05 LETTER
AMIR SLAMA, ABEST’S PRESIDENT, TALKS ABOUT THIS ISSUE
06 URBANISM
THE URBAN SOLUTIONS THAT WERE NOT PUT INTO PRACTICE
10 BACKSTAGE
THE PARALLEL POWER CIRCUIT AT THE CENTRAL PLATEAU
12 CHARACTERS
YOUNG, TALENTED AND BORN IN BRASÍLIA
16 FASHION
THE BRAZILIAN SUMMER IN 50 LOOKS
58 EVENT
CAPITAL FASHION WEEK SHAKES THE FASHION SCENE IN THE CENTER OF THE COUNTRY
60 ARCHITECTURE
BRASÍLIA PALACE HOTEL: STYLE AND GLAMOUR
62 GASTRONOMY
THE CHEF BEHIND THREE SUCCESSFUL RESTAURANTS
63 MAKING OF
THE DAILY ROUTINE OF VOGUE ABEST’S TEAM IN BRASÍLIA
national congress building (cover), alvorada palace photos cristiano mascaro
Letter from the President
Getting to the tenth issue of Vogue ABEST fills us with
pride. An outstanding way to celebrate this moment
is to honor a city that translates many features of
Brazilian fashion: youth, innovation, fantasy.
Brasília turned fifty years old in 2010 and served
as the backdrop to show summer collections from
almost fifty designers. Many of them has already
assumed, as inspiration, lines — straight or curved —
imagined by Oscar Niemeyer and Lúcio Costa and
that were turned into reality thanks to the hands of
thousands of laborers. Today, they are lived out day
to day by people that come from all over and give
meaning to this continuous and dreamlike construction
at Central Plateau.
This commemorative issue projects a new look at
the Capital, recounting a little of what did happen
and what didn’t happen, mixing places, characters,
colors, and insiders. The concrete, the mosaics, the
modernist panels and the sky — what a sky! — turn
into the backdrop for a fashion’s history.
ABEST believes that this is the best way to promote
Brazilian fashion: through its own country. All the
national repertoire of images, forms, colors, and
people transform itself into fashion and transforms
fashion itself.
Instead of being limited by boundaries, to adopt
Brazil as inspiration is to deepen oneself into an
unrestricted caldron of references that, when mixed
with the history of a given designer, reflects who
we are and where we want to go. In nine issues of
Vogue ABEST, we have already come a long way,
showing the various aspects of what we love. Let
the magic number 10 show us the way towards
many other achievements, since the sky’s already
the limit. And that the sky be as captivating as
Brasília’s one!
Amir Slama
President, The Brazillian Association of Fashion Designers - ABEST
ALVORADA palace’s chapel photo cristiano mascaro
URBANISM
THE OTHER BRASÍLIAS
APRIL 21, 1960.
The launch of Brasília helped Lúcio Costa e Oscar Niemeyer’s
work gain a new dimension. Milton Braga, University of São
Paulo’s professor, reports in his book all details and
polemic solutions of the other six projects
photos reproduction
by laura rago
Rino Levi included in the maquette the intensive living sector,
with 1-kilometer radius, and the urban center, which should be
located on the margins of the lake and house public offices,
administrative center, commercial and cultural center
An enterprise as daring as the monumental
constructions erected throughout the history of
humankind, the construction of Brasília as the
headquarters of the federal capital became
a landmark in the government of Juscelino
Kubitschek and showed a unique moment in the
history of Brazil. The Governmental Master Plan,
put into practice from 1956 to 1960, a period known
as “50 years in 5”, would both drive forward the
modernization of the Brazilian economy through
foreign capital and deepen the inequalities
among income groups. Intrigued by the process
to choose the best urban and architecture
solutions, the architect from São Paulo, Milton
Braga, professor at the Architecture and Urbanism
College in the University of São Paulo (FAU-USP),
transformed the subject into the theme for this
master’s degree essay, and the result has recently
become a book, co-published by Cosac Naify,
Imprensa Oficial and Pinacoteca do Estado de
São Paulo. O Concurso de Brasília: Sete Projetos
para uma Capital (Brasília Competition: Seven
Projects for a Capital City) rescues the contents of
the projects awarded in the National Competition
for the Pilot Plan of the New Capital City of Brazil.
Although the construction of Brasília is historically
situated in JK’s government, the idea is much
older. According to Milton Braga, the desire
to build a capital city away from the coast came
up in the late 1800’s. The politician and diplomat
José Bonifácio Andrada e Silva, according to the
author, was one of the first and most influential
supporters of the idea, because he believed
that the location in Rio de Janeiro did not offer
safety to the center of the power. He suggested
the name Petrópolis or Brasília for the new
city. The theme was part of the discussion of
the Constitution Assembly of 1823, which was
dissolved, and the Constitution of 1824,
sanctioned by D. Pedro I, did not incorporate the
decision of taking the capital of the country to
the interior. As of 1831, the theme was discussed
a few times by members of the parliament, but
it only became consistent in the 1950’s.
Milton Ghiraldini’s project was criticized by the jury
because of the poor presentation of the railway and the
huge extension of the highways, in addition to the central
web and the exaggerated simplification of the zones
The applications for the competition were opened
in September, 1956. From the 62 teams of architects
and engineers which applied, 26 presented
ideas, and seven were awarded in March, 1957.
In addition to Lúcio Costa, the winner, others
also qualified: Boruch Milman, João Henrique
Rocha and Ney Fontes were qualified second
place; Rino Levi, Roberto Cerqueira Cesar, Luiz
Roberto Carvalho and M.M.M. Roberto were in
third and fourth. In fifth place: Henrique Mindlin
and Giancarlo Palanti; João Batista Vilanova
Artigas, Carlos Casoaldi, Mario Wagner Vieira
da Cunha and Paulo de Camargo e Almeida;
and Construtécnica S.A., Milton Ghiraldini (chief
architect).
services. And to make the intersection among
everything, there would be two types of elevators:
the general elevators, which would correspond to
the collective transportation system of the city, and
the local elevators, which would take the residents
to their floors. As for the Roberto brothers, they
proposed to improve the quality of life in small
towns in a project of “federation of urban units”,
where people would exchange the use of cars in
their daily routine for mechanical belts. “These
projects carried a variety of solutions that make
it possible for us to imagine what the ‘other
Brasílias’ would be like, and they came up at a
moment when the country was still capable of
thinking about its future,” he explains.
Lúcio Costa’s project followed the park-city
concept to promote social living in rationally
organized spaces with plenty of air, sun and
nature. “He knew how to highlight the symbolic
load of the capital city, being able to skillfully
incorporate the sectors of common life into an
urban landscape able to evoke the administration
function without oppressive monuments,” Braga
analyzes. The construction took three years and
it was Oscar Niemeyer’s – head of the Urbanism
and Architecture Department of NOVACAP, the
Urbanizing Company of the New Capital, - duty to
design all buildings, according to JK’s decision.
With the military regime, new magnificent urban
attempts were cut short. In Braga’s opinion,
despite the end of the dictatorship, the country
still suffers from lack of planning to solve structural
problems.
Lucio Costa won the competition because,
according to the jury, he dealt with the spirit
of the 20th century. It was seen as new, free,
open and disciplined, without being strict
on the shelf
According to Milton Braga, the projects by Rino
Levi, M.M.M. Roberto and Lúcio Costa brought
contributions to urbanism that go beyond form. Levi
thought his city as a large object, with 300 meterhigh buildings. In these vertical neighborhoods,
real sky-scrapers, some floors between the
stories would function as streets, stores and
Vilanova Artigas was in fifth place because it presented a good
solution for the rural economy and highlighted the tenant system
In addition to O Concurso de Brasília: Sete Projetos para uma
Capital (Brasília Competition: Seven Projects for a Capital City),
other books on the architecture of the city are being launched this year.
The Cultural Center of Moreira Salles Institute launched two titles: As
Construções de Brasília (The Constructions of Brasília), result of the
exhibition that gathered 157 images made by photographers from
its collection and a selection of 44 modern and contemporary works
of visual art, and Brasília, with 153 images made by the FrenchBrazilian photographer Marcel Gautherot between 1958 and 1960.
Another photographic work is Brasília, 50 Anos (Brasília, 50 Years),
by Maria Lopes. Published by Décor, it rescues a little of the history
of the appearance of the federal capital.
POWERFUL
TABLES
MANY CHAPTERS OF BRAZILIAN HISTORY WERE WRITTEN AT the
TABLES OF SOME BRASÍLIA’S RESTAURANTS. IT IS DURING LUNCH
OR DINNER THAT MANY DECISIONS THAT INFLUENCE THE LIFE OF
CITIZENS FROM NORTH TO SOUTH ARE MADE
by ANA MARIA CAMPOS
At one of the most famous restaurants in Brasília,
Piantella, many CPIs (Inquiry Parliamentary
Commissions) have been buried, agreements
have been made and deals have been closed.
The favorite location of two of the most powerful
presidents of the House of Representatives,
Ulysses Guimarães (PMDB - Partido do Movimento
Democrático Brasileiro, Brazillian Democratic
Movement Party - SP) and Luiz Eduardo
Magalhães (PFL - Partido da Frente Liberal, Liberal
Front Party - BA), still attracts politicians. It never
loses its tradition. It was there, for example, that
a PT (Partido dos Trabalhadores, Work’s Party)
entourage celebrated, in 2002, the election of
workman Luiz Inácio Lula da Silva as the number
one in Brazil, and made toasts with RomanéeConti – at R$ 13,000 per bottle. It became evident
then that the habits of the previous administration
would remain.
Since the times of Luiz Eduardo, the son of Antonio
Carlos Magalhães, who loved champagne
and even got a sign in his honor in the room,
Piantella became known as the restaurant
loved by PSDB (Partido da Social Democracia
Brasileira, Brazillian Social Democracy’s Party)
members. During the government of Fernando
Henrique Cardoso, ministers finished their work
at the restaurant’s tables. José Dirceu, the formeralmighty head of the Civil Affairs Ministry during
Lula’s first mandate, also adjusted well to the
menu. He was there that day to celebrate Lula’s
victory, and on the day he left the government,
because of the accusations that he was head of
PT’s Mensalão scandal (an off the record monthly
salary for politics), he ate the food prepared in
Piantella’s kitchen.
Prostrated because of the accusations that
caused his overthrow, Dirceu left the Planalto
Palace straight to the official residence, in Lago
Sul, a noble district in Brasília, where he whined
to his friends, like the attorney Sigmaringa Seixas
and representatives of the Cuban Embassy. His
meal, however, came from the restaurant, at the
request of one of Piantella’s owners, the attorney
Antônio Carlos de Almeida Castro, nickname
Kakay, who was there to sympathize with Dirceu,
his close friend.
Also during the crisis of Democrat’s Mensalão, the
restaurants in Brasília were attended at decisive
moments. José Roberto Arruda, the governor
who played the most important role in one of
the most well documented corruption scandals –
like the attorney general of the Republic, Roberto
Gurgel, would say – said goodbye to his position
in one of the cool restaurants of the capital city.
Hours before he was locked in a room at the
Federal Police Department, where he stayed in
prison for 60 days, Arruda ate his last meal in
freedom at Trattoria da Rosário, in Lago Sul,
the place where TV host Sabrina Sato goes with
her boyfriend, Congressman Fábio Farias (PMN
- partido da Mobilização Nacional, National
Mobilization Party - RN).
photo piantella / reproduction
backstage
Arruda ordered lamb shoulder blade chops with
fettuccine in the lunch during which he discussed
with attorney José Gerardo Grossi the prospects
for him to stay in power. When he left jail, he had
already lost his position. Before that, however,
the same location was chosen for a much
more familiar situation by Arruda’s executioner,
Durval Barbosa, the owner of the lar-gest video
collection on corruption in the Republic. The
man who taped scenes of illegal money being
delivered to Arruda and many other politicians,
who overthrew the governor of the Federal
District, the vice governor Paulo Octávio, the
president of the Legislative Chamber Leonardo
Prudente, and caused a request for intervention
in the capital city of the country, chose Trattoria
do Rosário for his engagement dinner. At the
neighboring tables, authorities that only knew
Durval from the scenes shown on TV news were
having dinner: Senator Aloízio Mercadante (PTSP), the Minister of Education, Fernando Haddad,
and the president of the Federal Council of the
Brazilian Bar Association (OAB), Ophir Cavalcante.
Durval celebrated the romantic occasion with his
fiancée and his friend Edson Sombra, the journalist
responsible for Arruda’s arrest. Sombra also went
to a gastronomic environment for the grand finale
of the negotiation of the supposed bribe that sent
the Federal District’s governor to jail for attempted
bribery. He chose Torteria de Lorenza, in the
south-west district, as the meeting point to receive
the money that would pay for a change in his
deposition, supposedly proposed by Arruda to
change pieces of evidence in the corruption inquiry
known as the Pandora’s Box Operation. Warned
by Sombra, the Federal Police was ready and
arrested the bribe’s middleman, just as common
citizens, at the surrounding tables, were having
breakfast and reading the newspaper.
Whereas Trattoria do Rosário is one of the most
sought-after Italian restaurants by politicians, on the
same block the french restaurant Alice Brasserie,
owned by chef Alice Mesquita, is one of the spots
attended by people who want to keep an eye on
what authorities are up to: prosecutors and district
attorneys, in addition to ministers of higher courts.
It looks like an arrangement. They do not blend
in, at least not in public. Each person in their own
place. The difference is that politicians rarely pay
the check, as revealed by the owner of one of
the most sought-after restaurants by authorities,
also in Lago Sul. The check is usually paid by the
person eating with them.
An easy place to find PT members in Brasília are
the establishments owned by businessman Jorge
Ferreira, who has prestige enough to participate
in the weekend soccer games at the Alvorada
Palace. Friends with President Lula and José
Dirceu, he is the great host of PT’s Republic. The
former Secretary of Treasury, Antônio Palocci,
and the head of Lula’s chief of staff, Gilberto Carvalho, are always seen at Feitiço Mineiro, with
typical food from Minas Gerais and live music,
and also at Brahma, Brasília and Armazém do
Ferreira bars. During the World Cup games, the
large screen at Brahma bar, in Asa Sul, was a
hot spot. The former Minister of Sports Agnelo
Queiroz (PT), candidate for governor of Brasília,
watched all the games there.
During the first phase World Cup game between
Brazil and Portugual, Brahma bar almost
remained closed -- right when the two teams were
tied! -- because of a fine it received due to overly
loud music. When informed that the inspectors
had closed Lula’s friend’s bar, the governor of the
Fe-deral District, Rogério Rosso (PMDB), an ally
of the Planalto Palace, was personally involved
in solving the problem. He proposed a resolution
and immediately the doors were opened for the
PT to throw back draft beers. Stories from Brasília.
profile
Móveis coloniais de acaju, musicians
BRAZILIAN CERRADO’S
TALENTS
Even if the Brazilian cerrado’s soil is not the most fertile, at
the very least it has served to sprout a music scene as broad
as Brasília’s horizons. In the wake of the explosion of Capital
Inicial and Legião Urbana in the 80s, the next decade saw
rock give way to reggae, ska, grunge and other styles, which
is just the type of terrain the band Móveis Coloniais de Acaju
does well.
As pluralistic as the capital itself, this group of ten musicians —
among them one was born in Sweden, another is Ecuadorian,
and many others were pulled from their roots and grew up
in Brasília — arose at the end of the 90s, playing at student
council events, graduation parties and other unpretentious
occasions.
The passion for Brasília unites the trajectories of actress
Rosanne Mulholland, the director José Eduardo Belmonte,
and the musicians from the band Móveis Colonias de Acajú
by SILAS MARTI photos MÁRCIO SCAVONE
The actress Rosanne Mulholland, who was
discovered by Belmonte after a commercial, talks
about her childhood, when she staged theater
performances for her family, and the discovery of
the profession troupe of actors that she joined in
the central highlands.
In the realm of cinema, José Eduardo Belmonte,
director of A Concepção and Se Nada Mais Der
Certo, recalls his teenage years spent desperately
scouring embassies’ cinematheques in an attempt
to find inspiration for his films.
The musicians of the band Móveis Coloniais de
Acaju also tell how the local high school band
turned into one of the city’s most expressive musical
revelations. With foundations in ska and swing, they
keep heating up the Brazilian cerrado.
Near the highway bus station, at the gateway into the
Esplanade of Ministries, are the band’s first stages: the now
defunct Teatro Garagem and Gran Circo Lar.
production yasmine sterea make rafael senna e jo castro (capa) image retouching fujocka
Brasília is a barren land when it comes to shaping
new artists. While it has not yet produced a
creative generation, some talents carry the city’s
flag through the rest of the country. Vogue ABEST
elects three of them in this special issue in honor of
the 50 years of Brazil’s capital.
“It was kids stuff, playing instruments and starting a band,”
says bassist Fabio Pedroza, the son of university professors
and who met the group’s members during school. “There was
this movement in high school, we would just start calling up
people who went to our school.”
Wrapped up in the ska scene, a Jamaican style of music that
is at the base of reggae and that was very well received in
Brasília, the band emerged as a homage to an obscure revolt,
and at the same time, an ode to the polyphonic sound of the
brazilian cerrado.
The called Revolta do Acaju, an invention of the band, would
be the historical episode in which the indigenous populations
jointed the portuguese to expel a wave of british colonization
on the island of Bacanal in Tocantins. It sounds true, but it’s
a farce, like much of what you hear in Brasília. “Our lyrics,
in a general sense, talk about the urban quotidian,” resumes
Pedroza. “We don’t have a political message, but we do talk
about a consumer-driven society”.
All of that coupled with the sounds and characteristics of ska
and swing, and space for a satire about a politician, who,
in the lyrics of a song, turns into a sandwich. “That was the
foundation in the formation of the band,” says the bassist. “But
we don’t pigeonhole ourselves to any styles or categories.”
So much so that Móveis Coloniais de Acaju decided to create
their own festival in the federal capital. The foundation of the
festival is the miscellany, which is the DNA of the group. From
that basis of criteria, the bands are chosen to come out there.
Most definitely a common ground.
ROSANne MULHOLLAND, actress
In place of the sea, Rosanne Mulholland grew up watching
a wall of sky. She remembers afternoons with nothing to do,
when she staged theater performances at home with her
cousins and forced the adults to attend. It was Brasília, but it
was not a modernist house.
“I was born and raised in Brasília”, says the actress.
“We traveled every year, and I always wanted to go to
the beach. My desire was to see the ocean because Brasília
only has the lake and it was polluted,” she recounts. Aside
from the short vacations when she saw the sea, the actress
had to settle with the wide-open horizon of the central
highlands, freshwater lakes and lagoons, and the boredom
that affects the cerrados’s residents. “If you grow up in
Brasília, there’s not much to do”, she says. “Brasília didn’t
have a huge cultural scene and that lack of what to do made
me want to do something.”
As a young girl, Rosanne tried everything: drawing, crafts,
and ballet. The daughter of a Rio de Janeiro native who
migrated to the city when she was still young and an
American missionary who eventually settled in Brasília after
passing through Ceará and Maranhão, Rosanne only later
discovered that her vocation was theater, but it was hard to
find a decent course of study in the federal capital.
From school to school, dreaming of Ingrid Bergman, Audrey
Hepburn and Bette Davis, also using a big of self-study, she
ended up doing some commercials. José Eduardo Belmonte
discovered her through an advertisement, which lead him to
hire her for his feature film A Concepção.
In the film, she plays a young woman with a thirst for
madness and libido that oozes from her pores.She says that
her character has nothing to do with her own adolescence in
Brasília, which was very tranquil and mild-mannered. In any
case, this character would be the gateway into the fiery title
character in Falsa Loura by Carlos Reichenbach.
Are those fictional girls a bit like Brasília in reality —
perfection on the surface and a sea of scandals underneath?
No. She disagrees with the idea that the city is at the center
of scandal. “It bothers me to hear this come from people who
are from Brasília,” says Rosanne. “Most of these scandals
involve people who are not even from there.”
José Eduardo belmonte, director
From the moment he moved to Brasília until he decided to
leave the city, José Eduardo Belmonte saw a “virgin territory
turn into bloodthirsty land”. Love and hate, for the filmmaker,
walk together in what would be utopia and turned into a stage
of tricks and falsities.
It was because of a letter written by a hippie brother, who was
conquering the cerrado, that Belmonte’s family traded Rio for
the central highlands when he was 4 years old. Passing through
the city, the oldest spoke of the glories of his birth city, an allwhite metropolis built in the middle of the country in order to
host the nation’s power.
“But when we got there, there was nothing, just dirt, wood,”
Belmonte recalls while in a cafe at Augusta street in São Paulo.
“It was a shock.” Once the initial fear had passed, he grew
up with all the spatial freedom in the entire world, yet he had
nothing to do. With the dictatorship as another backdrop at the
time, he filled his empty afternoons with visits to the different
embassies’ cinematheques.
He mixed in his movies what saw them do, or rather, based
them on the crazy acts of rebellious youth in A Concepcão
and trying to survive in the midst of a moral crisis in Se Nada
Mais Der Certo. These were touches that he had learned from
masters like french filmmaker Chris Marker, as well as the
experience to stroll through the strange paradise of Lúcio Costa
and Oscar Niemeyer.
I spent a lot of time walking around the entire city and I would
look at that open landscape, that empty exterior reflecting
onto the inside, he recalls. “Those ample spaces really
affected me, the permanent vision of the horizon, the melancholy
that it creates, the notion that everything is possible, and yet, you
cannot have anything.”
Tired of this feeling of powerlessness, Belmonte traded Brasília,
city of false utopias, for the raw realities of São Paulo. “Cinema
is a war, you have to engage in absurd ferocities to get money,”
he explains. “It was getting too hard to live in Brasília, everything
there is full of jealousy, ignorance, and brutality. It turned into a
bloodthirsty territory.”
But Brasília didn’t leave him. Ever since he moved to São
Paulo, he still hasn’t gotten used to not having a horizon. In
Se Nada Mais Der Certo, his only film that takes place in the
capital of São Paulo, he decided to film the end at sea. The
outcome would not have fit into the chaos of the city’s concrete
landscape. “That stayed in me,” he resumes. “I see myself as a
filmmaker from Brasília. I have the city inside of me.”
monumental
summer
Under a breathtaking sky or framed by modernist Brazilian
architecture, 50 pure-fashion-pleasure looks are modeled
for Brazil’s 2011 summer. Modernists as Lúcio Costa and Oscar
Niemeyer and relaxed no-fuss like youth from the capital of
the country, Brazilian designers also ooze creativity and
excellent products of shape - just like the city
photos EDUARDO REZENDE editor FRANCO PELLEGRINO
www.iodice.com.br
iódice
Jefferson kulig
www.jeffersonkulig.com.br
www.gloriacoelho.com.br
Gloria Coelho
mara mac
www.maramac.com.br
www.mixed.com.br // www.carinaduek.com.br
MIXED // carina duek
Adriana degreas
www.adrianadegreas.com.br
www.alexandreherchcovitch.com.br
alexandre herchcovitch
serpui marie
www.serpuimarie.com.br
www.lolitta.com.br // www.clubebossa.com.br
lolitta // clube bossa
Cia. Marítima by benny rosset
www.ciamaritima.com.br
www.marceloquadros.com
marcelo quadros
www.carlosmiele.com.br
carlos miele
osklen
www.osklen.com
www.jodemer.com.br
jo de mer
uma by raquel davidowicz
www.uma.com.br
www.ronaldofraga.com.br
ronaldo fraga
cavalera
www.cavalera.com.br
www.rosacha.com.br
rosa chá
lenny
www.lenny.com.br
www.giulianaromano.com.br
giuliana romano
vix
www.vixswimwear.com
www.sergiok.com.br
sergio k
salinas
www.salinas-rio.com.br
www.isabelacapeto.com.br
isabela capeto
juliana jabour // maria bonita extra
www.julianajabour.com.br // www.mariabonitaextra.com.br
www.mauriciomedeiros.com.br
maurício medeiros
anunciação
www.anunciacao.com
erika ikezili // Água de coco by liana thomaz
www.erikaikezili.com.br // www.aguadecoco.com.br
triya // cecília echenique
www.triya.com.br // www.ceciliaechenique.com.br
www.crisbarros.com.br
cris barros
thais gusmão
www.thaisgusmao.com.br
www.ilya.com.br // www.lillysarti.com.br
ilya // lilly sarti
miele
www.carlosmiele.com.br
www.huisclos.com.br
huis clos
martha medeiros
www.marthamedeiros.com.br
www.mariabonita.com.br
maria bonita
patachou
www.patachou.com.br
www.constancabasto.com
constança basto
poko pano
www.pokopano.com.br
Executive Production Roberta Germano Photos Eduardo Rezende (ABÁ) Assistant Frederico Borba Set Assistants Cassiana Umetsu and Akira Martins Beleza Cris Narvaes (ABÁ) with
Redken, L’Oréal Professionnel and Guerlain products Assistants Max Araújo and Pedro Dorneles Fashion Production Gabriela Couto Assistant Laís Melo Set Assistant Rosane Albuquerque
Manicures Maria Teresa da Silva and Maria Rosário Nunes image Retouching Breno de Faria
www.ceciliaprado.com.br // www.pelu.com.br
cecília prado // Pelu
Special Thanks Helio Cabeleireiros team, Secretaria de Cultura, Guerlain, Boeing Turismo and
event
fashion
MARKET
entrepeneur mÁrcia lima has run capital fashion week for
the past five years, that launched 22 designers
by Roberta Germano photo eduardo rezende
Visionary and entrepreneurial, Márcia Lima noticed
early on a need for a large and well-organized
fashion event to publicize designers in the Midwest.
“I saw incredible potential. They just needed more
attention and resources.” In 2005, the dream
came to fruition and the first Capital Fashion
Week surpassed expectations with the participation of 20 thousand people. From then until now
the event has only grown. The business fair, set up
during the fashion shows, has enabled the sale
of collections to both Brazilian and international
multi-brands. At the forefront, the launch of 22 new
designers draws a lot of attention. The next CPW,
during the height of summer, is already scheduled
for November 23 to 26.
The main objectives are social inclusion and concern for the environment. “We want to create job
opportunities for economically disadvantaged
populations. They are very talented women, like
the ones from the cooperative Cia. do Lacre, who
have already had special participation at Rock in
Rio in Lisbon.” Márcia still wants to democratize
fashion. “If there is still room to watch the show, I let
everyone in. Nobody can be deprived of looking at
such beautiful things,” she defends.
The designers selected have their shows financed
by the event and their collections evaluated by Jum
Nakao. “He is the art director. He is super exigent
and analyzes all the collections from the sketches to
the final concept,” explains Márcia. She adds that
topics evaluated also include quality, consistency,
and above all, creativity.
In order to understand the rhythm of growth in the
area of fashion in Brasília, think of post-war New
York. At that time, it was a place in the midst of
industrial progress, multicultural, without any strict
traditions and hungry for something new. The motto
in the highlands is to create history and, to do this
there is a type of freedom characteristic of the vast,
open lands being open to opportunities. “The youth
of Brasília is knowledgeable and curious. They are
people of very different origins, and because of
it, the designers exhibit such rich references.” As
the song of Oswaldo Montenegro, they follow the
“logic of architecture and the logic of the world”.
Márcia highlights that the level of intellect is very
high and the environment is propitious to creation
and the emergence of new talents.
“Everything turns into dawn at this city that is opening for tomorrow,” is what Juscelino Kubitschek had
already said about the center of power that arose
in the 60s. And the businesswoman reexamines the
matter at hand upon being reminded that the city
has the highest income per capita in the country.
“The fashion industry has everything it needs to
grow here,” she evaluates.
From left to right;
Sandra Lima, Romildo Nascimento, Clarice Garcia, Eliel Sallustiano, Camila Prado, Márcia Lima, Ivan Hugo, Ana Paula Osório, Sann Morcuccy, Érika Duarte, Akihito Hira
ARQUITEcture
At the end of the 1950s, Tom Jobim and Vinicius
de Morais were composing bossa nova’s greatest
hits. Água de Beber, inspired by the murmur of a
drop of water heard by musicians at Catetinho,
was played for the first time to the public at the
Hotel Brasília Palace’s bar. A symbol of the city’s
architectonic and fond history, the hotel designed
by Oscar Niemeyer was inaugurated in June of
1958 — two years before the “future city”— and
quickly became a meeting spot for the city’s most
elite nouveau riche as well as official conferences
between the government and military members.
Already the main hall, framed by Athos Bulcão’s
painting, called for lavish balls that exuded a hint
of glamour to cold nights in the interior of Brazil.
Modernist
experience
Completely reconstructed after a disastrous fire,
the hotel Brasília Palace is one of the trademarks of the
city’s modernist architecture and glamour
In August of 1973, a fire destroyed the hotel. “It had
already gone through two other incidents, but this
time the hotel was left with just the building’s skeleton,
and needed to be closed,” remembers Daniel
Bernardes, general manager of Brasília Palace.
He says that after decades of abandon, public
pressure prompted the building’s reconstruction.
“The process was long and hard. Everything had
to be approved by Oscar Niemeyer and IPHAN
(Institute of the Historical and Artistic National
Patrimony), since it was a national historic site. It
was necessary to respect the original project, yet
at the same time adopt new security measures for
the Fire Department’s approval,” he recounts. After
nine years of work, Brasília Palace was inaugurated
in 2006 with the presence of both Athos Bulcão and
Niemeyer.
by Roberta Germano photos akira martins
Totally reconstructed spaces, including
the illustrious hall with the legendary
painting by Athos Bulcão above, bring
back the climate of the 50s
Illustrious guests as Che Guevara, Sartre, Queen
Elizabeth, Indira Gandhi, and lavish weddings give
radiance to the place’s past. “The receptions, the
paintings, and the games in the garden are still
very vivid memories,” says architect Carla Scano,
who didn’t think twice when choosing the hotel for
her wedding. It’s also a competitive address to gain
entry to on the weekends. The restaurant Oscar
Jazz&Cusina maintains an enviable list of concerts.
Above, the hotel’s facade.
The lobby, with open spaces
and signature furniture
The furniture, true to the style of the 50s and 60s,
attracts a wide range of people — from fashion
photographers to young architects — from all over the
world. They come to Brasília to see and experience
the modernist architecture and objects from the era,
an example being George Nelson’s luminary known
as Bubble located in the hotel’s lobby. There are
still many collector’s items designed by names like
Arne Jacobsen, Betty Betiol, Ero Sarinen, Florence
Knoll, Giuseppe Scapinelli, Harry Bertoia, Miles Van
Der Rohe and Pierre Paulin. Staying at the Brasília
Palace is like diving into the nation’s modern
history. You gotta see it to believe.
gastronomy
making of
brasília À la carte
Brasília: a dream,
a reality
CHEF MARA ALCAMIM IS THE HEAD OF UNIVERSAL DINNER, ZUU AND QUITINETE, THREE OF THE MOST
CHARMING RESTAURANTS IN THE CAPITAL CITY, where SHE PLANS TO OPEN up ANOTHER PLACE
Vogue ABEST’s team landed in the federal capital city to photograph the
fashion editorial of the tenth magazine of the Brazilian Fashion Designers
Association. A deep turquoise-blue sky, sunny days and the gorgeous
architecture by Oscar Niemeyer and Lúcio Costa were the background for
this issue, totally devoted to the city.
The creation of flavors has awakened the curiosity
of Mara Alcamim since she was 12, when she
used to stay by the stove watching her mother
cook. After working for three years at restaurants in
New York, she decided to start her own business.
The chef believes that the secret is to take care
of all the details, from the cleaning products to
the service. And she does all that in her three
restaurants: Universal Dinner, Zuu and Quitinete.
The menu gets special attention; after all, differently from Americans, who prefer faster meals,
she says that for most Brazilians, going to a
restaurant is a form of entertainment. “People eat
very late and like to stay at the table for a long
time with their friends,” she says. Her first success
was Universal Dinner – with a contemporary
menu and modern décor, it attracted the coolest
people in the city. Zuu – the apple of the chef’s
eyes – brings more creative recipes. “We have
a tasting menu with five delicious dishes and a
happy hour with Spanish tapas.” Incorporating the
European concept of gourmet space, Quitinete
has the perfect ambience for a lunch for two,
and it also offers options of ready-to-eat dishes
to serve at home. “I love to have my friends over,
and it’s great to have pre-prepared meals for
such occasions,” says the chef, who is planning
her next enterprise, still kept under lock and key.
It was a unique experience for everyone in the team to walk around the
wide avenues, see Athos Bulcão’s panels and experience the magnificence
of the curves and lines of this city, declared a World Heritage.
Brasília enchants at every step. The National Museum, with totally round
shapes and floating runways, the side walls of the National Theater and
the tile panels bring the perfect balance between art and architecture.
The domes of the Congress and the Senate and the military sector with its
magnificent shell, evoking the shape of Duque de Caxias’s sword handle,
became an imposing scenery for the creations of Brazilian designers.
Claudia Pereira
The chef Mara Alcamim takes care of all
Universal Dinner (above) and Zuu’s details - two
of the most succesful restaurants in the capital.
photos adolfo burnett / reproduction
Roberta Germano
The Vogue Abest team
working at Brazil’s capital
MANAGING DIRECTOR
Patricia Carta
EDITOR IN CHIEF
Daniela Falcão
SPECIAL PROJECTS EDITOR
Silvana Holzmeister
EXECUTIVE PRODUCER
Roberta Germano
FASHION EDITOR
Franco Pellegrino
GRAPHIC PRODUCTION DIRECTOR
Paulo Sergio Castillo Lopes
ASSISTANTS
Danilo Carvalho, Fernanda Magliari and Roberto de Araújo Apolinário
EDITORIAL AND PUBLISHING SERVICES
Copy Editor Antonio Gilberto Carradas and Claudio Eduardo Nogueira Ramos
Typing Antônio Marcos da Silva
SECRETARIES
Patricia Silva e Márcia Caetano
CONTRIBUTORS
Akira Martins, Ana Maria Campos, Beatrice Igne-Bianche, Breno de Faria,
Cassiana Umetsu, Cris Narvaes, Cristiano Mascaro, Eduardo Rezende, Fabiana Doná Skaf,
Frederico Borba, Fujocka, Gabriela Couto, Jo Castro, Laís Melo, Laura Rago, Marcio Scavone,
Maria Rosário Nunes, Maria Teresa da Silva, Marina Beltrame, Max Araújo, Paula Sarney,
Pedro Dorneles, Rafael Senna, Rosane Albuquerque, Silas Marti, Yasmine Sterea
MANAGEMENT
CORPORATE DIRECTOR Ricardo Kowarick
EXECUTIVE DIRECTOR Idel Arcuschin
FINANCE DIRECTOR Ana Cristina Ferreira Leite
EDITORIAL COMITEE
Ignácio de Loyola Brandão, Costanza Pascolato, José Zaragoza, Matinas Suzuki, Sig Bergamin
VOGUE ABEST is published by Carta Editorial Ltda.
©2010 The Condé Nast Publications Inc.
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DIRECTORS Patricia Carta, Ricardo Kowarick, Idel Arcuschin
FOUNDED by Luis Carta (1975-1986) Andrea Carta (1986-2003)
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Valdemar Iódice
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Roberto Davidowicz
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Evilasio Miranda Costa ([email protected])
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Maria Luiza Mitidiero ([email protected])
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