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OLIVIERROUSTEING

Balman

Mudança dedireção

Quem é

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SUMÁRIO

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5 editorial 9 balmain 10 artigoprincipal 15 viva

las vegas

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EDOAL

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Designa-se Baal, o deus semi-ta dos fenícios e sumérios.Usa-se como sinônimo de demônio no velho testamento, novo testamento e até hoje por fundamentalistas e radicais cristãos para exortação. Nota-se uma semelhança sonora com a marca de analise da primeira edição da revista. Cria-se uma ligação entre poder, luxo, as

igrejas que serviram de inspi-ração para coleções, o proibi-do, o querer, o fetiche e adorno. Contextualiza a publicação num paralelo entre moda, religião, analise, design. Sobre o que não é óbvio. Sobre questionamento.

BAALPRIMEIRA EDIÇÃO

2013

SOBRE VER DESIGN

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BALMAINNo período da Segunda Guer-ra Mundial, Pierre Balmain foi “um rei da moda francesa” e vestia várias estrelas, inclu-indo Ava Gardner e Brigitte Bardot e também a primeira dama da Nicarágua, Esperança Portocarrero. Uma das suas clientes mais famosas era a rainha Sirikit da Tailândia.Após a morte de Pierre Balmain, em 1982, a casa foi liderada por Erik Mortensen, descrita pela Vogue como a “mão dire-ita” de Pierre Balmain. Oscar de la Renta tomou conta da casa entre 1993 e 2002. Sob o comando de Pierre Balmain, Mortensen e de la Renta, a casa era conhecida pelos seus clás-sicos e estampados de luxo.

Até 2011, a casa foi liderada pelo designer Christophe Decarnin, cuja visão para a casa era mais moderna e mais ousada. Em abril de 2011, a casa de moda anun-ciou que Decarnin foi suce-dido por Olivier Rousteing.Por volta de 2008 e 2009, a linha de roupas tornou-se extremamente popular tan-to entre as revistas de moda, passerelles e celebridades. A sua coleção de 2010, apresen-tada durante a Paris Fashion Week, foi dito ser “totalmente retro” e trouxe de volta o brilho da era disco de 1970.

Wikipédia

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OLIVIERROUSTEING

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“I’m from the south of France, in Bordeaux—both my parents are French. I have family there and also in Par-is, so I always traveled back and forth a lot. After finishing school, I went to Italy for al-most six years and worked for Roberto Cavalli, and then I decided to come back to Par-is for Balmain. Now, it’s been three, three-and-a-half years at Balmain. I’m twenty-six.Balmain womenswear and menswear is the same for me: I like sexiness. That’s why I’m in fashion—because I love the body of a woman or of a man. It’s always playing with a part of the body but still be-ing modern and keeping the sexiness, and showing a bit of

your body. You can always have oversized jackets but you have to wear it over maybe a skinny pant; or, if you have a skinny jacket, it’s always nice to have an oversized pant. But I actually think the face is the sexiest part of a woman’s body, because I think the ‘sexy’ is more in the emotion…when you see the [Bal-main] show, they have their hair really simple, the makeup really simple, and they can wear what they want. They can wear a white t-shirt or the dress, but if there is emotion in the eyes and prom-ise, and the flow in the hair, for me it’s really important. I think we have the most beautiful girls in the world, in our shows, and I would never try to hide their beauty. I think they have beauti-

ful hair, they have beautiful eyes, the lips—I like the individuality completely. I’m very attracted to that look of no makeup. The clothes that I’m doing are really really strong in some ways, they are really rich and overworked, so if the clothes are strong, I just want a more simple and natural face. But, I think, what is im-portant for me is that they can wear these clothes as they wear their pajamas. They don’t go to sleep in their makeup—that’s the point. When they walk on the catwalk, or when they try things on in the fitting, I just say, ‘Have the attitude that you’re wearing pajama pants, or switch to jog-ging, or if you’re in a dress, try to make it yours.’ Then you have your simple hair and makeup,

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everything you are now, and you have your garment or your super boy sweatshirt and boy pants…I think that looks super cool.For guys, I prefer more natural if possible. I like hot boys, but it’s just more about the emotion you give, you know? You can be skinny or you can be super muscle, it’s just what your face is showing to the world. So, I think it’s not only about the body, it’s more about the attitude. You can have an amazing leather perfec-to jacket with a shirt and it can go super well with a muscle boy that came from Cuba, but it can be completely wrong for a skin-ny guy from Russia. It’s all about the attitude and all about how you want to act, you know, in the street. In Paris, there are a lot of androgynous and super skinny boys, and I was super skinny when I was young too but not anymore. I did a lot of football; I was a soccer player…I keep the legs. [Laughs] Now, I’m trying to build a bit more of a chest, but it’s not working for me—building muscle. I’m sad about that. I’m trying every morning to go to the gym. Every time, after holidays, like in Miami, I say, ‘They’re all beautiful here. I have to come back to Paris and work out.’ And I do for one week and then I can’t anymore. I put on the music that I wanted on my iPod, I look at the clips on the TV screens and everything, to run…but it’s just impossible. Some-times I take my bike, or my roll-erblades, from the gym to the of-fice, but only in summer. I try to

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INTO THE GLOSS

beard when it grows. It’s not per-fect like Brad Pitt or those kinds of guys, like Leonardo DiCaprio, when you see them and you’re like, ‘They’re hot!’ He’s so hot. I remember him in Titanic. And Romeo + Juliet. I watched it last night, you know. I was in the office playing music and at one point, we were like, ‘Okay. ‘90s.’ We were listening to Britney Spears, ‘Hit Me Baby One More Time,’ and we thought, ‘When was ‘Hit Me Baby One More Time’?’ In 1998. So, I was just realizing, it was fourteen years ago. At one point, I was just like, ‘Okay. When was Titanic?’ It was around the same time. I realized we saw that when we were super young—my team is really young—so we watched some clips from the movie. We watched Kate Winslet and Leonardo DiCaprio in the car scene. It was love! I was crying like a baby when I first watched that. And then after, we went to Romeo + Juliet—we listened to the music from the soundtrack. At one point, you’re just like, ‘Fuck. I’m really old now.’”

eat really well; that’s something, for me, that’s important. Even when I’m in the office and it’s kind of rushed, we try to eat well.For my beauty routine, it’s all about the cream. [Laughs] I al-ways had the same moisturizer, Lichtena—it’s something that I bought in Italy. I was more dark when I was young, but when I grew up more, I’m a bit more fair. I think it’s the weather in Paris…my skin is maybe used to sun in the South. I don’t know. It’s weird. I’m using a lot of Skeen; it’s a men’s line. I was in my gym at one point, and there was a guy who was selling this, and now I can’t use anything else. I love it. From this line, I use a lot of things—there is a thing that is like a powder for un-der the eyes that is good for after a big party. I like the soap too, for the body. I should use more things for the lips. I have one La-bello, strawberry. I use Nivea de-odorant—it stays for twenty-four hours, I swear. I shave every two or three days, but I like it best when it’s clean. On other men, I like a little bit of a beard, but on me, no, because it’s not every-where…I don’t have the perfect

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VIVA LASVEGAS

BALMAIN ACERTA AO APOSTAR EM UM GAROTO DESCONHECIDO DE 26 ANOS.

Em algum lugar Las Vegas há um motel com papel de parede florido e desbotado e um sofá de couro branco no lobby. Elvis está em um dos quadros decadentes do andar de cima vestindo sua indefectivel capa cravejadas de tachas, se preparando para passar a noite na cidade. Oliv-ier Rousteing, que aos 26 anos substituiu Christophe Decarnin na direção vriativa da Balmain, é o autor da visão acima , uma fantasia que ele diz ter inspirado sua segunda coleção para a grife, desfilada em Paris em setembro passado. Apesar de nunca ter pisado em Las Vegas, Rousteing insiste que o vestido bordado com flores e a jaqueta perfecto de couro branco e dourado en-feitada com franjas de cristal nasceram justamente desse dev-aneio. “É meu sonho de Vegas: céu azul, cores pastel, Elvis em

seus anos dourados. Eu amo a androgenia, a ideia de astros de rock com roupas femininas e su-perglamurosas no palco”, elab-ora Rousteing. “Mas optei por desenhar tailleurs no lugar dos macacão que Elvis vestia. Hoje a mulher não precisa necessar-iamente usar um vestido para sair a noite, ela quer se sentir tão confortável como se estivesse de pijamas ou vestindo um conjun-to de ginástica, e os tailleurs são ótima opção.” Ok, essa mulher pode até não querer usar um vestido desconfortável para sair à noi-te. Mas em tempos de incerteza econômica, ela também não acho o máximo gastar US$ em um par de jeans esfarrapados. E essa é a primeira grande dif-erença entre Rousteing e Decar-nin, o inventor da “balmainia”, sindrome fashion cujos sintomas

incluem o desejo de vestir um par de jeans loucamente caro, exageradamente ornamentado e completamente rasgado com-binado com uma t-shirt destrui-da. Rousteing chamou atenção da crítica e agradou a clientela cativa da grife justamente por sua interpretaçãao mais limpa e madura da escola criada por seu antecessor, mantendo o DNA jo-vem e sexy e, ao mesmot empo, lançando mão dos mais sofistica-dos materiais, trabalhados com requintes de alta-costura. Tudo sem perde a pegada rocker que trasnformou a Balmain em uma das marcas mais desejadas - e copiadas - da primeira década do século 21. Para conquistar tal feito, o estilista mergulhou nos ar-quivos da grife e não se restringiu a examinar apenas o trabalho de Decarnin.

Vogue . 2012

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SABRINA CARRARD

21 anos , mora em Curitiba. Cursa Design gráfico, tericeiro período, na Universidade Tec-nologica do Paraná. Esta re-vista foi desenvolvida para a matéria de Tecnologias Digitais.

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