SPFW + N59 champions sophistication

The 59th edition of São Paulo Fashion Week (SPFW) concluded on Friday, April 11, with the Piet show at the Pacaembu Stadium in São Paulo. In total, 17 brands presented their collections, most of them at the JK Iguatemi Shopping Mall. This season, more streamlined than the previous edition, which featured 40 brands, had a precise curation, with sophisticated collections, even from brands whose proposal is based on basics.

Promising debutants

Leandro Castro and Mnmal showed at this edition for the first time. Castro brought to the catwalk ample and well-finished pieces. The work with reused fabrics proved that it is possible to develop extremely sophisticated pieces from waste. Some had a Neoprene appearance, as seen in the structured coats or in the tailoring, with wide-leg trousers and blazers, some pleated. The top model woven in strips of fabric, reminiscent of straw, was interesting.

Mnmal lives up to its name: its pieces are ultra-basic, carefully made, in ample and comfortable shapes. The shoulders were highlighted, displaced and with shoulder pads. Sand and earthy tones predominated, as did white and red. Fabrics such as sweatshirt fleece appeared combined with poplin. In addition, checks came in blazers, trousers and shorts.

Discreet sophistication

Some collections, such as Reptilia, featured few details, noble fabrics such as velvet and silk, in ample and precise shapes, although with more fitted and shorter blazers. Ruffled sleeves with cut-out details and stripes obtained from the insertion of vertically sewn fabrics gave a different tone. Hand-painted silk was a highlight in dresses and skirts.

Weider Silverio brought dresses with more illuminated tones, with asymmetrical necklines and fringes in fabric rouleaux, which sometimes detailed skirt panels, sometimes tops, occasionally.

Updated tailoring

Brands such as João Pimenta and À La Garçonne hold tailoring at their core, but in this edition both presented a new look. Pimenta brought pieces of suits and overcoats, some with cut-out details, others with godet panels in patchwork, working with amplitude of shapes, pleats and gathers, as well as details such as folds. Some trousers had the lining of the pockets turned outwards, apparent and many of the shapes were developed from moulage, valuing the manual work as opposed to technology.

À La Garçonne worked feminine suits with wide trousers and fitted tops, with deep V-necks and marked shoulders. Checks came in suits and overcoats with precise shapes, also adorning sweatshirt sleeves, in an interesting mix of materials. Jeans with the entire back in checked fabric was another highlight. Some looks featured sportswear worn with other tailored pieces, showing the brand's versatility. Satin parkas and jackets lended luxurious vibes to casual pieces.

Normando came with a men's suit and fringed overskirt in the same fabric, innovating the look, as well as the suit with shiny, technological fabric. Feminine blazers with voluminous sleeves or accentuated shoulders redesigned the shape. The tuxedo blazer was the inspiration for a long dress and some pieces were punctuated by the use of latex and others, by the transparency of lace, in a subtle game of sensuality.

Predominant ‘handmade’

It is impossible to talk about artisanal techniques without mentioning Lino Villaventura. Both the menswear and womenswear pieces excel in the details of ribbing, embroidery and cut-outs that add up to make each look unique. Trivial fabrics in the hands of its artisans become luxurious.

Another brand that makes the technique special is Patricia Vieira, who treated us to dresses with marked waists, skirts, trousers and tops all in leather, worked with ajour stitch embroidery, others printed with metallic studs, in elaborate designs. The petals obtained from leather cut-outs covered dresses and tops in an exquisite work. Leather rhombus patchwork was the raw material for dresses and coats.

Dendezeiro brought tapestry in micro skirts, as well as leather worked in corsets. The leggings became an extension of the shoes, forming boots. Straw was brought in dresses that reminded us of old silhouettes. Prints of fish and localised embroidery on the same motif were also on the catwalk.

Piet came with sportswear with sports elements and, here and there, artisanal details such as the sleeves of crochet jackets forming the design of faces. Shirts with hand-painted painting, as well as other details.

Shines, transparencies and unusual shapes

Aluf was inspired by the circus and hence came some geometric shapes as in the red dress and amplitude in pieces with vertical stripes. Wide ruffles acted as collars or sleeves.

Transparency was present on the Walerio Araújo catwalk, in veils in the first looks and then in dresses. The shine appeared in multicoloured fringes in a micro dress, embroidered lace in the dress with marked shoulder pads. Sensuality arose subtly in some models fitted to the body and explicitly in printed pieces of naked bodies, with embroidery placed strategically on the private parts.

Dario Mittmann brought puffer coats, large and silver, details in quilting. The ample volumes also came in tops covered by small ruffles covering the entire piece.

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