Sorry, this entry is only available in European Spanish.

Gabrielle Chanel, 31 rue Cambon, 1937, Paris. Photo: Roger Schall/Condé Nast/Shutterstock

The UK has long awaited such an ambitious exhibition focusing on the style and work of one of the great icons of contemporary fashion. After the success of the first weeks since its premiere and a triumphant opening, the V&A resumes its usual activity so that culture lovers can contemplate with greater peace of mind the life path and savoir-faire of Gabrielle ‘Coco’ Chanel.

Gabrielle Chanel. Fashion Manifesto is the first exhibition dedicated to the work of the celebrated French couturier and traces the evolution of her iconic design style and the creation of the House of CHANEL, from the opening of her first hat store in Paris in 1910 to the presentation from his last collection in 1971.

The exhibition stands out for its grandeur in every aspect, with rarely seen pieces that have been recovered from the Palais Galliera and the heritage collections that form part of the Chanel Heritage. It presents in the same space almost 200 looks that are exhibited together for the first time, as well as accessories, perfumes and jewelry, which explore Gabrielle Chanel’s talent in fashion design. She was a visionary who paved the way to a new elegance and continues to influence the way women dress today. Among the treasures exhibited, one of the oldest Chanel garments preserved, dating from 1916, stands out; original costumes designed for the production of Ballets Russes from Le Train Bleu in 1924; outfits created for Hollywood stars Lauren Bacall and Marlene Dietrich; an early example of Chanel’s revolutionary evening pants and ensembles from Chanel’s final collection in 1971.

An unprecedented formula: comfortable elegance

Chanel designed above all for herself. By creating clothing suitable for an independent and active lifestyle, she anticipated the needs and desires of women. “Gabrielle Chanel dedicated her life to creating, perfecting and promoting a new type of elegance based on freedom of movement, a natural and casual pose, a subtle elegance that rejects all extravagance, a timeless style for a new type of woman,” said Miren Arzalluz , director of the Palais Galliera at the opening of the exhibition in London. This is precisely the Coco Chanel Manifesto, a legacy that remains alive today: “Her success was based not only on the functionality, comfort and chic elegance of her designs, but also on her ability to understand and interpret the needs and desires of the women of her time,” added Arzalluz.

Through ten thematic sections, the exhibition explores Chanel’s innovative approach to fabric, silhouette and construction, and examines how she established a new framework for fashion in the 20th century. Showcasing an impressive array of some of Chanel’s most notable designs during her sixty years in fashion, the exhibition examines her professional career, the emergence and development of her style and her contribution to fashion history. The exhibition also places special emphasis on Chanel’s British inspirations, such as her adoption of tweed, collaborations with British textile companies and a textile factory in Huddersfield.

Gabrielle Chanel. Fashion Manifesto at the Victoria and Albert Museum

We review some key sections present in the exhibition:

Towards a New Elegance offers an introduction to the beginning of Gabrielle Chanel’s career as a couturier, opening her first boutique on the rue Cambon in Paris in 1910, and later, in the coastal resorts of Deauville and Biarritz. This introductory section describes how the success of this business allowed it to expand into tailoring and showcases one of the oldest surviving Chanel garments, characterized by minimalism and precision. A simplified way of dressing that contrasted with the excessively decorative fashions of the time and that would lay the foundations for its design principles.

The Emergence of a Style focuses on how Chanel developed a distinctive and immediately recognizable style in the 1920s and 1930s. With clean lines, fluid materials and a simple colour palette, her understated designs were radical in their practicality and displayed an elegance refined. This block also examines the role of textiles and manufacturing, the use of embroidery in their designs and highlights the famous black Chanel dress.

The Invisible Accessory presents the creation and impact of the debut of Gabrielle Chanel’s No. 5 perfume, which became the best-selling fragrance in the world. Designed as an extension of her clothing and reflecting her vision of modernity, Chanel made the N°5 the signature of her fashion house. This section also explores the launch of the Chanel makeup line in 1924 and skin care products in 1927.

Luxury and Line focuses on how Chanel eveningwear demonstrated a refined blend of inventiveness and classicism that subtly accentuated the female form. The designer harmonized proportions and materials with the aim of creating garments that expressed elegance, freedom and simplicity. The resulting designs conveyed the tension between the garment and the body, described in French as the ‘ allure ‘. This block will also examine ‘ Bijoux de Diamants ‘, his first and only fine jewelry collection from 1932 commissioned by International Diamond Corporation of London.

Closing the House describes the impact of the outbreak of war in 1939 on her personal and professional life. The exhibition continues with Chanel’s Official Return to Fashion on 5th February, 1954, with the reopening of her haute couture house at the age of seventy-one. Chanel’s comeback collection featured the distinctive features she had introduced so successfully during the 1920s and 1930s, representing her updated vision of the modern woman’s wardrobe.

The Suit focuses on Gabrielle Chanel’s defining garment of post-war fashion, with over fifty outfits in a variety of colours displayed on two levels. A statement of her vision of modern femininity, the Chanel suit combined comfort and elegance with simplicity and style. Described by Vogue in 1964 as “the most beautiful uniform in the world”, the Chanel suit, which has since become a timeless classic, remains a fundamental reference in fashion today.

Chanel Codes shows how accessories were fundamental to Chanel’s conception of a harmonious silhouette. The accessories reflected her pragmatic vision of fashion and provided recognizable codes that underlined the unity of her style. Since the 1950s, the Chanel 2.55 bag and two-tone slingback shoes have become two of the most enduring accessories in the fashion world.

Into the Evening presents festive fashion as an important part of Chanel’s haute couture collections in the last stage of her career. From the late 1950s she adapted her suits to include a range that could be worn at night. These cocktail dresses followed the same shape as her day suits, made in a variety of richly decorative fabrics such as gold and silver lamés , textured fabrics, and intricately printed silks. This section takes inspiration from the gold colour palette and black Coromandel lacquer lampshades of Chanel’s own apartment.

Costume Jewellery explores the essential part of Gabrielle Chanel’s distinctive style. Rejecting the conventions of fine jewelry, Chanel gave costume jewelry a new status. From the early 1920s, Chanel boutiques offered a dazzling range of costume jewelry to match its elegant fashion pieces. The designer’s costume jewelry took inspiration from various places and historical periods.

A Timeless Allure represents the end of the exhibition and celebrates the evening dress as an exercise in Chanel style, with looks displayed in a recreation of the iconic mirrored staircase based on the designer’s atelier. Chanel proposed a relaxed version of the formal dress that was discreet and refined, revisiting the foundations that had guided her aesthetic and marked her career. This block shows that, until her last Spring -Summer 1971 collection , Gabrielle Chanel constantly reinterpreted, updated and perfected her rules and principles, continually refining her legendary style.

The Gabrielle Chanel exhibition. Fashion Manifesto will be open to the public until the 25^th February.

Gabrielle Chanel, Trouser suit 1937-38 © CHANEL / Photo: Nicholas Alan Cope / Courtesy of Victoria and Albert Museum, London / Given by Mrs Diana Vreelan

Gratacós has once again set foot on the main Spanish fashion catwalk by starring in some of the most representative looks of the designers who participated in the last edition of Mercedes -Benz Fashion Week Madrid. In each edition we feel admiration and deep respect for the creators who trust us and turn each fabric into a unique and singular creation, adapted to the language and aesthetic codes of each brand. In this latest edition of the Madrid catwalk, we thank Aurelia Gil, Fely Campo, Hannibal Laguna, JC Pajares, Mans, Paloma Suárez, Teté by Odette and Yñesuelves for having placed their trust in us. Below, we reveal a brief summary of the collections for the upcoming Spring -Summer 2024.

Aurelia Gil

Aurelia Gil returned to Mercedes-Benz Fashion Week Madrid for the second consecutive year. On this occasion, the designer from Las Palmas de Gran Canaria presented her new ‘Tiempo’ collection, which represents a milestone in her constant effort to create conscious and sustainable fashion. To understand Aurelia Gil’s work, it is necessary to know her passion for craftsmanship, which can be seen in each of the pieces, the careful selection of fabrics and the ethereal femininity that permeates each silhouette, with an exquisite result in every sense.

If we delve into the new collection, in ‘Tiempo’ there are plenty of relaxed silhouettes and lines, as well as flowers, which on this occasion are presented from the printing of scarves to surprising fabrics such as silks, tulles and cottons. There is also no shortage of crochet elements, embroidery and lurex printed here and there.

Fely Campo

Fely Campo creatively traveled to Cuba to carry out an exercise in hedonism, freedom, opulence, nostalgia and glamour. The collection presented is called ‘Zigurat’ and consists of 25 looks that are impregnated with the Art Deco aesthetic through pure patterns, which are built with the cleanliness and sobriety of the most whimsical buildings in Havana. Silhouettes and geometric cuts are intertwined with fabrics inspired by ornamental language: brocades flooded with 3D visual games with natural and geometric motifs; organic mosaics that contrast with the verticality of the ottoman’s lines and the bolder tweeds. Against the voluminous calm of the taffetas, the sinuous shapes of the moving satins emerge. The colour palette is impregnated with fluorescent tones, lamé and metallic finishes. A landscape of vivid colours on off-white tones that are enveloped and penetrated by ornaments with iridescent shine and glassy reflections.

 

JP Pajares

JP Pajares presented its fourth annual collection on the Madrid catwalk, where summer, winter and timeless garments are combined through designs with artisanal, innovative and environmentally friendly touches. Thus, the ‘ Annual ‘ proposal follows in the wake of the brand’s latest collections with new artisanal luxury and stands out as one of the most special collections thanks to the new collaboration with artisans from Castilla-La Mancha. This union continues to revive and contribute new aesthetic codes to centuries-old techniques that are on the verge of disappearing.

In ‘ Annual ‘, nothing is left to chance and every detail counts: bobbin lace, ceramics, blown glass, hand embroidery, leather, crochet, hand-painted prints and fabrics made on centuries-old looms are intertwined in a collection that consolidates the character, style and brand identity. Innovative and sophisticated patterns, sensual and oversized silhouettes, feathers, pleats and cuts materialize in proposals for both day and night, thanks to fabrics such as wool, silk, silk crepe, cotton, taffeta, denim, tulle, technical fabrics and neoprene, among others. The collection follows a chromatic journey from black to white, passing through earth tones and the brand’s most characteristic solid colours.

Mans

Mans believes in the elegance and sophistication of classic pieces, but offers a broader vision of fashion through collections that are freed from aesthetic limitations, allowing each person to express themselves with freedom, fluidity and confidence. On this occasion, the brand of creative director Jaime Álvarez, which is committed to impeccable and exuberant tailoring, presented its first women’s collection, maintaining the aesthetic codes it uses for the men’s line.

The collection is structured with a first series of women’s tailored garments that includes tuxedo-style jackets and narrow trousers that elongate the female silhouette. Pencil skirts are also included to maintain the sartorial essence of our brand. With shades such as charcoal grey, black and pearl tones for the wide blouses that seem ethereal, a sober collection is created that evolves towards the 60s in terms of pure straight dresses, some above the knee, others of midi length and others . that rub the ground. They all share vibrant colours and varied fabrics such as taffetas, technical fabrics and adorned with sequins with a “crowskin” effect. The Mans women’s collection show culminated with a bride completely embellished and veiled with silk tulle of more than 5 meters.

Odette Alvarez

Teté by Odette , the brand of the Cantabrian designer Odette Álvarez, finds in Venice the perfect inspiration to dress women in the next SS24 season. The influence of the world of cinema, the glamour of the city of bridges and canals, the exuberance of carnivals, love and the designer’s personal experiences are condensed in the ‘Venezia’ collection.

This proposal is characterized by fabrics rich in ornaments and beads, elements and silhouettes that evoke the typical Venetian wardrobe, and a vibrant colour palette that includes aquatic green tones, pink and the classic black and white combination, reinterpreted from a contemporary perspective. As for fabrics and materials, luxurious taffetas, silks and lurex stand out, along with more urban fabrics such as denim or stretch silk knit. In addition, there is no shortage of sequins, crystals and rhinestones, distinctive elements of the brand. The nautical stripe print on linen with micro sequin details is transformed into party and wedding dresses, closing a collection full of symbolism and tradition. It is an emotional collection made up of “garments that are easy to wear and hard to forget.

Paloma Suarez

Paloma Suárez presented her new collection ‘ Glow Up’ for the next summer season, starting from a premise that the Canarian creative frequently addresses: ‘What would you say to your past self?’. With the aim of achieving the best version of herself, the designer, considered one of the great promises of Spanish fashion, has evolved her aesthetic codes, giving them a new interpretation. The proposal represents a reflection on the past to gradually narrate the personal and creative growth of Paloma Suárez that has taken her to the present. The collection highlights the incorporation of soft colours and midi- length garments, maintaining the prominence of the colours and textures that are so characteristic of the brand and that have become its hallmark.

 

Ynes Suelves

Finally, María Osorio and Ynés Suelves , mother and daughter, reflect the magical union between fashion and painting. In its new collection, the brand has explored textiles to the maximum, focusing on the movement of its garments and seeking to transmit emotions through colour. In this collection for next summer, the Spanish brand has opted for a more feminine silhouette than ever and has been characterized by a rich variety of textures. Unlike other occasions, this collection is full of different fabrics and prints.

Pics: Mercedes Benz Fashion Week Madrid

Sorry, this entry is only available in European Spanish.

Portrait of Yayoi Kusama. Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner © YAYOI KUSAMA. Photo: Yusuke Miyazaki.

She is considered a living legend, a revolutionary who has stood out in multiple artistic movements from the 1960s to the present, an admired visual artist capable of connecting art with fashion through her unique universes, full of geometries. Or rather polka dots, her most identifying feature. Yayoi Kusama (Matsumoto, Nagano, 1929), yes the flesh and blood one -and not the hyper-realistic robotic figure that Louis Vuitton made for her in her latest collaboration with the brand- is the absolute protagonist of one of the most visited exhibitions in the Bilbao Guggenheim . Turned into a true global cultural icon, in the last seven decades, Yayoi Kusama has devoted herself to her avant-garde vision with conviction, perfecting her aesthetic vision, which is a faithful reflection of her philosophy of life. As the artist herself usually says: “What does it mean to live a life? I get lost in this thought every time I create a work of art.

This exhibition goes beyond a simple overview of her career. It seeks to focus on the existential questions that drive the creative explorations of the Japanese artist and writer. Through her paintings, drawings, sculptures, installations, and documentary material on her performances, the show offers an in-depth analysis of her practice, from her first drawings as a teenager during World War II to her latest immersive mirror installations.

Organized according to chronological and thematic criteria, Yayoi Kusama : from 1945 to today addresses the six key themes that run through the artist’s life: ‘Infinity’, ‘Accumulation’, ‘Radical Connectivity’, ‘The Biocosmic’, ‘Death’ and ‘ The energy of life’. These interrelated themes appear and evolve within the obsessive universe of Kusama, who has been agitating the art scene and society for decades in favour of the “healing of all humanity”.

Yayoi Kusama. Infinity Mirrored Room – A Wish for Human Happiness Calling from Beyond the Universe, 2020. Mirrors, wood, LED lighting system, metal, acrylic panel. 293.7 × 417 × 417 cm. © YAYOI KUSAMA. Courtesy of Ota Fine Arts.

Some keys to understand Yayoi Kusama

Self portrait

Kusama ‘s work is based on self-affirmation , self-destruction , self-promotion , self-invention , self-referential and self-portrait, even in those creations where the representation of her own image is less explicit. This room brings together some of the paintings and drawings made by Kusama within the genre of the self-portrait, which occupies a prominent place in her production.

This section begins with Self-Portrait (1950), a dark painting in which a flesh-pink sunflower floats above a human mouth, and is one of the first works to be given that title; The space is presided over by her Portrait (2015), in which Kusama arranges some of her characteristic motifs —polka dots, pumpkins, nets and tentacular shapes— in a composition constructed as a collage and dominated by a hieratic figure.

Infinite

Kusama grew up in a seed nursery surrounded by vast fields of flowers. However, in 1957 while flying over the Pacific on her first flight to the US, the sight of the ocean inspired her well-known paintings of Infinity Webs. In this series, the canvases are obsessively covered in tiny arcs painted in one swift gesture, creating an expressionist pattern of interconnected dots and webs. The free brushstroke contrasts with the reiteration of the motif, which makes it impossible to identify the beginning and end of this universe without hierarchies, whose dimensions were expanding within Kusama ‘s production until the public was immersed in the infinity of her installations.

Accumulation

Kusama ‘s art , the concept of accumulation is not simply an obsessive-compulsive tendency, nor an innate desire for repetition, but can be interpreted as a desire for expansion driven by the artist’s need to broaden her creative vision.

After creating the ‘Infinity Nets’, Kusama developed ‘Accumulation’, a series of collages made with reused fragments of paper and soft sculptures in repetitive forms. In these pieces, an everyday object, such as a chair, is transformed by accumulating on it a large number of phallic and tubular shapes of stuffed and sewn fabric, which make the object itself and its function disappear. Little by little, the compulsive desire to multiply these soft shapes led Kusama to expand her vision to the mirrored rooms of infinity, which she began in 1965, and to the silver or patterned fabrics she made during the 1970s and 1980s, such as ‘Accumulation de manos’, where a sofa and chairs are covered in hundreds of silver gloves

Yayoi Kusama. Self-Obliteration (Auto-obliteración), 1966–1974. Painting on mannequins, table, chairs, wigs, handbag, cups, plates, ashtray, pitcher, plastic plants, plastic flowers, plastic fruits. Variable dimensions. M+, Hong Kong. © YAYOI KUSAMA

Radical connectivity

In the late 1960s, the struggle for civil rights and the war in Vietnam generated a counterculture atmosphere in which Kusama developed a practice centered on public action and performance. The artist denounces race and gender stereotypes, criticizes the warmongering US policy and attracts the attention of the media with her provocative happenings, especially those featuring naked bodies covered with polka dots, which are acts of “self-obliteration”.

Kusama ‘s philosophy , which represents the liberation of the self as a form of group healing and deeply connects people, especially those who live on the margins of society. The Japanese artist uses the power of the media to spread her philosophy and intensify her visibility and notoriety.

Biocosmic

Where does your obsession with polka dots come from? Yayoi Kusama gives us the answer: “Our earth is just a mole among the millions of stars in the cosmos. Polka dots are a path to infinity. We erase nature and our bodies with polka dots, we integrate into the unity of our environment.”

Her childhood near her family’s plant nursery made the Japanese artist feel a deep bond with organic life, which the artist considers to be connected to the dimension and space of the cosmos. ‘Lo Biocósmico ‘ expresses her belief that the earthly and the heavenly are the same. As a child, she begins to observe the anatomy of plants, their life cycles, and the union between heaven and earth. Perhaps the most consistent image of the biocosmic in her work is that of her distinctive gourds, with whimsically undulating and mottled surfaces, which Kusama identifies as a benevolent plant spirit and reflection of her own soul. Her stance towards nature illustrates how Kusama expresses her alienation from the world and her expansive need to commune with the cosmos.

Yayoi Kusama. Pumpkins, 1998–2000. Mixed media. 6 pieces, variable dimensions. © YAYOI KUSAMA

Death

““What death means, its colours and its special beauty, the stillness of its footsteps and the ‘nothing’ after death. Now I am in a phase in which I create art for the rest of my soul, accepting all this”, says Kusama at the exhibition at the Guggenheim in Bilbao.

Kusama ‘s work is constantly on the threshold between life and death. A childhood surrounded by the ephemeral existence of plants in the family nursery, adolescence marked by the war and its consequences, and especially the death of her father and her close friend Joseph Cornell in the mid-seventies, led the artist to consider that death is not the end point, but another phase of existence that can give rise to a new one. Sometimes in her creative struggle and in despair, Kusama yearns to be free of what she describes as the “languorous weight of life.” However, through her artistic and literary practice, she transforms that desire into a kind of therapeutic fantasy, into a spiritual reward in the “solemn beauty” of death and in the loss of the ego as a return to eternity.

The force of live

Kusama ‘s art and psyche underwent a major change. With the arrival of the long-awaited and well-deserved public recognition, both from her international exhibitions and from her publications, praised in avant-garde literary circles, the healing power of art and the celebration of life become the central themes of her production. As she stated in 1999, Kusama came to believe that her role was to transform her suffering through art “for the healing of all humanity.” In the new millennium, the Japanese artist wants to amplify this message. For this reason, the colourful paintings and sculptures from one of her latest series, My Eternal Soul (2009–) and I Pray Every Day for Love (2021–today), perhaps represent the culmination of this commitment

The exhibition “Yayoi Kusama : from 1945 to today” will remain open to the public until October 8.

Neus Bermejo in an aquamarine dress by designer Mariano Moreno. Photo: Courtesy of Mariano Moreno

No one doubts that the colour of the year is Barbie pink, a more striking transformation of the Millennial pink we’ve been seeing in the past decade. It resembles bubblegum pink or plastic pink, all of which have more artificial undertones. However, beyond the fuchsia and soft pink that dominate the Barbiecore trend, other colours are emerging this season. One of them is aqua green, which captivates with its discreet charm and its calming and refreshing nature.

Aqua green, also known as blue-green or aquamarine, immerses us in the fascinating transparent, warm and shallow waters, evoking emotions and transmitting subtle messages associated with summer. Paradisiacal tropical beaches, lagoons surrounded by nature and river beds with crystal clear waters are some of the images that come to mind when contemplating this pure tonality. It is perfect for the summer, since it is closely linked to the sea and nature.

The name makes the thing

This colour gets its name from the gemstone that represents it, aquamarine. A gem characterized by its beautiful light bluish-green hue. The term “aquamarine” comes from the Latin “aqua marina”, which means “sea water” to poetically evoke the sparkles and transparency of water.

Since ancient times, the colour aquamarine has been appreciated for its beauty and its connection to aquatic nature. The ancient Romans attributed protective and healing powers to this stone. Also, in the Christian tradition, aquamarine was associated with purity and innocence. Over the centuries, it has been used in jewelry, especially gemstones, but also in ceramics and ornamentation in different cultures, from the ancient Egyptians to the Native Americans.

Psychological and sensory properties

On a sensory level, aquamarine is a refreshing and calming hue for the eyes. It has a luminous, translucent quality that evokes feelings of serenity and freshness. Not surprisingly, this hue is associated with peace, clarity of mind, and harmony—valuable traits in fashion, advertising, and interior design when seeking to create a serene and welcoming environment. Also, their presence can stimulate creativity and promote a sense of relaxation.

This colour is also attributed qualities that encourage emotional openness and the ability to express yourself. Its soft and luminous hue makes it a popular choice for those who want to convey a fresh, sophisticated and elegant image. In addition, it is related to youth, since its shades instill confidence and magic, making people feel renewed both inside and out, with positive energy.

A notable example of a brand that has embraced aquamarine in its identity is Tiffany&Co. Its iconic shade of aquamarine blue is used in its packaging and presentation, providing a duality between elegance and carefree freshness. Likewise, the renowned sportswear brand Nike has incorporated the aquamarine color into its latest collections of sports footwear and clothing, providing a fresh and energetic look to its products.

Without being essential, it stands out

Let’s not fool ourselves. It’s true that aquamarine hasn’t been a front row colour on the fashion catwalks, at least until now. It is not usually the favourite of the designers and it is not abundant in the collections, since its relaxing nature is incompatible with the frenetic rhythms of the industry. However, it is true that aquamarine is more easily found in spring-summer collections, since it refers to crystal clear waters on sunny days and evokes paradisiacal destinations. In addition, it favours the tanning of the skin as it is a soft tone that gives it prominence.

Despite this, renowned designers have embraced aquamarine in their creations. For example, the Italian designer Roberto Cavalli has used this colour in his prints and haute couture designs, adding a touch of sophistication and freshness. Brands like Versace, Gucci and Carolina Herrera have also incorporated aquamarine into their collections, both in clothing and accessories.

This summer, through the mermaidcore trend, aquamarine has gained more presence. In this sense, the colour of the crystalline waters has been shown in total looks that Max Mara has explored with designs such as retro-style swimsuits, including hats. Fendi has also opted for this hue, combining pants with printed tank tops. For its part, Armani has presented a more subtle proposal, with a strapless dress combined with trousers.

Although aquamarine may not be the usual star in fashion, we cannot deny its charm and versatility. Its presence in the collections of renowned designers and its association with freshness and sophistication make it an attractive and elegant colour.

From Gratacós, we join the charm of the aquamarine colour. In our online store, we offer a selection of seasonal fabrics dyed with this refreshing colour, which brings vitality and sophistication. When we enjoy our well-deserved vacation, we will see life with a touch of aquamarine colour.

Pics: The 2nd Skin y Max Mara

The Little Mermaid is all the rage, pardon the Barbie doll and her barbicore style. And not only its long-awaited remake, released on May 26 in theatres, has won a legion of fans among both children and adults. Now, the aesthetics of these mythological creatures have also seduced the fashion industry, which surprises with the most popular trend of the summer: the mermaidcore with designs that transport us to the depths of the ocean.

The catwalks speak

Fashion’s interest in reflecting the fascinating underwater world is not new. In fact, French designer Marcel Rochas is credited with creating the mermaid silhouette in the 1930s, which was later popularized in fashion circles by Jean Patou. His dress inspired by the aquatic world was published in an edition of Vogue magazine in 1933. Since then, the mermaid style has evolved in various ways and today, designers such as Bottega Veneta or Bluemarine have reinterpreted the image of this mythological creature offering their own vision with clothes that move between the sophistication and the casual.

Investigating more into the current collections we see that the big brands continue to explore the collective imagination of mermaids. For example, for her Resort 2023 collection, Alberta Ferretti gave a very marked nod to these marine creatures by closing her collection with evening outfits full of iridescent blue sequins. In a similar line, Gucci also revealed a striking sparkly dress in green tones and a flowing silhouette, which already predicted the new rise of the trend. Or Tom Ford with a festive collection full of sequins and colours of the sea, like the cut-out design in silver and green that Gigi Hadid wore in a style with curly hair.

The curious thing is that everything suggests that the mermaidcore trend is going to extend throughout 2023 until it permeates the next seasons. Far from being forgotten, in autumn, clothes with the effect of scales and skirts in the shape of a mermaid tail also mark the design of Bottega Veneta. As well as Roberto Cavalli ‘s evening gowns, whose catwalk models sported wavy hairstyles with a subtle wet look and smoky eye makeup. And in 2024, the Resort collections continue to rescue this aquatic environment, as has already been seen in Louis Vuitton with sequined skirts that create optical illusions.

Mermaid designs made in Spain

This global trend also influences Spanish designers. Many of them have proposed creations that are inspired by the shapes of the marine world and follow this mermaidcore aesthetic code. In the last edition of 080 Barcelona Fashion, Anel Yaos presented a collection of an intimate nature that plunges into the seabed to present its hallmarks, marked by romanticism, fantasy and the naïve in pieces of clothing that do not distinguish genders. “Beings without names or appearance, intangible creatures, aquatic myths have been with me since I was a child, arousing in me feelings that range from tranquility to fear, and remind me that I am not alone,” he said backstage at the Catalan catwalk. The ‘Deep 23’ proposal reflects the fluidity of light fabrics such as silk, chiffon and cotton, contrasting with the forcefulness of velvet and neoprene, through a fascinating combination of prints and colours that fit harmoniously with each other.

The Sevillian designer investigates new materials such as latex and towels, and continues focusing on upcycling of bedspreads, vintage buttons and elements that evoke the ocean, such as fishing nets and shells. Furthermore, ruffles, 3D flowers and lace overlays take centre stage. The colour palette of the proposal flows between pastel tones and other more intense ones, such as moss green and black.

Another brand that explores sensuality with feminine proposals loaded with transparencies, sequins, iridescence and lace is Eiko Ai, led by the Barcelona designer Glò Lladó. The firm immerses itself in dreamlike proposals that are inspired by the ephemeral beauty of natural landscapes. According to Lladó, “on this occasion her inspiration lies in the movement of water and marine fauna, such as jellyfish”. With her ‘Underwater Life’ collection, Eiko Ai seeks to establish a connection with aquatic nature through elements such as plants, animals and other organisms, as well as fantastic beings that inhabit the oceans.

To achieve this, the Barcelona firm uses transparencies that allow light to pass through, soft satins in bright tones, ruffles, volumes and vaporous and ethereal fabrics that capture the movement of the waves of the sea. In addition, the pearly tones present in her garments emulate the scales of mermaids, thus completing the marine inspiration of her collection.

Following the latest trends closely, the large fashion distributors have not wanted to miss the opportunity to keep the aesthetics of these fascinating marine creatures on the crest of the wave. Zara kicked off the new season with an editorial dedicated to modern mermaids, presenting garments that have been best sellers. Among the proposals are sequined tops, satin skirts and a silver dress that enhances the feminine silhouette. In the middle of the sales season, the Inditex flagship continues to bet on mesh fabrics with small jewel inlays and sequins of different sizes in blue and metallic tones.

At Gratacós we also have an assortment of shiny fabrics that could follow the percepts of the mermaidcore trend. Find our most premium sequins here with different sizes, shapes and spectacular multicolour designs.

Protrait of Josep Font by Javier Biosca. Museo Cristóbal Balenciaga

Josep Font has everything to be a fashion legend -a category that places him in the firmament of needlework stars whose legacy endures over the centuries-. Talented, dreamy, perfectionist and discreet. Unattainable image, architectural soul and persistent work. After spending five years away from the media spotlight once he abandoned the creative direction of DelPozo, a firm that relocated its foundations to relaunch it to international stardom, the Catalan dressmaker is once again in the spotlight. Of course, maintaining its enigmatic aura. It is already known that Josep Font does not like to feed his ego by hitting the headlines.

Now, the Cristóbal Balenciaga Museum dedicates the first retrospective to Josep Font. It will be the first focused on a creative beyond the Getaria maestro in a new cycle that the institution is preparing to show the world how Balenciaga’s talent has influenced the work of international creators on a global level.

The exhibition ‘Josep Font. Beauty and restlessness’, is a production of the Cristóbal Balenciaga Museum, and curated by Josep Casamartina i Parasols – director of the Antoni de Montpalau Foundation , in close collaboration with the creator in which they have worked hand in hand for more than a year so that the result was sophisticated but fleeting, without a millimetre of margin of error and paying homage to the silent luxury that the Catalan creator knows how to print so well in his designs.

And why does Josep Font converse with Cristóbal Balenciaga in the same space? This union was proposed because the look of the Catalan designer towards the Basque couturier has not been mimetic but a very personal interpretation based on the study of the volume treated autonomously and independently of the female anatomy, achieving a sublimated and silent sensuality, as well as Balenciaga understood. Simultaneously, Josep Font achieved great technical perfection and in the simple and at the same time forceful treatment of the fabrics, in the architectural construction and in the use of exquisite embroideries, he is also close to the legacy of the master from Getaria. Perhaps like no other contemporary Spanish designer, Font fits in with Balenciaga’s famous concept: “a couturier must be an architect of form, a painter for colour, a musician for harmony and a philosopher for measure”.

Beauty and restlessness

The name does the thing. The exhibition is articulated through a constant premise throughout the career of Josep Font: “behind beauty there is always restlessness”. The Catalan designer believes that beauty, in all its splendor, produces restlessness and even uneasiness, but perhaps for this reason it also generates the energy to continue reaching for it without stopping. The architectural construction, the combination of volumes and the ornamentation of the fabrics are hallmarks of his work. Without forgetting his incessant search for a very personal and constantly evolving feminine ideal, far from stridency and provocations. Josep Font’s style is elegant, refined, but also hypersensitive and ethereal. Based on this idea, the exhibition proposes an agile aesthetic discourse that chronologically reviews the 30-year career, from the beginnings on the catwalks of Gaudí and Cibeles through the fashion shows in Paris, haute couture and finally at the head of Delpozo, the pinnacle of his career. It is made up of 54 pieces of clothing, including coats, street, cocktail, night and bridal outfits; from the Fundació Antoni de Montpalau -which has the main collection of pieces by the Catalan designer- and from various private Spanish and North American collections. The set also brings together some accessories from the two brands, such as shoes, perfumes and headdresses. Beyond the creations, the tour includes emblematic photographs by Joseph Hunwick , Javier Biosca and Ernesto Artillo , as well as an interview with the creator by the Victoria & Albert Museum in London.

Dress Delpozo. Pic: Alex Iturralde. Museo Cristóbal Balenciaga

This anthology especially embraces the work of Font carried out in the first two decades of the 21st century and is structured through three major key periods:

From the beginnings to the consolidation

Josep Font (Santa Perpètua de Mogoda, 1965) studied Architecture at the Polytechnic University of Catalonia and graduated in Fashion Design from the Escola de Disseny i Moda Felicidad Duce, in Barcelona. At the age of 21, he won the Air France Mode Prix award and exhibited at Les Arts Décoratifs . The young designer consolidated his own brand with Luz Díaz in 1987, although they had already enjoyed good recognition in the fashion world for years. Together they created their own language. An aesthetic of sober, austere and refined colours. His inspiration was born from everyday popular clothing, with the use of natural materials, silk, wool and cotton, and a studied and severe pattern. However, in 1995, Font decided to pursue his solo career and at the end of this decade he evolved into a magical and hypersensitive world, with broader colours, luxurious and refined fabrics, spectacular and daring embroideries. This turn in design allowed it to achieve international success in the early 2000s. Years of expansion, awards, shops and parades arrived in Madrid, Barcelona and Tokyo. An ascending process that culminated in three prêt-à-porter collections presented in Paris and four other haute couture collections that were absolutely successful in the French capital.

Delpozo ‘s relaunch

There was a bump in this rise to the top: Josep Font lost his own label in 2011, although for a year, the talented creator began designing anonymously for other firms. However, one offer particularly excited him: the commission to remodel and relaunch the firm of the late Madrid designer Jesús del Pozo. Font re-founded the pillars of the brand with a new name – it would be called DelPozo – and an updated structure and workshops in Madrid, Miami, London, Moscow and Dubai . In the new DelPozo collections , it was appreciated what Josep Font had started in haute couture and would create a new line called impeccable prêt -à- couture , with a rigorous technique and exquisite finishes. Very Josep Font style.

Maturity and international recognition

Josep Font reached his zenith in his stage for Delpozo. Between 2012-2018 he created 19 collections and it is in this full production that the influence of Cristóbal Balenciaga will be most evident. In Delpozo, the Catalan designer will reach his maturity and maximum recognition worldwide through the collections he presented in Madrid, New York, Paris and London, and placed the brand among the favorites of the red carpet and celebrities such as Care Blanchett, Julianne Moore, Keira Knightley or Zendaya , creating trends and marking a milestone in the world of fashion. In fact, Josep Font became the first Spanish designer invited by Anna Wintour to the Met Gala . An anniversary that shows the deep admiration felt by the main fashion gurus for the work of this prodigy with the needle.

Little is told about the last stage of Josep Font. He abruptly left Delpozo when he “fell out of love with the project.” Just like Balenciaga did in 1968, who preferred to leave everything when he saw that his idea of design had nothing to do with the democratization of fashion at the time-if he raised his head right now, we don’t know what he would think of his own brand-. Until then, Josep Font has continued working from the most absolute anonymity and time will tell if he will return to the media spotlight with a new resurgence of himself. Now for the moment, his applauded talent comes to light again in this fantastic exhibition that can be visited until January 7, 2024 at the Cristóbal Balenciaga Museum. A magnificent alliance between fashion, architecture, coherence and integrity.

Exhibition ‘Josep Font. Beauty and restlessness’ Pics: Ernest Artillo y Alex Iturralde. Museo Cristóbal Balenciaga

Sorry, this entry is only available in European Spanish.

Rahul Mishra’s design from the collection “The Dawn.” Photo: Facebook

Inspiration always comes from the most unexpected places, especially in the demanding world of fashion, which is always looking for new things to surprise its consumers with. For some time now, there has been a new object of desire that generates fascination and repulsion in equal parts: mold. Yes, you read that right. Mold, that type of microscopic fungus that helps nature break down dead organic matter, is all the rage for a number of reasons.

This statement is not surprising, because in general, the world of mushrooms seduces with its imperfect aesthetics. It does so through organic forms and natural reliefs that inspire artists and creators. It also connects with a dreamlike and fantastic universe that we carry in the subconscious and that can be revealed in the form of adventures in the forest, as can be seen in books like ‘Alice in Wonderland’ or movies like Disney’s ‘Fantasy’. Mushrooms also refer to the psychedelic fever of the 1960s and 1970s, with their hallucinogenic properties that were transmitted in colourful universes that permeated everything from fashion to music and painting.

Finally, the world of mushrooms also has a sustainable dimension. Thanks to their amazing properties and exceptional versatility, mushrooms have transformed the world of fashion by offering a more conscious and environmentally friendly alternative. We analyze each aspect below:

Rahul Mishra’s design inspired by mushrooms from the collection “The Dawn.” Photo: Facebook.

Imperfect beauty

It’s self-evident: mold, at first glance, can seem repulsive and unsightly. However, fashion designers have found in this unattractive organism a hidden beauty that manifests itself in its pastel colours, its organic reliefs and its unusual textures. These unusual and unique attributes endow you with a certain aesthetic uniqueness and, therefore, a greater ability to challenge traditional canons of beauty. In a world that seeks perfection, the beauty found in the abstraction of mold becomes a bold and liberating statement, instantly captivating because it connects with nature and the processes of life in an organism that questions and explores ideas about what it is beautiful and good, and tries to reconcile us with imperfection.

An architectural design by Iris Van Herpen. Photo: Facebook

In the crosshairs of avant-garde designers

Fashion designers have embraced the innovative aesthetic of fungal materials, creating cutting-edge pieces that push the limits of creativity. Thus, the abstract patterns and irregular, velvety patches of mold have been translated into striking prints and embroidery on garments. Various designers have experimented with dyeing and printing techniques to create mold-like effects in their collections. In addition, the organic shapes of the mold have influenced the silhouettes and cuts of the garments, providing a sensation of fluidity and movement.

For example, Iris van Herpen has explored mold reliefs in her creations on numerous occasions, as well as the underground network and connections of fungi. Her experimental designs often feature three-dimensional structures that mimic the unique shapes and textures of these small, highly regenerative organisms.

For his part, Rahul Mishra also stands out for his sustainable approach and his use of artisan techniques. In his collections, the Indian designer has incorporated embroidery and appliqués that evoke mold relief, creating interesting visual effects and surprising textures. Known for his edgy aesthetic, Alexander McQueen has explored the world of mold in his iconic “Plato’s Atlantis” collection. The organic reliefs of the mold were translated into prints and textures on her garments, providing a sense of mystery and surrealism. Gareth Pugh has also turned to mold for inspiration, creating garments with volumes and textures that evoke his distinctive aesthetic. In addition, the French designer Marine Serre has incorporated mold into patterns and textures in garments with a futuristic and avant-garde aesthetic.

The artist Dasha Plesen works with microbiology. Photo:Facebook

Applications in the beauty industry

In the beauty industry, which is always on the lookout for new trends, mushrooms have also emerged as a powerful source of inspiration and have, in turn, become active elements in beauty products, thanks to their incredible versatility and skin benefits.

Cosmetics has been one of the fields most impacted by the incursion of fungi. These organisms have moisturizing, antioxidant, anti-inflammatory, and regenerative properties, making them star ingredients in skin care products. Mushrooms, such as reishi, shiitake, and cordyceps, are used in serums, creams, and masks to provide noticeable benefits, including improving skin elasticity, reducing signs of aging, and promoting a radiant complexion.

In addition to their benefits for the skin, mushrooms have also made their mark in the world of perfumery. Some species, such as truffles and mushrooms, have characteristic and sophisticated aromas that have been used to create distinctive notes in perfumes and fragrances. These fungal ingredients bring a unique, earthy dimension to olfactory compositions, adding a sense of mystery and elegance to scented products.

The influence of these tiny living organisms has also extended into the world of creative makeup, where designers and brands have found inspiration in the hues and textures found in nature’s mushrooms. Eyeshadow palettes inspired by warm, earthy tones, nail polishes that mimic the subtle colours of wild variants, and makeup products with velvety textures that resemble mold reliefs are the order of the day.

An artistic creation by the pastry company Frostedhag. Foto: Facebook

A sustainable revolution

Mushrooms offer an ethical and sustainable alternative to animal leather, as they can be grown under controlled conditions and without harming the animals. Being a renewable and biodegradable source, materials of fungal origin reduce the environmental footprint of fashion, without sacrificing luxury or quality. Materials derived from mushrooms possess unique properties that make them ideal for use in clothing. The mycelium, the fungus’ network of filaments, can be grown and manipulated to create a variety of textures, densities, and colours. Additionally, these materials are lightweight, flexible, waterproof, and breathable, making them a versatile and comfortable option for garments, accessories such as bags, and footwear.

One of the pioneers in introducing the fungal world into her creations has been Stella McCartney, who has incorporated a bag made with Mylo, a leather-like material made from mushroom roots. Later, she launched a sports outfit made from this material. But it was not the only one. Firms such as Adidas or Hermès have also begun to use biodegradable materials made with fungi that are transformed into sustainable fabrics, standing out for their softness and flexibility, offering a more conscious and environmentally friendly alternative. In addition, the ability of fungi to degrade naturally at the end of their useful life contributes to closing the materials cycle and reducing environmental impact.

For all these reasons, the mushroom revolution has only just begun and these organisms are part of the sustainable change that is taking place throughout the world of fashion. As the sector moves towards a more ethical and environmentally friendly industry, mushrooms are making a lasting mark as an innovative and promising alternative.