(images via ffw)
so we’re continuing to truck along into what’s coming up on the end of opt’s coverage of são paulo fashion week, and with it, some of my favourite collections and houses, as we usually tend to do! as i think you’re already aware, i’m a great fan of designer eduardo pombal’s tufi duek (see s/s 2011, a/w 2011, s/s 2012, a/w 2012, s/s 2013, a/w 2013), and for the s/s 2014 presentation at spfw, he delivered yet another bangin’ collection.
and so, much like we saw at another brazilian atelier, acquastudio’s beautiful s/s 2013 collection, mr. pombal took his inspiration this spring from the work of spanish artist pablo picasso. the excellent brazilian site closet online appeared to think it had something to do with the painter’s relationship with his wife, adding that (trans.) “(w)ith elegance, humourous looks, full of references and refined sophistication [were shown]. He brought to the Tufi Duek catwalk geometry and pure forms that also mark the work of the Spanish artist.”
carrying on, the site noted that the (again, trans.) “roses and blue symbolize the Picasso phases of prosperity and gloom. [we also saw s]hort crops, transparency and strategic slits for a sexy and seductive look. [there were l]ightweight fabrics and well structured jackets worn as blouses, ruffles and lots of asymmetry in an extremely Cubist footprint.” i’d say there was definitely something that tied it to the aesthetic of the aforementioned acquastudio show, even if that relationship was a little abstract.
elsewhere, we heard from elle a slightly different take on the designer’s inspiration, as they claimed that (trans.) “the designer of the moment brought references to the cubist Pablo Picasso (think pink and blue) and the work of German photographer Helmut Newton (strong women!),” the latter of which i’m honestly kind of tired of, given how many bloody times we’ve seen his work theme-ing (just in recent years!) various fashion shows, although i will admit that here the tie was a little more subtle, so i didn’t mind nearly as much as the more overtly seductive shows.
well. as they prattled along, they quoted the designer as stating that (again, trans.) “I looked at several things in order to create a new image,” while themselves adding that among the highlights were “upright shapes, skirts over pants and almost aristocratic volumes. Coats without lapels, vests, desire and a brief but impeccable colour chart,” were also present–the latter of which, ffw notes, included (trans.) “pink and blue, with black and white as a base,” and of course a few metallic pops.
materials, they sailed along, included crepe, linen, gabardine, silk, raffia, and jacquard, while the brazilian site chic gloria kalil reported that (trans.) “the collection was the same and very consistent with everything he had been doing: the starting point of minimalist structures well marked by tailoring, a new element in pleated kilts tied at the waist, embroidery and sparkles located by adding a little colour. [there were also] some trends, such as black and white, purple and a lot of asymmetry.”
finally, there was vogue, also falling in line with the enthusiasm, and offering that (trans.) “[there was a nice] balance between serious (midi length coats…) and sexy (read: slits in skirts and necklines in front of the tops). Another high point was the overlapping pleated deconstructed kilts, applied in a haphazard manner on pencil skirts and pants. The fabric was so light that it gave no weight and will. The palette of white, black, violet and ice-blue also helped make everything new and desirable.” *yeow.
(watch the fashion show video here)