Sorry, this entry is only available in European Spanish.

Fely Campo. Spring-Summer 2023. Pic: Gus Geijo

Gratacós has shone with its own light at the Great Spanish Fashion Week by stepping on the Mercedes-Benz Fashion Week Madrid catwalk, held in mid-September. Evidently, this has ocurred so indirectly through designers who are regular users of our and who have once again trusted in our know-how to create the magnificent collections for the coming summer season. In this edition we want to especially mention the collaboration that our family business has made with the designer Fely Campo in an urban and sensual SS23 proposal, where luxury is appreciated in every detail. Not only the creator from Salamanca has relied on Gratacós fabrics to devise works of art in movement. Other designers have also supported us, such as Álvaro Calafat, Aurelia Gil, Duyos, JC Pajares, Isabel Sanchís, Malne, Maison Mesa, Odette, Pilar Dalbat and Redondo Brand. To follow, we expose some details of each collection and also more details of the exhibited looks.

Fely Campo

Fely Campo understands fashion as “a tireless search for beauty”. A language that moves perseveringly and in which the designer from Salamanca finds the balance between the silence and the noise of our current way of life. Under this inspiration, the creator transmits in ‘Nagore’ an idea of sensuality that aligns with the frenetic urban rhythm of cities like Madrid, Tokyo or New York. Surprising cities in full vibration with which Campo alludes to notions such as the maelstrom, vibration and drive, but also evokes other values such as stillness, subtlety and desire, through fabrics, patterns and silhouettes that want to participate in this urban bustle.

Thus, ‘Nagore’ is a luxury prêt-à-porter collection with which Fely Campo wants to represent the movement of our current rhythm of life. To do this, the designer, who has been dressing women from all over the world for more than 40 years, creates a contemporary image based on the concept of fluidity with ductile and versatile garments that reflect the feelings of today’s woman who is looking for Spanish author fashion aware of the need to consume sustainable fashion. Following her elegant and sober style, Fely Campo clings to an excellent pattern design with silhouettes that love subtlety, fabrics that become vulnerable to movement, exuberant floral prints and in a rich colour palette that ranges from neutrals: whites, light grays and black, to the radiant shades of fuchsia, orange and red with metallic nuances. The designer’s SS23 proposal is, above all, an explosion of feminine beauty in full motion.

Álvaro Calafat

Álvaro Calafat debuts on the Spanish catwalk with a new emotional collection where art and architecture merge with fashion. His third proposal is a heartfelt tribute to the death of one of the young designer’s best friends from Malaga. To talk about death, but also about its connection with life, love and sex, Calafat takes those present to the Khajuraho temple in India and does so through a free and creative interpretation of patterns, 3D structures, volumes and minute details. The silhouettes become daring, the fabrics combine rigidity with lightness and some surreal elements characteristic of her irreverent style do not go unnoticed.

Aurelia Gil

Aurelia Gil pays tribute to the trajectory of her brand, which turns 20 in 2023, through a timeless proposal that is a declaration of intent. Thus, ‘3 6 5’ represents a single collection a year made up of garments that fit together and work at any time of the day, in order to take another step towards sustainability.

The Canarian firm’s collection is made up of a large selection of the brand’s iconic garments that have been revised and updated through design and the use of new materials, such as Lycra yarn for crochet pieces. Gil is also committed to colour contrast and the mixture of fabrics. ‘3 6 5’ also has the added vision provided by Canarian artisans who have created the accessories that accompany the collection to reaffirm the values of tradition, craftsmanship and trade.

Duyos

With its own recognizable style, Duyos finds the inspiration for the next SS23 collection in Estonia through a sensory journey through its stunning nature, its crafts and tradition, and even its gastronomy. To translate experiences into fashion, the designer from Madrid allies himself with cotton jacquards, embroidery, organza, silk and tulle, which he uses to illustrate the floral explosion of early summer, but also other elements of native landscapes. Forest greens, luminous pinks, floral purples, evocative golds… which, subtly combined, represent the colourful energy of the country.
In the new Juan Duyos collection, his usual stylistic traits are not lacking either: overlapping garments, play on volumes and a mixture of motifs and textures that represent the playful but functional spirit based on handcrafted sewing.

Isabel Sanchis

Isabel Sanchis has celebrated 30 years in fashion while keeping its credentials intact. The objective of the Valencian designer, who borders on excellence in needlework, has always been to magnify the femininity of contemporary women by working with care on the chosen materials and fabrics, with exclusive embroideries, strategic volumes and very precise pattern making.

The next collection for summer 2023 represents a very personal collection based on signature elements, flowers and volume. To do this, Isabel Sanchís interprets flowers in different ways, maintaining elegant and extremely feminine designs. The proposal is eclectic, it represents the diversity in today’s society, and there are pieces that start from laser-cut neoprene, passing through lighter pieces of organza or chiffon, with other sewn garments with volumes made with recycled liquid satin and feathers. The colours used are striking, where red, pink and green predominate, giving strength to the pieces in this collection for a woman of 2023.

JCPAJARES

JCPAJARES reaffirms its commitment to fashion without seasonality with its ‘Annual 22 23’ proposal. It represents the third annual collection where summer, winter and timeless garments come together through innovative, conscious and environmentally friendly designs.

‘ANNUAL 22-23’ becomes the firm’s most special collection thanks to the collaboration with master craftsmen. A union that revives and provides new aesthetic codes to centuries-old techniques that are about to disappear. Ceramics, blown glass, hand embroidery, wicker, fabrics made on century-old looms navigate through a collection that strengthens the character, style and stamp of the young designer’s signature. Also noteworthy are the innovative and sophisticated patterns, the sexy silhouettes combined with other oversize, the strategic gathers and the unexpected openings that materialize thanks to wool cloths, organza and silk dots, crepes and neoprene, among others.

Malne

Paloma Álvarez and Juanjo Mánez, the design tandem that hides behind the firm, is inspired by the symbolism of birth to present a dazzling collection in every way that is set in a hostile environment such as the desert. In ‘Birth’, Malne reflects on a process of transformation in a positive light: the end of an era, and the birth of new ethical paradigms and ways of life, in which nature is part of the beauty of that necessary mutation.
To take it to the field of fashion, Malne uses bright fabrics that reflect the sun’s rays on the sand and shades characteristic of the desert landscape such as sand tones or night blues. The silhouettes are daring without neglecting the sophistication that characterizes the Spanish brand.

Maison Mesa

The controversial figure of Elagabalus, Roman emperor of the 3rd century AD, inspires the new summer collection of Meson Mesa. An irreverent emperor, who breaks with the gender schemes, with established sexuality and with the power systems, who grants women the political power destined exclusively for men. Under this influence, femininity, desire and power are the central elements around which all the garments revolve, a story about feminine power without ties.

On the catwalk, Juan Mesa’s firm that mixes tradition and avant-garde, exhibits geometric pieces that generate volumes and drapes according to their construction structure. Also evening dresses along with day pieces such as sweatshirts, shirts or jackets, all united under the influence of the sun god Helios, which reflect its light with nuances and sparkles, with its colour or with embroidery and applications. The colour palette is bright and ranges from white to yellow, passing through celestial blue and gold, dusty greens and nuanced pinks against their more intense versions.

If we talk about fabrics, the new collection mixes classic materials with more contemporary and innovative ones, cotton voile, organdy, satin, mikado, silk muslin and crepes with metal fabrics, shiny and lurex finishes in Jacquard or knit, going through metallic or translucent sequins and others that create camouflage military embroidery. Fabrics that reflect light with their shine also predominate, with lurex, with satin weaves, fringed fabrics that add shine and movement, even fabrics that change their colour after continuous exposure to sunlight. In short, Helios is present from the concept to its textile manifestation.

Pilar Dalbat

Pilar Torrecillas, creative director of the brand, is inspired by the heritage monuments of her native Granada to present a harmonious collection that pays homage to native architecture.

On the catwalk, Pilar Dalbat composes 32 looks that combine linen gazar fabrics with tulle, pleats and taffetas creating new silhouettes full of transparencies. Metallic fabrics, present in the designs of each collection, also appear again this time in different textures. Evening garments are characterized by brightness, transparencies and pleats. Dresses, waistcoats and skirts that, accompanied by methacrylate embroidery and glass beads, combine with silky and neoprene tops. Lime green in taffetas, crepes and fantasy gives way to versatile and flowing garments.

In this new collection, Pilar reaffirms once again a way of making slow fashion collections, defending author fashion made in Spain.

Odette

The prêt-à-porter brand Teté by Odette presents a proposal inspired by the self-confident woman who wants to shine and who invests in completely handmade pieces made in Spain. Thus, the ‘Selena’ collection gathers the profile of its consumers with tailor-made looks for them. On the catwalk, the designer Odette Álvarez changes some patterns, now advocating femininity in a more subtle and simple way. Therefore, the silhouettes become minimalist and the fabrics caress the body creating fluid and sensual shapes.

The fabrics rich in crystal details, fringes, beads, plates and sequins, and the colours that flow between gold and silver, resounding fuchsia, white and black are the axis of this proposal inspired by the lights and shadows of the landscape. mole.

Brown. Right from the start it sounds ugly and unpleasant, it triggers some ridicule and in general, it represents an underappreciated colour: Only 1% of people admit to having it as a favorite, being the hue that generates the most rejection among the population. On a psychological level, brown has negative connotations because it is associated with the old and outdated, poverty, dirt or everyday life. The ordinary is represented in brown. The discreet also because brown, being the mixture of primary colours, goes unnoticed. These mental associations are related to the history of clothing and the use that was given to this underestimated colour in art. Despite this, brown also has a luminous underside: it represents the earth and is present in nature, through flora and fauna. In design and decoration, brown is highly appreciated because it refers to warmth, recollection and well-being. The rustic environments, with a great presence of wood, leather and mud and clay, are in brown tones. Below, we explain some curiosities about this reserved shade that is essential in autumn, the season that we psychologically associate with brown.

The origin of brown

Brown has always been there, and it abounds all around us. These tones are very common in nature: the bark of trees, the skin and hair of animals, clay soil, arid soils, mud flows… Brown represents mother earth, where it emanates with all its force. , its nature, and, therefore, life and death. Maturity is brown, so in autumn, this colour shines in all its intensity. The flowers lose their youth and the leaves gradually turn this shade to announce the end of their cycle.

Etymologically, the name of the colour is a Gallicism. It refers to “marron” which means chestnut in French. This word was introduced in the mid-nineteenth century to designate what was previously known as chestnut. The acceptance and use of the term among the population was so great that it was introduced into the normative dictionary in 1927. Therefore, not even a century has passed since our language has accepted the word brown to designate the brown or brown colour. Despite this, today we continue to use the old adjective to name hair and hair that is neither blonde nor brown.

The colour of humility and poverty

Historically, brown has always been an abundant colour, easy to produce and in many cases, represented undyed fabrics through elaborate pieces of flock and hair of goat, deer and hare spun with raw and brownish flax and hemp. Therefore, the brown clothing was the original and did not need any added treatment. Since Classical Greece and practically up until the end of the 18th century, pieces of clothing in bright colours such as red, ultramarine blue, green or golden yellow were status symbols -they were expensive colours to produce- and were reserved for women. privileged classes. The undyed garments clearly showed an inferior status and for this reason, the popular classes used them frequently, with brown being the colour associated with simplicity, humility and poverty. For example, in Ancient Rome, brown clothing was associated with the poor or the barbarians – those peoples who did not master the dyeing arts. The term used to address the commoners was “pullati”, which literally means those dressed in brown. In the Middle Ages, brown was considered the ugliest colour on the spectrum because it was the colour worn by peasants, serfs, servants, and beggars. It also represented an abundant, ordinary and vulgar colour, values opposed to the opulence of the nobility. Therefore, brown was seen as a worldly colour, associated with the crowd, the mob and why not, with dirt. Feces, mud and bitumen are brown and frequently surrounded the plebs.

If brown also represented a symbol of humility, it was not surprising that the first Christian monks used this colour to preach a simple life, away from all kinds of luxuries. When the colours for the different orders were established, the brown and gray colours dressed the monks who took a vow of “maximum poverty” such as the Franciscans known for their brown robes as a symbol of Christian humility.

Brown was also, for centuries, the colour of mourning for the poor because black-dyed fabrics were inaccessible to the most popular classes.

A change of conception

The aesthetic ideal of vibrant colours lasted as long as the cost of luminous tints remained high. This paradigm began to change from the eighteenth century when it was possible to dye pure colours for the first time (red, blue and green were the most valued) at reasonable prices. This fact changed the value system: pure colours were then considered simple, and the dyer’s art was transformed into the art of mixing dyes. From there arose, in the rococo era, the predilection for pastel colours, and the introduction of chestnut as a fashionable colour among the nobility. To obtain the coveted brown, they were dyed several times with different colours, one after the other, to obtain a more varied tone. For example, Louis XVI had a predilection for flea colours (he called them coleurs de puce ) with very varied nuances: old flea, young flea, flea back, flea head, flea leg… All would refer to a type of brown distinct.

Goethe, on the other hand, considered pure colours to be negligible, since they were difficult to combine in the clothing of sophisticated people: “The use of solid colours undoubtedly has many limitations; On the other hand, colours such as dirty, dead, the so-called fashion colours, show many gradations and nuances, most of which are graceful”, he said. The “dirty colours” were all shades of brown, and the “dead colours” referred to those that darkened to black with its various variations that were more versatile. This is how German culture progressively turned the meaning of brown upside down. From the plebs and marginalization, it came to represent the culture and good taste of the upper classes.

Brown in art

Although brown has been used in art since prehistoric times, this hue was rarely used in art until the Renaissance. In the Middle Ages, for example, artists preferred bright, distinctive colours to paint pictures or illustrate religious books. In the 17th and 18th centuries brown was in greater use. Caravaggio and Rembrandt used various shades of brown to create chiaroscuro effects, where the subject stood out from the darkness. Rembrandt also added shading to the ground layers of his paintings because it promoted faster drying. The artist began to use a new brown pigment, called Cassel earth or colony earth. This was a natural earth colour made up of organic matter, such as soil or peat. It was used by Rubens and Anthony van Dyck, and later became commonly known as Van Dyck brown. The French Impressionists of the 19th century were not very fond of the colour in question, with the exception of Paul Gauguin who created luminous brown portraits of the people and landscapes of French Polynesia.

A colour appreciated in fashion

Traditionally, it was thought that the person who wore brown conveyed to the world that they wanted to go unnoticed. The psychological effect it causes is that of being an ordinary colour, even mediocre. In fact, there are still rules attached to clothing issues that go back to this imaginary of colours. For example, high-ranking executives are said to be banned from wearing brown suits because they detract from their status.

Beyond certain beliefs or traditions, fashion has adopted brown in its bed and has given it infinite possibilities. Brown is a warm and deep tone, it exudes magnetism, it is easy to combine, and therefore it adapts perfectly to countless looks because it makes its discretion its best asset. Not in vain is it considered a neutral like white, black or navy blue. Despite being traditionally related to autumn, brown this 2022 has been worn in spring and summer, through youthful and fresh looks that have been followed by some celebrities and fashion prescribers such as Cardi B, Dua Lipa, Selena Gómez, Kendell Jenner or Rihanna. Wearing it in a total look version has also been the preference of the big fashion firms.

At Gratacós we want to show you some of the key fabrics for the new season in shades of brown to show you their full potential. You will also find other items at discounted prices. You will find them available in our online store.

In short, brown will never go down in history as one of the most significant colours, but it will walk hand in hand with it thanks to its simple, versatile and discreet nature.

Sorry, this entry is only available in European Spanish.

El diseñador de moda y director artístico de la muestra, Jean Paul Gaultier, en CaixaForum Barcelona.

Jean Paul Gaultier is the enfant terrible of fashion in his own right. Although he is no longer creatively spearheading his namesake brand, now spearheaded by his successor Olivier Rousteing, Gaultier will always be Gaultier. A self taught genius. Transgressive and irreverent, but from his kind facet. A free verse of fashion that he revolutionized in the 70s, 80s and 90s exalting difference, celebrating diversity, breaking stereotypes and exploring the beauty of the margins. Gaultier was not interested in the classic or the conventional, but he did investigate how he could empower the women of his time through clothing. His designs were the perfect armor for a new generation that wanted to express their strength, dynamism and freedom through clothing. One of Gaultier’s icons, the pointed corset worn by Madonna on the ‘Blonde Ambition’ world tour in 1990 was created thanks to the influence exerted by the woman who has most inspired him: his grandmother and her extensive lingerie wardrobe reminiscent of the enfant terrible from his childhood.

This iconic garment, among others, can be seen live in the new exhibition premiered at CaixaForum Barcelona: ‘Cine y moda. Por Jean Paul Gaultier’. An exhibition co-organized by the La Caixa Foundation and La Cinémathèque francaise that proposes an eclectic journey that intertwines cinema and fashion with great creators and artists, from the personal point of view of the controversial creator, as a costume designer and as a movie buff. For Gaultier there is no cinema without fashion, and vice versa.

Backstage, desfile de Jean Paul Gaultier, colección Barbès, 1984, prêt-à-porter de mujer otoño-invierno 1984-1985. © William Klein.

Divided into five areas, the author’s exhibition where Gaultier captures his gaze, reviews the presence of the world of fashion in cinema, the collaborations of great designers in film costumes and the creation of male and female archetypes. The enfant terrible of fashion emphasizes key aspects that are present in his career as a designer such as female empowerment and pays attention to heterodox figures of male and female warriors, androgynous and transvestites, as well as the influence of rock, punk and and queer that have marked fashion so much in recent years.

After passing through Paris and Madrid, the exhibition, dedicated to the memory of the filmmaker Tonie Marshall, brings together in Barcelona a heterogeneous set of more than 100 pieces of clothing that are shown in nearly 70 looks, fragments of more than 90 films and 125 graphic representations (posters, sketches, frames and photographs), between originals and reproductions, mostly from the prestigious collection of La Cinémathèque Française and complemented by works from more than twenty national and international lenders.

Díptico Marlene Dietrich. Masque & Narcisse, 2021. © Bastien Pourtout i Edouard Taufenbach, colección Pierre Passebon, 2021.

Among the nearly 70 iconic film looks are dresses worn by Grace Jones in ‘A View to a Kill’ (1985), Catherine Deneuve in ‘8 Women’ (2002), Grace Kelly in ‘Rear Window’ (1954); Sharon Stone in ‘Basic Instinct’ (1992); Marilyn Monroe in ‘Nude Eve’ (1950); ‘Tay Garnett’s Seven Sinners (1940); Brad Davies in ‘Querelle’ (1982) or as we said at the beginning, the famous pink corset that graced Madonna on her world tour.

Also, the ‘Superman’ suits (which Christopher Reeve wore); ‘The Mask of Zorro’ (1998), with Antonio Banderas; the shorts that Sylvester Stallone wore in ‘Rocky’, or Victoria Abril’s wardrobe in ‘Kika’ (1993) which, together with that of other films such as ‘Bad Education’ (2004) or ‘The Fifth Element’ (1997) , was designed by Gaultier. In this line, haute couture designs by Coco Chanel, Pierre Cardin, Hubert de Givenchy, Manuel Pertegaz, Balenciaga and Sybilla, among others, are also on display.

Fotografía entre bastidores de la película ¿Quién eres tú, Polly Maggoo? 1966 © William Klein/ Films Paris New York.

Two films that mark the beginnings of Gaultier

Among all the parade of looks, projections and key garments, there are two films that take pride of place in the exhibition and have to do with the origins of the designer. The first would change the course of his life. Gaultier was then 13 years old when he first saw Jacques Becker’s ‘Falbalas’ (1945). A melodrama starring a seamstress and set in the hustle and bustle of a sewing house during the postwar period. This film is the “culprit” of his desire to dedicate himself to the world of fashion. From there he began to design figurines that he would later transform into designs. The other film that has marked the French creator has been ‘Who are you, Polly Maggoo?’ (1996) by William Klein, who in the film analyzes his time with a keen eye and lays bare the then incipient reality shows. It is a satire of the egocentric delusions of the world of haute couture, where at that time the space age dominated and everyone from the misanthropic couturier to the most versatile editor-in-chief fell.

Pedro Almodóvar, Victoria Abril y Jean Paul Gaultier en el plató de Kika, 1994 © Nacho Pinedo.

Moda y arte, actividades en paralelo

The exhibition ‘Cinema and fashion. By Jean Paul Gaultier’ will be open to the public until October 23. On this occasion, to investigate the close relationship between fashion and art, CaixaForum Barcelona has organized a cycle of conferences in September that proposes dialogues on how art and fashion influence each other: is art the source of inspiration for fashion or are fashion codes the ways the artist chooses to develop his poetics? The French philosopher and sociologist Gilles Lipovetsky, the architect Manuel Blanco, the journalists Isabel Margalejo and Carlos Primo, the popularizer Charo Mora (responsible for the cycle) or the model Sita Abellán, are some of the names that will illustrate the links between fashion and art, architecture, literature and music.

Detalles de la exposición ‘Cine y moda. Por Jean Paul Gaultier’

The summer season begins with a trend less and less reserved for special occasions: sequins, which with their glitter catch all eyes. Disconnected from their comfort zone, these small metallic sheets sewn into the fabric become the protagonists of the moment together with other materials that dazzle on their own, such as iridescence or satin finishes that produce a more discreet shine.

On this occasion, sequins, along with fluorescent colours and transparencies, have featured on the fashion shows of the SS22 collections of Tom Ford, Michael Kors, Loewe, Valentino or Rodarte and are set to invade the street through resplendent outfits. The key to sequins, until now reserved for specific celebrations such as New Year’s Eve, is that there are many options to show them off successfully in garments to wear at all hours. Day and night without paying attention to brightness or excesses. From the rock & roll looks of Saint Laurent, to the sophistication of Chanel and Celine that combine them with tweed or in key details such as Gucci, Balmain or Paco Rabanne, creator of the iconic metallic mesh.

From Tutankhamun to Leonardo da Vinci

The origin of sequins dates back to Ancient Egypt, where small gold and silver discs were sewn onto the clothes of the pharaohs and their consorts as a sign of wealth. In fact, it was during the discovery of Tutankhamun’s tomb in 1922 that archaeologists found, among other objects, clothing decorated with shiny metal disks. A time that coincided, in turn, with the metallic fever of the Roaring 20s, embodied by the costumes of the flappers and the Egyptomania that unleashed this fact, which inspired the designers of the time to design outfits with metallic discs to stand out on the dance floor.

In English, the word sequin (sequin, is linked to the Arabic term sikka (coin) and al zecchino, a golden coin minted in Venice during the 13th century. The first sequins were coins sewn onto clothing, for reasons ranging from displaying wealth and status to making life difficult for thieves. It is also said that Leonardo da Vinci, one of humanity’s great inventors, devised a machine to produce small metal discs. A prototype that was never manufactured, but that already establishes the age of the sequin.

Later, in the 17th and 18th centuries, wallets and cases began to be used, and pockets appeared. Therefore, in men’s and women’s clothing it was no longer necessary to sew the coins to the clothes to keep them safe, and the small metal disks became a purely aesthetic ornament.

The sequin shines in the 20th century

Sequins as we know them emerged in the 20th century. Its sparkles began to adorn the rich dresses of the Belle Époque, added touches of light to the creations of the 1920s and returned to adorn the garments of the sensual 1950s. Actresses like Marilyn Monroe or Rita Hayworth succumbed to the sparkle of sequins with innumerable outfits that shimmered on and off the celluloid. A sparkly dress from the era that connects with today is the iconic beige dress that the blonde diva wore when she sang ‘Happy Birthday’ to President John F. Kennedy in 1962. That same crystal-covered gown was worn by Kim Kardashian in the Met Gala 2022.

The materials used to create the sequins also changed over time. The metal of the first prototypes evolved into gelatin in the 1930s. The latter material was lighter, but it was brittle and did not withstand changes in temperature well. Later, they became plastic, flexible and resistant to washing. Thanks to this change, sequins became more practical, less expensive and more affordable than their previous versions.

An ornament linked to music, movement and excess

With the innovation of new materials and the triumph of prêt-à-porter in the sixties, the use of sequins became popular in more common clothing that became daring, lively and colourful. The objective? Adorn the silhouette, empower it and become the center of attention. This manifested very well in the seventies with disco fever. In the countercultural movements, sequins and all shiny fabrics became a symbol of rebellion against the system they considered serious and boring. That’s when the glam rock era began . A sensual, androgynous, eccentric and revolutionary movement whose symbol was David Bowie with his iconic alter ego: Ziggy stardust . The man with the stars, and other singers of the time, wrapped themselves in lamé suits, sequins and lots of glitter.

Shiny fabrics, with sequins being the favourite, shone again in the 1980s. Michael Jackson was responsible for bringing glitter and pharaonic garments back to life with memorable performances where the King of Pop donned suits covered in sequins and rhinestones.

Nowadays, sequins, as well as other shiny fabrics, are subjected to the ups and downs of cyclical fashion. Its material is still based on plastic, now mostly recycled, but with special coatings. What has not changed is its meaning. Sequins spark the imagination, become visible and illuminate people’s daily lives. They are an element of escapism, something to cling to other fantasy worlds. And we already know that fashion is a dream and at Gratacós we like to make you dream through our sequin fabrics. Here we leave you a selection of the most innovative so that you shine with your own light.

Orange is a more common colour than we think, although its role in history has always been relegated to the background. This hybrid shade between red and yellow provokes an immediate reaction when recognized. It activates, stimulates, surprises and entertains. Not surprisingly, this striking colour is always associated with the unconventional. Its uniqueness has played an important role in art, history and design. Since ancient times orange was present in Ancient Egyptian rituals, it has been considered a sacred colour in various Asian cultures and has come to fall in love with artists such as Vincent van Gogh and Toulouse-Lautrec who used orange in their paintings. We reveal some anecdotes about this exotic colour, often underestimated.

Orange in ancient times

The ancient Egyptians were the first to use a shade between yellow and orange that they extracted from the mineral realgar to decorate their tombs. The pigment that was extracted was toxic – it contains arsenic – and was used by the Chinese to drive away snakes, as well as being used in the country ‘s traditional medicine . Another related mineral, orpiment was also used as a pigment and was considered a highly valued trade commodity in ancient Rome. In the Middle Ages the orange pigment was used during the Middle Ages in manuscripts.

In Asia, orange was considered a symbol with different interpretations depending on the culture of each country. This tonality is present in many of the Asian religions. In Buddhism, orange is a sacred colour: it is considered the tone of enlightenment and the search for knowledge and for this reason, the clothing of Buddhist monks is traditionally of this colour. For Confucianism, orange symbolizes the colour of transformation. In Hinduism, the dress worn by Krishna – one of the most revered personified deities – is always in this brilliant hue. The name of the colour in India and China derives from saffron which in turn was the most expensive dye in the two countries. These Asian powers considered that orange represented the perfect balance between the perfection of yellow and the power of red.

A nameless colour

In Asia, orange was a revered hue. On the other hand, in Europe the colour did not have a name until the 16th century when Portuguese merchants brought from India and China the most exotic fruits of the time: oranges and tangerines, tinged with a colour that Europeans called reddish yellow until then. This striking colour imported from the Far East via orange trees was named after the fruit itself. Orange in Spanish, orange in english, arancia in italian and orange in Portuguese.

Another curiosity: today orange is a colour that connects on a psychological level with the world of flavours and is pleasing to the eye when linked to food. Peaches, apricots, mangoes, carrots, prawns, prawns, salmon, pumpkins, curries… Orange can be an appetizing colour, right?

Orange in art

In Western European art, the use of orange became common as from the 19th century, when the first synthetic orange pigment called chrome orange was produced. This tone was a favourite of Pre-Raphaelite and Impressionist painters, who made use of colour to capture the effects of natural light. Artists such as Monet, Gauguin, Renoir, and Toulouse-Lautrec used colour extensively to elicit feelings of warmth, escapism, and playfulness. If there is an artist who was directly linked to the colour orange, it was Vincent van Gogh, who through painting mixed his own shades of orange and used them in contrast to the blues and purples characteristic of his work.

A seasonal colour in 2022

Although Pantone crowned Very Peri lilac as the colour of the year in 2022, the truth is that the fashion industry seems to have set its sights on a more intense and vital hue to lift the spirits. On catwalks through the summer and pre-fall collections , on the street style of fashion weeks , in the windows of the big firms… orange has emerged as one of the star shades of the season in all its possible ranges.

Orange has been present in the current SS22 collection by Christian Siriano, Collina Strada or Proenza Schouler, transmitting optimism and joy to the clothes presented, but it is in the transition collections that it gains more strength. For example, Erdem is one of the firms that has opted for this colour, but in its softer versions such as boiler orange for satin dresses with black motifs and looks that play with textures and use the same tone. For its part, Chloé has opted for pastel shades giving it a less aggressive look. Oscar de la Renta has given orange reddish nuances, always accompanied by other colours or in bag format. Instead, Gucci has opted this season for a vitamin orange that dyes a multi-layered skirt in the same tone.

The namarillo is once again stepping strongly on the catwalks. A hybrid shade halfway between orange and yellow that became popular in 2016 among the spring collections and caused a furor due to its showiness and luminosity, being the summer shade at the time. Now Prabal Gurung has recovered this vitamin tone and has incorporated it into a large part of the looks of its latest collection. In a slightly more subdued tone, Staud has turned it into knitted sets with microshorts and Chanel into jumpsuits that are the hallmark of its creative director, Virginie Viard .

How to combine it?

Sometimes what is seen on the catwalk does not necessarily end up being worn on the street. And orange seduces at first sight, but it is not an easy colour to wear nor is it discreet. Still, the street style of the fashion prescribers or the looks exposed by the celebrities in the network carpets are the best reference to demonstrate the chromatic possibilities that orange has in the wardrobe.

The easiest way to get started in the colour orange is to do it in small doses through a single garment or simply relegating it to accessories. The tones that always go well with orange are the neutral ones: white, black and beige tones or makeup that creates a base effect. On the other hand, if your level of daring is high, orange looks great in a total look through dresses, jacket suits or combinations of tops with skirts. As for risky combinations that enhance this vitamin colour, there are some that are often repeated on the catwalk that flow due to their contrast: orange with fuchsia for maximum daring; orange with intense green to play with the complementary ones; orange with light blue or pale pink to reduce intensity; orange with purple to claim prominence; orange with gray for rainy days, or obviously, orange with orange for a harmonic visual game. This colour accepts more shades than you would have imagined!

Finally, we show you some of our most vitamin-rich fabrics for the new season. What do you imagine designing with them?

April is the month of fashion in Barcelona. Prior to a new edition of Barcelona Bridal Fashion Week, a week ago saw the start of the latest edition of 080 Barcelona Fashion, with 22 virtual parade shows and designers who presented the new season in the Macba, within the rationalist building designed by the architect Richard Meier. A new staging of the imaginative creativity exhibited by brands via Fashion Films, seasonal collections that can be followed visually on the website of the Catalan catwalk. Gratacós has also followed the latest fashion trends to check once again how our fabrics have taken shape thanks to the designers who habitually trust in us: Avellaneda, Eiko Ai, Menchen Tomás, Yolancris and Victor Von Schwarz. We review the new creations and some of the key looks.

Summer nights

Faithful to his hedonist philosophy the dandy Juan Avellaneda transposes us to tropical latitudes in his new summer collection to continue exploring the most relaxed elegance, inspired by warm paradises in the north of Africa. The central feature of the creation is via natural fabrics, luminous or fiery shades such as pink, orange and coral, and patterns that in general lack rigidity. There are also several models of jacket, the fetish garment of the brand of this Barcelona designer, which oscillate effortlessly between male and female wardrobes. The prints move away from the banal to embrace a Mediterranean version of delicateness that gives character to ethereal skirts and smoking-jackets which rebel against the boring. The garments evoke the practical elegance of Saharan and classic tailoring by those mid-century holiday-makers who immortalized Slim Aarons. Blouses caress the body and intertwine. Trousers dance and dresses cling to the skin or deploy fabulous volumes and flyers, another 100% Avellaneda detail. In Au réveil il était midi all the clothes combine with everything, they harmonize and flow for a perfect summer.

The warm sunlight

Eiko Ai dazzles us with Lucid Dreams, a radiant collection inspired by the vitality of solar energy. In addition to this inspiration Glò Lladó’s formula remains firm in each of her designs and consists of promoting feminine beauty by playing with delicacy and sensuality. And how does she achieve it? Via vaporous silhouettes, ethereal fabrics which give glimpses of skin and via evocative stamping that mixes sophistication without abandoning the casual and cosmopolitan spirit of this Barcelona company. The new summer creation from Eiko Ai enhances the kimono dresses, fluid blouses and two-piece combinations featuring transparencies, subtle glitter and faded prints with other florals that pay tribute to that mystical vision of woman as an urban nymph. The palette of the collection goes for positivism, summer life and golden light via intense oranges playing with the range of yellows, pinks and whites and brushstrokes of intense blue sky. 

Class is class

For his part, Menchen Tomás reminds us of the importance of inheritance in Old Money, a collection that is inspired by the way of dressing and living of American families who have managed to pass fortune, class and status from generation to generation. An aesthetics characterized by sophistication, the fusion between the classic and the contemporary and timeless elegance, far from the culture of logo and ostentation. With that interpretation the Barcelona company brings together garments such as dresses and midi-skirts, pinned wide trousers, voluminous poplin shirts with other sporty garments that could be used for a day in a country-club or dinner in a garden on a summer night. Regards fabric details there is no shortage of silks, organzas and tulle flowers in a vibrant chromatic palette: blue, lime green, yellow, fuchsia-pink and bright-red.

Fashion without gender

Victor von Schwarz is part of the new generation of young talents that bring creativity and freshness on the 080catwalk. This time, the designer Barcelona presented a collection inspired by the Asian Mafia films of the 80s and 90s, whose centre of operations was the red neighbourhoods of cities such as Taipei or Hong Kong. Victor von Schwarz is committed to fashion without gender. Therefore, the designer, inspired by oriental clothing, creates open pieces, which anyone can wear, regardless of sex or gender. The silhouettes of the new summer creational are divided into two blocks. The first is very bright, with volumes, drape and transparency features that give a glimpse of skin. The second, part of a much more square silhouette and with variations of the classic tailored jacket. In this collection the fabrics are characterized by their imaginativeness. Sequins are prominent, from Vichy print to bright degrade. We also highlight bright laminates based on viscose and tulles with silver prints. As for colours, pastel shadestones and splashes of colour are a feature of this genderless creation.

Black velvet

Yolancris this time participated in the 080 Barcelona Fashion with her party collection, leaving aside her more experimental project Y Como. The new creation highlights the craft-work redolent of her own workshop itself where the accent is on velvet, flesh-colour and black. With regard to detail, velvet is mixed with golden threads, embedded French lace and macramés in an attractive combination. Binomies of colour also dominate: gold-black and white-black, and are separated with explosions of monocoloured dresses: red and powder pink. As for silhouettes, the collection brings together some classic pattern ideas combined with some more daring features, evident, for example, in the openings of the dresses. In general Yolancris’s creation aims to be timeless so as to offer an expansive wardrobe for special occasions.

We have been following their path for a long time and have admired the creations of Quique Vidal (Valencia, 1996), alma mater of Becomely, a fashion brand with its own personality. If you follow us on Instagram,  you will have seen in our feed, those baby doll silhouette dresses in pastel tones and large volumes that we usually share from the young 26-year-old creator. Despite the naive spirit, Quique Vidal’s project has nothing to do with lightness or immaturity. Quite the opposite…

Beginnings are not easy

Becomely was officially founded in 2015. Previously, the young designer had done some work for several teachers who requested dresses for their graduation. That spontaneous start dressing anonymous women encouraged him to move to Madrid to make a living as a designer. He participated twice in Samsung EGO, the catwalk for emerging talents at MBFW Madrid. In parallel, Quique Vidal sold t-shirts, socks and also his famous biodegradable plastic costume jewelery made with 3D printing to cover part of the costs of producing and designing the collections presented. In fact, the designer currently combines his artistic work at Becomely with his other project, Estudio Cartulina, a company specializing in communication, brand consulting and production. The moonlighting artist is a reality for many young people in the world of fashion.

Craft and production on demand

Becomely is a sustainable, artisanal brand that creates intricate limited edition pieces that are produced on demand. The pandemic disrupted Quique’s business model to evolve towards new, more direct channels for consumers. If before they sold through the website and in some selected stores that included countries like Asia, now the Spanish firm focuses sales on social networks, especially on Instagram. This change allows greater contact with the clientele: a more personalized service can be offered and the budget can also be adjusted.

The design has not changed. Becomely maintains the emblem of the baby doll dresses with a V-neckline, puffed sleeves and volumes also in the skirt. A model that is repeated from the first collections and in which Quique Vidal is adding variations: large buttons, shirt lapels, different lengths… The fabric he uses to create his designs is also a differentiating element. Opt for eye-catching items: enigmatic Jacquards, tactile reliefs, details such as feathers, shiny motifs, fabrics with extra volume… always in pastel shades such as pale pink, baby blue, lavender or off-white. In fact, it is no mystery that Quique Vidal manages to magnify some of our most special fabrics each season. Becomely also takes advantage of the small scraps left over from his shirts and dresses to create new pieces such as bags, satchels or hats. A formula that take sustainability to its ultimate consequences.

Becomely’s designs have already hit the stage through artists like Amaia . The singer appeared in her latest video clip, Yamaguchi, wearing a white dress that follows the recognizable aesthetics of the brand and is made as we pointed out, with deadstock fabric : leftovers from suppliers or workshops. The actress Emma Suárez also noticed Quique Vidal’s creations and ordered a dress for a premiere that she had at the beginning of the year.

The Bride Becomely

Recently, Quique Vidal has dared to design a wedding dress that maintains the aesthetic codes of the brand. It is a flattering model that combines a minimalist silhouette with romantic elements and precious details. The dress is long with a V-neckline and straps dominated by huge bows. A voluminous skirt in embossed Jacquard fabric has just structured the ideal bridal design for millennial or Zeta brides . In fact, it is such a versatile model that it can be worn for a wedding, a special occasion or to add fantasy to a daily look, always depending on the footwear that is combined. What is clear is that there are fewer and fewer limits and barriers between formal or informal styles. Let each one interpret it in their own way!

An enfant terrible is a precocious genius with brilliant ideas, but with a rebellious and transgressive attitude, whose creations are innovative and offer a new disruptive vision, far from the traditional, orthodox or conventional. John Galliano, Jean-Paul Gaultier, Alexander McQueen are some of the most international enfants terribles in fashion. In our country there are also provocateurs of the thread and the needle. Some of the most notorious names are recovered by the Fundació Antoni de Montpalau together with the Fundación Rocamora in a new exhibition entitled ‘Daviddelfín and other enfants terribles of fashion’ that opened on February 6th in Barcelona. The exhibition consists of an exhaustive compilation of the work of the designer from Malaga, unique in Catalonia, together with the groundbreaking and provocative trajectory of other Spanish designers, from the 1980s to the present.

The most extensive work of David Delfin

The monographic part dedicated to David Delfín occupies the first floor of the Rocamora Foundation and brings together more than 60 pieces of clothing that review the designer’s collections, from 2001 to 2017, with some of the most emblematic works. Along with the pieces of clothing, a selection of accessories such as bags and shoes is also included.

Although Diego David Domíngez González, David Delfín, had already carried out some previous experiments, his homonymous brand would be born in 2001 in a joint project with the Postigo brothers (Deborah, Gorka and Diego) and Bimba Bosé, the designer’s muse and model. This innovative project went beyond fashion, mixing theatre, music, painting, poetry, photography and cinema. As a brand,  Davidelfín debut in Barcelona on the alternative catwalk show Circuit with its first ‘Openin’ Nite’ collection. A year later he make the leap to the Cibeles catwalk in Madrid with the proposal ‘Cour des Miracles’, inspired by Luis Buñuel’s films ‘Viriadina’ and ‘Belle de Jour’ and also in the painting ‘Los Amantes’ by René Margritte , painted in 1928, showing two hooded lovers kissing.

As a tribute to Magritte’s painting, the models paraded down the catwalk with hooded faces reminiscent of Arab burkas, ropes around their necks and large wooden rosaries, some garments made with sanitary bandages. This parade was misunderstood and criticized in the media, perhaps for coinciding with the war in Afghanistan. Despite the controversy, this show positioned the brand and a year later, Davidelfín would receive the L’Oreal award for young designers. From this moment on, the designer’s self-taught creativity had no limits: Bimba Bosé would be the indispensable protagonist of his fashion shows and among the public and their friends, they would become his best ambassadors. The designer continued to present his collections at Cibeles and made the leap to New York in 2009 and 2010. The brand was also awarded at Marie Claire, Telva and in 2016, won the National Fashion Design Award. Davidelfín also participated in numerous museums, institutions and art galleries in Barcelona, ​​Madrid, Bilbao, Málaga, Venice, New York, Washington, Mexico, Tokyo and Moscow. Unfortunately, the promising creator’s career was cut short in 2017 after an intense battle with brain cancer, a few months after Bimba’s death. David Delfin was only 46 years old.

The other enfants terribles

The exhibition goes one step further and to accompany the tribute to Davidelfín, the Fundació Antonio de Montpalau has chosen a series of designers who have also known how to break the mold and occupy the ground floor of Manuel Rocamora’s summer mansion.

Thus, this second part of the exhibition begins with Luis Fortes, the controversial designer of the 1980s in Barcelona with very daring proposals that even anticipated those that Thierry Mugler, a recently deceased French creator, would make shortly after.

From Madrid in the 1990s, the Vacas Flacas duo, made up of Carolina Azcona and Miriam Cobo, would create a fuss at the Cibeles Catwalk with their garments made of cloths, gloves, towels, socks, zips or scarves. A good selection of that can be seen in the exhibition, along with a spectacular coat made with Barça scarves. Recently the actress Milena Smit has resurrected one of the most emblematic t-shirts of the Madrid firm. The sample also includes five spectacular Alaskan costumes, designed by Juan Pedro del Moral, Little Joe Couture, who has also designed the styling of the Blonde Nancys. In fact, the brand is also in charge of dressing the members of Fangoria. Also from the 1990s are the two pieces included in the exhibition by Estanislao, the creator of the renowned Eometric pattern-making method.

For her part, Bibian Blue, a designer famous for her bodysuits worn by international artists such as Katy Perry or Dolly Parton, was one of Luis Fortes’ most outstanding students in the 1990s and created her own brand in 2000, achieving great acceptance within the European underground scene. The sample includes one of her spectacular butterfly wing dresses.

The exhibition also makes reference to Mertxe Hernández. The designer created her MTC brand in 1997 and opened a store in El Born, where she became known. After presenting collections in Germany, the creator decided to dedicate herself to the world of artistic creation. Some of the garments that she presented on the ‘Colonia Fashion Days’ catwalk, made with polyamide stockings, are included.

Finally, the exhibition also brings together iconic garments from Gori de Palma (Modafad, Gaudí and Cibeles) and ¡Ánimo, Valiente! The firm of a Basque designer based in Barcelona who works with recycled jeans and from a decided marginality. Who also deserves a special mention is the latest designer to participate in the show: the current and mediatic Palomo Spain, who included one of the most emblematic suits of his meteoric career.