Fall Winter 2016
Vittoria Ceretti, Kiki Willems, Ally Erthel, Bella Hadid & Lorena Maraschi captured by Alasdair McLellan for Self Service.
Styling Benjamin Bruno
Hair Sud Hayes
Make-up Frankie Boyd
Published at GLASSbook Magazine
Photographer : Kei Kondo
Stylist : Yuiko Ikebata
Make up : Ryosuke Yamazaki
Hair : Yasu Nakamura
Model : Jessica F. [Wilhelmina]
Shades of grey? Yes, let’s start by the basis! The Pantone 17-3914 is named Sharkskin and can be combined with almost every colour from the winter palette.
We evaluated its effect in the contemporary light of first garments of the season – already available on online stores. The items of our choice act as a base, not only in shapes and colours but also in its structure, to build your trendy silhouette.
Agva isn’t only an address at Porto, Portugal. It is a whole atmosphere where dressing stories come to life. This space, with a window facing Porto’s downtown, has been imagined to become the face of Álvaro’s creative spirit, making Agva’s identity visible. Each object tells the story of its own culture. And the culture is in the detail. The leading actor of this story is always the one who wears the garment as a second nature, sharing the same culture.
Each garment aims to be the perfect fusion between shape and matter. A second skin in which the whole is greater than the sum of its parts. Carefully selected raw material combines noble fibers with colors obtained through natural pigment and dyeing methods.
Agva is the opposite pole of mass production. Customization is written on its DNA since the first garment produced in 2009, shirts made to order. Today, shirts are only part of Agva’s product line, which comprises jackets, trousers, suits, shoes or accessories, following the exact same minimal ID, in which less, is more.
The product line is never extensive and never finished. New products are added when its existence makes sense in Agva’s nature, atmosphere and históry.
Far from the clean and ironed “styled as expected” tradition, Agva nurtures a sense of rebellion, decadence, and asymmetry. As an everlasting admirer of British elegance, Italian tailoring or french luxury, the brand remains firmly anchored to its Mediterranean culture, less conventional and moving at its own pace, with charisma and attitude.
The accessories collection became a success amongst those who visit the space. Shoes, bags, and belts; bracelets, pens, sunglasses or gadgets. Álvaro describes thoroughly the conception of each one these objects like the hand sculpted acetate glasses, the arm modeling detail, and the precise rivet application.
Agva has several services, with different levels of customization. Bespoke Tailoring is a customer-centered service, based on personal choice of raw material. Recovers hand made methods in which the millimeter is the king commanding button placement and seaming. The made-to-measure service allows the customer to have the garment manufactured from scratch at his own measures.
Made-to-measure has been the starting point to a small series production system developed by Agva. The customer can now find Agva garment which maintains superior fitting quality in every size produced. This allowed Agva to be available in latitudes like Italy, the United States or the e-commerce platform The Goods from Oporto, building a window, wide opened to the world.
As for the window facing Porto downtown, it is also opened towards the inside, where each object mirrors Agva’s culture. Because culture is in the details. If one understands, everything is “clear as Agva” and one becomes a part.
Celebrating 90 years, Fendi is alive and walking on water, casting creative energy for the 90 years to come, thanks to its creative team: Karl Lagerfeld, Silvia Venturini Fendi and Pietro Beccari.
Little Red Riding Hood crossed enchanted forests and walked on water, wearing Fendi from sunrise till darkness. The 40 models walked on a translucent plexiglass runway, closely followed by Neptune’s attentive gaze.
Dressed in transparencies with floral motives, embroideries, and fur details worked with high craftsmanship – “Haute Fourrure”, which follow from a word game between haute couture and fur. All coordinated with ankle boots.
The story of one of the most amazing fashion shows ever seen, started in January 2013, when Fendi announced a €2,5 million project to restore five fountains in Rome, the birthplace of Fendi.
Fontana di Trevi was made famous by Fellini’s La Dolce Vita, in 1960, when Marcello Mastroianni and Anita Ekberg waded through the fountain.
The restoration was completed after 17 months and came to reveal all its full magnificence last night.
Each text gets under way in my mind well before it is ready to be published. Repeating ideas ad nauseam is a way to withhold the superfluous, searching for the essence of an idea that can thoroughly describe reality or imagination.This time, though, I had way more time to write the next post, dedicated to Agva project. This interlude spread over several weeks, is the result of a major shift in latitude.
Being The DisQuiet fashion also the expression of a DisQuiet life, it drives a kind of Porto-Toronto Express in the same manner as Alvaro de Campos described the path “At the wheel of a Chevrolet on the road to Sintra”:
At the wheel of a Chevrolet on the road to Sintra,
Through moonlight and dreams, on the deserted road,
I drive alone, drive almost slowly, and it almost
Seems to me, or I almost force myself to think it seems,
That I’m going down another road, another dream, another world,
That I’m going on without having left Lisbon, without Sintra to go to,
That I’m going on, and what is there to going on except not stopping, but going on?
I’ll spend the night in Sintra because I can’t spend it in Lisbon,
But, when I get to Sintra, I’ll be sorry I didn’t stay in Lisbon.
Always this groundless worry, no purpose, no consequence,
Always, always, always,
This excessive anguish for nothing at all,
On the road to Sintra, on the road to dreams, on the road to life…
Alert to my subconscious movements at the wheel,
Around me, with me, leaps the car I borrowed.
I smile at the symbol, at thinking of it, and at turning right.
In how many borrowed things do I move through the world?
How many borrowed things do I drive as if they were mine?
How many borrowed things — oh God — am I myself?
To my left, a hovel — yes, a hovel — by the roadside.
To my right an open field, the moon far off.
The car, which seemed just now to give me freedom,
Is now something I’m shut up in,
That I can only drive shut up in,
That I can only tame if I include it, if it includes me.
To my left, back there, that modest, that more than modest hovel.
Life must be happy there: it’s not mine.
If someone saw me from the window, they’d think: Now that guy’s happy.
Maybe a child spying at the upstairs window
Would see me, in my borrowed car, as a dream, a fairy tale come true.
Maybe, for the girl who watched me, hearing my motor out the kitchen window,
On packed earth,
I’m some kind of prince of girls’ hearts,
And she’ll watch me sideways, out the window, past this curve where I lose myself.
Will I leave dreams behind me? Will the car?
I, the borrowed-car-driver, or the borrowed car I drive?
On the road to Sintra in moonlight, in sadness, before the fields and night,
Forlornly driving the borrowed Chevy,
I lose myself on the future road, I disappear in the distance I reach.
And in a terrible, sudden, violent, inconceivable desire
I speed up,
But my heart stayed back on a pile of rocks I veered from, seeing without seeing it,
At the door of the hovel —
My empty heart,
My dissatisfied heart,
My heart more human than me, more exact than life.
On the road to Sintra, near midnight, in moonlight, at the wheel,
On the road to Sintra, oh my weary imagination,
On the road to Sintra, ever nearer to Sintra,
On the road to Sintra, ever farther from me…
11-5-1928 Poesias de Álvaro de Campos. Fernando Pessoa. Lisboa: Ática, 1944 (imp. 1993). _37
I am going on, without having left Porto and without Toronto to go to, because nostalgia still does not let me go. My disquiet is the same disquiet of all those who lose ground to earn life and keep a family together. But those are different “portugals”, not to be recalled here and now.
As digital life is neutral to physical changes, what is here to be published still complies with the same requirements. In the meantime, both body and spirit wait for the day when it will be less painful to call this so civilized country a home. Whilst that does no happened, it is time to “return” to Porto in the next post.
After a short break to allow happy holidays, and before we take the full breath to commit ourselves with Springtime, take a peek in the future of fashion and clothing. For some companies, that future is already happening – as “The Next Black – A film about the Future of Clothing” confirms.
This 45-minute documentary, produced by home appliance manufacturer AEG and award-winning production company House of Radon, has been released to explore the future of clothing. It aims to ask innovative companies core questions about mass consumption of clothing; care and quality concerns; new technologies, smart clothing, organic and traditional garment.The answer is given by sustainable companies, where fashion meets technology creating amazing effects, or developing garments that send real-time data; materials grown from living organisms and water saving dye methods.
Whatever your personal answer is to the future of clothing, may you all have the best of the years & experience happiness for 366 days in 2016!
Consumers are seeking mindfulness and well-being as an antidote to the stress of modern day lives, welcoming colors that fulfill the yearning for reassurance and security. Like the sky above airy and weightless, Serenity calms and brings feelings of relaxation in turbulent times. Rose Quartz is persuasive, yet gentle tone that conveys compassion and sense of composure.
The blend is a whole greater than individual parts, joined to demonstrate a balance between armor embracing rose tone and the cooler tranquil blue, ordering peace. The blend also challenges traditional perceptions around color’s association.
In other sense, many parts of the world are experiencing a gender blurs which, relating to fashion, impacted color trends throughout all areas of design. This is coinciding with societal movements towards gender equality and fluidity. Consumers feel comfort using color as a form of expression, including a generation less concerned about being typecast or judged. Simultaneously, digital information is opening our eyes to different approaches to color usage.
It is a symbolical color choice, like a snapshot to contemporary culture, as an expression of a state of mind and attitude. Rose Quartz is persuasive, yet soft, Serenity is light and airy. In Fashion, these colors, playful yet sophisticated, make a striking statement on its own, though it works equally well as an accent when joined with other shades.
In Interiors, the blend brings a feeling of calm and relaxation at home environment. Rose encourages reflexing while Serenity provides a naturally connected sense of space. An ideal choice for rugs and upholstery also works well for paint and decorative accessories. Coupling solid and patterned fabrics, throws, pillows and bedding in these shades provides comfort and well-being in the home. With texture, it enhances duality and kinship of these hues.
In kitchen and tableware Serenity and Rose are a classic, as well as home accessories, decorative bowls, vase, and floral, add subtle color accents while contributing to welcoming and peaceful space. Key finishes are translucent, glazing, matte and metallic shine. Consumers are also drawn to this blend in graphic design, being a shade for a variety of products from food and beverage to cosmetics and accessories. Packaging is also more and more tied into lifestyle color trends and Serenity and Rose Quartz are a natural fit for packaging materials.