spfw: lino villaventura

(images via ffw)

alas, yes, finally, kids, we’ve come to the end of our time this season with são paulo fashion week, and with it, as i always tend to do, one of my long-term favourite brazilian designers, lino villaventura. although we started out a bit shaky getting to know him waaay back when, over the seasons, i’ve found that he has pretty consistently killed it, either topping or at the very least, equally his prior brilliant work with each new catwalk turn (see s/s 2011, a/w 2011, s/s 2012, a/w 2012, s/s 2013, a/w 2013).

so, as you’re going to see, that meant more brilliance for the s/s 2014 season at spfw, with a range that i’d say definitely continued in the tradition of his last couple of collections in terms of the princess-y form and structured dresses (that feel at times almost medieval) coupled with other, more ethereal (and almost ephemeral, they appear so light and weightless, many of the sheer dresses looking as though spun from web spiders’ webs and the like), though in a much more summery palette than we were seeing last time ’round.

and in terms of the designer’s actual inspiration, like we’ve been speaking of with regards to a number of brazilian ateliers of late, there was something of a melting pot theme-ology. according to ffw, which seemed to get a quote directly from the designer’s studio, the idea was (trans.) “(t)he collection travels in imagination, effortlessly, just following the will and seeking the collection of images stored in a lifetime, within the mind of the designer.”

that does sound rather ambiguous, rather, but fortunately, on the other hand, the brazilian site closet online was there to help clarify, writing that (trans.) “(a) bit of everything, this is how we can summarize the catwalk of Lino Villaventura, all topics met in a geographical and sensory hodgepodge. The Amazon, Pan-Asia, Peru and all the designer’s nymphs were present on the catwalk.” ah, yes, all of the things he so loves, and indeed, although there are always some brazilian attributes, i’d agree that the asian references were the other standout for the upcoming season.

anyway, the site carried on that (again, trans.) “(a) wide palette of colours, fabrics and trims were part of this collection, making it somewhat confusing, as did the styling, [which was at times] well adjusted, then completely fluid and asymmetric.” ffw stated, meanwhile, that the range included such materials as satin, silk tulle, organza, silk chiffon, taffeta, and jacquards.

then elsewhere, according to the oft-difficult-to-please brazilian site chic gloria kalil, we saw a lot of the designer’s storied techniques, though manifesting in some utterly new looks, such as (trans.) “the dresses in black tunics with embroidery and linear bugle beads,” and carrying along, they added that “(t)he same effect creates cascades throughout the body and traces of coloured design. The images are new and fresh with this refined repertoire…Pieces are highlighted by the still unpublished drawings made with oriental tapestry, with collars and displaced wide sleeves.”

they also prattled along to reflect, in kind of a spot-on assertion, methinks, that at times some of the tunics and dresses were reminiscent of the costumes of (or should possibly be costumes for) the show game of thrones, and as i’ve said above, i’ve always kind of thought of mr. villaventura as a medieval kind of chap. anyway, the brazilian site terra also reflected that his frocks came in as kind of half-kaftan, half-kimono styles, and if we could add corset into that mix, as well, i think we’d be in business.

but in the end, there was elle, relating some astonishing details in their analysis that (trans.) “(t)he highlight of the collection is undoubtedly the wealth of embroidery, which figured not only in clothing but also in women’s accessories. Lino estimates that they were using about 18 pounds of crystal bugle beads to form the 35 looks presented. The first part of the parade brought a climate of medieval tunics reminiscent of armor, a kind of helmet covering the faces of models clothed in silk jacquard in reference to the costumes of the nobility. Then the show changed course and landed in the East, specifically Japan, where girls came dressed in kimono style with many prints. A real journey in time and space within the room.”

(check out the catwalk video here)

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