Beachwear and lifestyle brand, Água de Coco, one of the main brands in the Brazilian fashion industry with international presence and recognition, travels to Jericoacoara (located on the northeastern coast of Brazil, in the state of Ceará) together with Brazilian model and TV presenter Renata Kuerten.
The experience of getting to know one of the main natural heritage sites of the country up close ended up with a meeting with the Associação das Crocheteiras (Women’s Crochet Association), set up by women artisans who do manual work with crochet.
Currently, the Association benefits – directly and indirectly – more than 100 families in the region and exports to four countries: France, the United States, Germany and Italy. Crochet craft is not just a local tradition; it redeems self-esteem, empowers and provides financial independence to women.
Believing in the power that colors have to transform environments and people, the brands Água de Coco and Tintas Iquine, the largest paint industry in Brazil with 100% domestic capital, started a project to revitalize the façade of the Association’s store, located in the center of the fisherman’s village.
Fine artist Auxi was in charge of the façade revitalization with a flower print design, portraying the empowerment and strength of the female union and printing the art that reflected throughout the community.
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Sabine Arias, an authorial and contemporary luxury brand, portrays the founder’s lifestyle with a romantic influence and a modern touch.
Her inspiration is the unpretentious carioca (a native of Rio de Janeiro) fashion style in the fluidity of her creations- and versatility is essential- with pieces that can move around in different places maintaining their natural sophistication.
Brazilian native design has always been part of the brand’s DNA, with textures, hand-painted or washed textiles and local materials creating its essence. It is the perfect product for the target consumer of the brand: an elegant and contemporary woman.
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Beira was born in 2013 from a research project by Lívia Cunha Campos focused on design, functionality and object development. The first collection debuted in 2015 for the domestic and the international market.
The brand’s core, from design- with focus on their potential utility and usability and cuts & shapes that fit into a variety of different body types- to the garments manufacturing, is the atelier located in Rio de Janeiro. The garments are created with functionality and versatility, in a continuous creative process of a seasonless and unified collection.
“The word ‘beira’ (edge, in english) embodies the notion of transition or intersection. We use our designs as a means of communicating the experimental processes that take place in the atelier and encourage our customers to explore our garments from the inside out, letting the sewing and exposed threads speak for themselves. ”
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The Altino Arantes building -an important Art deco skyscraper, headquarters of Farol Santander (a prominent 35-floor skyscraper with cultural exhibits & an observation deck for city views) in São Paulo, features from January 22nd until April 4th, 2021- 10 am to 8 pm (Tuesday to Sunday)- on the 19th and 20th floors- the exhibition A Arte da Moda – Histórias Criativas (The Art of Fashion – Creative Stories).
The exhibition shows, with the curatorship of Giselle Padoin, the relationship between fashion and art through a timeline, revealing the development of studios in Brazil and Europe, with more than 170 items that tell the history of fashion and its evolution from classic to contemporary, and the influence of the Parisian aesthetic revolution on artists and cultural references around the 1910s.
The exhibition showcases Sissa, a Brazilian fashion brand, with garments that rescue the country’s originality with authorial identity and handcrafted creations. Alessandra Affonso Ferreira, the fashion designer behind Sissa, mixes her private repertoire with the global vision of the contemporary fashion universe and the most varied cultural references.
The collection features eighteen pieces, featuring drawings and painting materiais, as well as videos and demonstrations of the manual weaving work in the city district of Muquém, Minas Gerais state, fabric recycled by women from the community of Minas Gerais, taking advantage of the textile residue from production.
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A mother and daughter duo, Karina and Ana Karolina Ferrari, seek to translate art into the design of ANK pieces, bringing out the feminine sensibility in the jewelry technique.
Karina had the business wisdom to trace the brand’s mission and values, and the designer, Ana Karolina Ferrari, absorbed different cultural insights to visualize the unique and timeless design of the ANK collections.
The brand’s moral engagement is aligned with sustainable development, choosing conscious business partners and jewelry made with recycled 18K gold. The recycling cycle takes place with the purchase of antique jewelry and the purification of gold to 24K, proceeding to the manufacturing of handcrafted jewelry in recycled 18K gold. Mother and daughter sign all creations.
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ALWAYS ON | Pós NRF 2021 is an exclusive event hold by Vimer, a Brazilian company specialized in Visual Merchandising, to share the first chapter main insights from the largest retail trade show in the world, the NRF (National Retail Federation), which brings together major names of the industry in New York to present annual retail news and trends.
The event will take place on February 2nd in a talk that will feature the dynamism and specialized curatorship of Camila Salek, Vimer founding partner, exploring inquiries, strategies and actions to guide the next steps of retail in Brazil based on innovations that are on the industry global agenda.
The event is available, free of charge in order to share more information, to all professionals who work in retail companies.
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Sustainability: what brands are prioritizing in 2021
Sustainability and conscientious consumption are the current goals to tackle as the sector learns more about its impact on the planet.
BoF looks at the issues that are likely to turn the spotlight on in 2021.
The past 12 months have radically reshaped the fashion industry, but sustainability remains one of the sector’s themes and challenges.
While the pandemic is an ongoing and immediate crisis, brands are doubling down on commitments to reduce emissions, keep clothing in a virtuous loop of recycling and tackle human rights abuses in the supply chain in a bid to mitigate the risk that the next disaster to hit the industry is environmental.
“The industry is not resilient to crisis and that is worrying,” said Morten Lehmann, chief sustainability officer of the Global Fashion Agenda, an industry advocacy group. But there’s a growing understanding that the industry needs to change if brands are to align with global climate goals and increase consumer interest in more socially responsible models.
“We see a polarization of brands, where some see sustainability as a way to become more resilient,” Lehmann added.
There’s certainly no shortage of problems to pick from, but a number of key issues are coming into focus this year as brands react to the social, economic and technological shifts of the last 12 months.
Scaling Circularity
Companies have been talking about ways to minimize waste, keep clothes in circulation for longer and scale up recycling technologies for years, but 2021 looks set to be a pivotal moment for the circular fashion movement.
The pandemic served to highlight fashion’s huge over-production problem and ratcheted up pressure within brands to find economic ways to manage excess inventory. That’s boosted the profile of the resale market, sparking the interest of luxury brands, preventing second-hand marketplaces from affecting their brand value.
Last year, Gucci partnered with The RealReal and LVMH flagged in December that it is looking at ways to integrate resale into its business.
Elsewhere, brands like Cos and Levi’s have launched their own resale offers, and second-hand platforms Poshmark and ThredUp are gearing up to go public.
Though the second-hand apparel market is still relatively small, it’s growing fast, with sales expected to more than double from $28 billion in 2019 to $64 billion in 2024, according to GlobalData estimates cited in a 2020 report by ThredUp.
Those numbers make it particularly appealing for executives looking for ways to boost their sustainability credentials and their bottom line.
The potential to shift to more circular models is set to get an additional boost in 2021 as recycling technologies that have been years in development finally begin to scale.
“The [next] key thing is going to be scaling technologies now, because a lot of them have just reached pilot scale,” said Laura Balmond, program manager for the Ellen MacArthur Foundation’s Make Fashion Circular initiative.
For instance, over the next 12 months, one of H&M Group’s suppliers is test-driving a machine that can recycle blended cotton and polyester in a factory setting for the first time, with the fast-fashion giant committed to supporting the technology’s wider rollout if all goes well. Meanwhile, textile recycling company Renewcell listed on the Swedish stock market in November, with plans to ramp up production capacity almost fivefold by 2026.
To be sure, volumes still remain fractional within the context of the global textile advancements and building on the progress made in the coming year will require long-term commitment and widespread industry collaboration.
“Circularity is a much bigger idea than just one technology, or one change in the business model,” said Balmond. “It really is looking at the whole system within which clothes are offered and how they’re made.”
The Next Big Thing: Biodiversity
Fashion brands aiming to level up sustainability ambitions are increasingly looking beyond initiatives that simply reduce harm to opportunities to have a positive impact. That’s increasing focus on one of the industry’s most poorly understood and complex environmental pain points: its effect on biodiversity.
It’s a relatively emergent topic within the fashion sector, reflecting a broader and growing awareness of the devastating impact climate change and industrial agricultural practices have had on the world.
For instance, a recent report by the World Wildlife Fund found animal population sizes have declined 68 percent since 1970 as a result of ecological disturbance that has affected around three-quarters of the planet’s ice-free land. Agricultural practices linked to many of fashion’s key raw materials are one big contributor.
The issue is expected to gain more attention next year as a central component of The Fashion Pact, a high-level coalition brought together by Kering Chief Executive François-Henri Pinault at the request of French President Emmanuel Macron in 2019.
As part of a broader set of goals intended to tackle fashion’s biggest environmental risks and pressure points, signatories committed to developing biodiversity blueprints by the end of last year. In the coming months, companies are expected to set clearer targets to develop solutions based on their findings.
“We’re so out of balance with nature at this point. And so we can’t expect nature to bounce back on its own,” said Claire Bergkamp, chief operating officer of Textile Exchange, a nonprofit aimed at improving the environmental standard of raw materials production. On the other hand, understanding and addressing biodiversity could prove pivotal in addressing the climate crisis.
“How we manage our agricultural processes is going to dictate whether or not we can actually achieve the 45 percent reduction of greenhouse gas emissions by 2030,” Bergkamp said, referring to global goals to reduce emissions to a level that would avoid catastrophic climate change.
Social Justice
Climate has dominated fashion’s discourse on sustainability in recent years, but the cultural unraveling and economic devastation caused by the pandemic has shifted focus back onto long-standing social challenges.
From Leicester to Dhaka to Xinjiang, reports of labor rights violations in the garment and textile industry have piqued the attention of consumers, investors and policymakers. The reports haven’t simply served as fodder for PR scandals; they’ve also increased regulatory scrutiny, hit share prices and sent investors running.
The crisis has raised the profile of calls from human rights campaigners and labor advocates to address long-standing problems in the fashion supply chain, pushing for more systemic change to ensure workers are paid living wages and guaranteed decent working conditions.
But the pressure to change isn’t just coming from labor rights groups. Allegations of widespread human rights abuses in China’s Xinjiang autonomous region, where one-fifth of the world’s cotton is produced, have left the industry exposed to intense regulatory scrutiny on both sides of the Atlantic. The United States has said it will bar entry of all cotton products and tomatoes imported from the region.
It’s a challenge for the fashion industry, which has little visibility over the raw materials origin in its supply chain, but it’s ratcheting up pressure for brands to optimize its system.
“For a large percentage of the industry, that lack of traceability and the lack of long-term, equal partnerships with manufacturers, and the vulnerability of many manufacturing countries with their weak institutional setups, has really come to the fore in 2021,,” said Lehmann of GFA.
The coming year presents new challenges that threaten the fundamental business of fashion, but it also presents an opportunity to improve practices that have failed to meaningfully advance for years.
“We can’t go back to business as usual,” said Amina Razvi, executive director of the Sustainable Apparel Coalition. “That would be the worst outcome.”
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After the premiere Locked Down film, starring Anne Hathaway, the actress used her garden to make the “red carpet”.
In the photo session, Anne wore three luxurious dresses: one Versace copper, one Azzaro gold and one Vivienne Westwood blue, and jewelry signed by Brazilian designer Ana Khouri.
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Oskar Metsavaht, who is founder and creative director of the Brazilian fashion brand Osklen, Unesco Goodwill Ambassador for Culture of Peace and Sustainability, Director of OM.Art and president of Instituto-E, develops a series of projects beyond the fashion industry, as the case of the recent partnership established with Portobello, a leading ceramic tile company.
Recognized as a benchmark in sustainable human development, Oskar founded Instituto-E more than 20 years ago through which he implements several projects focused on sustainability with partners such as UNESCO, the Ministry of the Environment of Italy, the UN Ethical Fashion Initiative, among others .
The partnership between Instituto-E and Portobello took place through the consultancy project, which consists of mapping, analyzing and implementing sustainability criteria based on the pillars: social, economic and environmental, improving the scarcer areas and organizing the performance in a systemic way. Based on the diagnosis, the institute creates a series of guidelines for the company to be able to evolve in the implementation and improvement of its decision making to maximize positive socioenvironmental impacts, combining such efforts with communication under the bias of sustainability to engage and inspire different audiences .
Also in conjunction with Portobello, the Ipanema line was born by Oskar Metsavaht, expressing creativity, modernity and authenticity. The collection was inspired by the archetype of the neighborhood, using the raw material that represents the boardwalk, an Ipanema brand. The pieces bring textures, colors and nuances, reproducing the Portuguese stone from the sidewalk, and maximosaicos in irregular shapes, simulating its asymmetry. Also, the line of decorated tiles, Neotropical, inspired by the design of the Ipanema boardwalk.
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The hand-made tradition has joined design, with originality and creative culture, inspiring a timeless collection by Paula Ferber and Pedro Sedó.
The partnership concept is home affective rescue experience, as a self-care refuge, in rugs and baskets woven in green EVA launching, EVA and metallic synthetic leather in Vallvé store.
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