost no makeup, alluding to candy dolls. The modeling sought to comfort. The textures gave the impression that a certain part of the dress floated, all very light, with the face of summer.”
(see the fashion show video here)