The designer takes up volumes from past centuries, skirts with accented hips, fitted bodices, contrasting them with apparent zippers and martingales, which tighten the border between the artisanal and the industrial, the classic and the contemporary.
Without resorting to a single theme, deliberate choice, fruit of creative maturity, the designer presents a collection that works as an essay on the craft of sewing: clothing as the architecture of the body, construction as a discourse. The absence of a narrative concept gives way to the presence of the technique, to the precision of those who master the making and place it at the service of the form. The first four outfits already indicate this direction: a set of tricoline blouse and twill pants, a heavy-fitting white crepe dress with almost full side cutouts, a cotton shirt and shorts, and a long black dress, half fitted, half loose. The contrast between structure and fluidity, restraint and movement, sets the tone for a collection that investigates the balance between the visible and the invisible, what is shown and what is merely suggested.
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In common, all the pieces reveal an almost obsessive rigor with construction. The black dress, for example, is almost seamless; the shorts have internal structures that raise the bars and reveal colored linings; the wide backs of certain dresses recreate the silhouette of the hoodie, a gesture that brings couture closer to everyday life. What seems to be an overlay is often a single piece, ingeniously articulated by pleats, pences, and strategic cutouts. This attention to detail, which runs through all of Herchcovitch's work, finds a rare clarity here. There are echoes of tailoring, echoes of baroque drama, echoes of the experimentalism of the 1990s, but all submitted to a more serene, almost scientific perspective. The designer takes up volumes from past centuries, skirts with accented hips, fitted bodices, contrasting them with apparent zippers and martingales, which tighten the border between the artisanal and the industrial, the classic and the contemporary.
The parade, in this sense, seems to summarize a path of reconciliation. Herchcovitch, who was always celebrated for his capacity to rupture, now practices a different type of radicality: the radicality of subtlety. By abdicating grandiloquent themes, he claims the right to the essential. Every detail is intentional, every fold has a function. It is a work of emotional precision, where formal rigor is the vehicle of expression. The result is a profoundly contemporary collection, not because it adheres to trends, but because it understands the present time as a space of multiplicity and contradiction. In the same piece, historical gesture and minimalist synthesis coexist; the fetish of detail and the honesty of form. It is the mature translation of a vision that, since the 1990s, helped to consolidate Brazilian fashion as a field of thought and experimentation.
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