Felipe Oliveira Baptista is a Portuguese designer fast gaining recognition on the Paris fashion scene For those who believe that fashion and creation, in general terms, is a reinterpretation of trends and styles from the past, the work of Felipe Oliveira Baptista proves a real challenge.
But is there anyone immune to the style of this young Portuguese fashion designer? In Paris and the realm of haute couture, Felipe Oliveira Baptista, 32, is seen as one of the most promising designers of his generation. In 2002 Karl Lagerfeld presented him with the best designer award at the Hyères International Festival in France. But 2003 would prove to be the year of his real breakthrough. Last year saw him found his own haute couture label, and the Louis Vuitton Hennesy group (LVHM) and the French National Association of Arts and Fashion (ANDAM) awarded him one of the most prestigious and coveted grants attributed to the designer who "expresses the best definition of exceptionality in creation".
But is there anyone immune to the style of this young Portuguese fashion designer? In Paris and the realm of haute couture, Felipe Oliveira Baptista, 32, is seen as one of the most promising designers of his generation. In 2002 Karl Lagerfeld presented him with the best designer award at the Hyères International Festival in France. But 2003 would prove to be the year of his real breakthrough. Last year saw him found his own haute couture label, and the Louis Vuitton Hennesy group (LVHM) and the French National Association of Arts and Fashion (ANDAM) awarded him one of the most prestigious and coveted grants attributed to the designer who "expresses the best definition of exceptionality in creation".
Soon afterwards he was invited by Jean Paul Gaultier and Hermés to take part in the haute couture official calendar. From that moment on Baptista has kept the public enthralled with his minimalist yet highly creative style, cut from the finest of fabrics using traditional Japanese techniques and a restricted palette of colours. "The Japanese have a very different notion of the body and how to be," he explains.
In 2005 he was one of five young designers awarded by ANDAM. When asked how he has managed to make his mark in the almost inaccessible world of international design, his reply is modest and simple, just like the man and his collections. "A lot of work, a little bit of talent and luck... a whole lot of luck." But he immediately corrects himself: "Obviously nothing is just down to chance. Love and dedication are also very important and I love my work." Felipe Oliveira Baptista was born in the Azores and grew up in Lisbon. His pure determination led him, at the age of 18, to risk everything and head off to study design and fashion design at Kingston University in London. Soon afterwards he worked for MaxMara, Cristophe Lemaire and Cerruti in Italy and Paris, where he ended up staying and marrying Séverine, a young Parisian whom he had met at work. His influences, he says, are drawn from sculpture, architecture, design and origami and even the terrorist attacks in London which were the theme of his autumn/winter 2006 collection and where he happened to be when they took place. He prefers to work with people who are not involved with the fashion industry - "they (impart) a wealth of information and suggestions, which is vital for my work," - and develops additional projects that he describes as "equally inspiring", such as wardrobe design for films, or designing CD covers.
He sells clothes in some of the world's largest shopping centres in places like Paris, Tokyo, Milan and New York and is now thinking of designing a men's collection and a range of accessories. Nevertheless, Felipe Oliveira Baptista still considers himself a "debutante, with everything to learn." But critics within the industry, whose opinions can be beneficial as well as detrimental, appear to have fallen for the charms of this garcon, and he is developing a reputation as the man who designs clothing for the future.
His elegant and sophisticated designs present clean lines, without unnecessary or excessive ornamentation, where every gather and every fold highlights the forms and volumes of the body, rather than what he describes as "clothes for 43-kilogram beanpoles!"
Fonte
No comments:
Post a Comment