An eye on the microscope, the other on the telescope: it is not difficult to identify this description the way Helen Rödel see fashion. Born in Lajeado, Rio Grande do Sul deals with wires and needles aware that they form more than garments with many colors. Having Porto Alegre as a starting point, she does not lose the minutia of each CAP, but faces his own ideas with an unusual density: between your workshop and the Moon, there seems to be only the time of a node.
:: Designer John Pepper points men’s fashion as a future brazilian fashion industry
:: Designer Stella McCartney honors mom with special bra for women with breast cancer
Next to William Thofehrn, life partner and Executive Director of the brand, Helen made an option for establishing the basis of the 30 Parallel:
– We ask ourselves all the time about what the place we want to transform. In fact, much more than a question, it is a belief. We want to produce locally, knowing that we belong to the world and that we can deliver our work beyond any customs border-says the stylist, which debuted on the runway of the House from the creators, in São Paulo, in the year 2012.
As if you know the date of the couple was instrumental in the creation of the label. When they decided to work together, for more than a decade, Helen had passed by the University faculties of Arts and advertising, and was about to enroll in technical courses sets of SENAI and SENAC. It was next to the lawyer with vocation for creative ventures that she achieved new flights.
-William is almost opposite of the experience and methods of thinking, and that’s our strength. The lack of experience was not an obstacle, on the contrary: there was a daily commitment to learn new things and ideas within our reach. We did everything the logo to the site, through administrative decisions.
:: Designers like Martha Medeiros and Sandro Barros show trends in bridal gowns
The time undertook to bring frequent contributors to campaigns and editorials, as the photographer Eduardo Castro, which creates the image of the brand six years ago. In movement, the pair still won the strength and the experience in retail of Simone Gavillon, that became a partner and third pillar in 2015. The project has made multiple of two.
The taste for the needles, however, previous: date of childhood in the interior of Rio Grande do Sul. The first techniques were taught by your mother, a skilled in crafts.
-I wanted to learn everything she could teach. We went to the haberdashery and I was amazed by the huge walls filled with wires. There I could see all the colors and textures of the world – recalls.
Together, they developed sweaters for the family, blending knitting, crochet and embroidery-a cross-referencing that already subvertia the order and opened the way for all the work after Helen would take to catwalks so distant as Iceland fashion week.
-A few years ago, the knitting and crochet were outdated. Today, there is a much greater range of creation, but for too long the handmade in sets was limited to alleged vocations: crochet for the summer, knitting for the winter. Felt want to disrupt these statements, as well as to go against the myth that the craft was a grandma – explains, in full accordance with the spirit of the time.
:: Designer Patricia Bonaldi conquers Brazil with embroidered dresses and omnipresence on the internet
:: Savage Beauty: a stroll through the exhibition of fashion designer Alexander McQueen in London
Design needs hands
The free enjoyment of thought is, to Helen, a move so natural to the manual labor as the technique itself. While half the energy is discharged in the making, the other is to let the head spin. The designer moved with the kind of idea that inhabits every point (in particular the popcorn, one of his favorites), and is proud to have been able to reconcile the work of own Studio something so genuine and pleasant: like produce and likes to think about the impact of each outfit is made.
The numbers are quite different from industrial production: fully manual parts are made in small quantities, often custom-tailored, and the hybrids that blend craftsmanship and machinery, are being prepared for a first line to be launched in 2016 in Europe, in China and in the United States (without losing the identity and the processes). This posture indicates an alignment to the concept of slow fashion, which goes against the unbridled consumption and the logic of renewing their desires sets every season. It is a manifesto, but, above all, a practice:
-I never believed a piece developed from such delivery could be used only for one season. We believe in clothes for a lifetime-comments on the stylist, which is part of a family in which the clothes are transmitted between generations.
The core of brand development in Porto Alegre is composed today by an artisan and a team of 11 women, gathered after an intense search for high level technical professionals that were open to design concepts proposed by Helen.
-People who are with me, in addition to their wonderful do, are extremely hardened. Together by hard times: do, dismantle and rebuild the path of creation requires a lot from me and who is near.
But there are many exchanges, between needles and life stories. And form a collective feeling that prints on each piece:
-Many of the artisans dominated the technique, but not realized how far they could go. I want to show all the steps, until the parade and the photo that is made for the campaign. I want them to know the potential of what developed into their own hands.
Something she assigns to the design: it is a motor to go beyond the making of parts.
Needle, thread and hands are the elements that make up the knitting and crochet. And, in these cases, the hand changes everything, rather than their own materials: the nature of each person and the strain placed on each generate different results. It is also the essence of manual labor available to movements of weave and tear, a shuttle by which is meant the unfolding of time and builds a metaphor for what the designer much like:
-In crochet have chance to come back and fix the errors, to remake the way, since it is not possible in life.
The Act of weaving also speaks, with subtlety, about need to know to stop.
-We like to see the ideas materialized. It’s beautiful when we can look back and recognize the evolution of an idea. Therefore, we must put aside the claims of perfection and know terminate periods of work to start thinking about other pieces-advocates.
Inspirations to follow by new creative paths, fortunately: Helen research flow is intense, and mixes from works of art to forms found on the objects of the House.
:: Charles Bacchi, the stylist located which is the revelation of the Haute Couture
-Sometimes, it’s the ideas that give directions. In others, the inspiration comes from practice, as is the case of the Act of braiding, very strong in me.
Unlike collections geared to the market, based on research on the consumer’s wishes, the designer believes the inspiration comes from the infinite, and we create is an act. But if the maturity it has imposed a more pragmatic mode, which places limits – even the handmade, for that to happen, you need an end-time, behind it is sure that complete a collection opens up possibilities for the sets made of affection grows stronger.
-As a little girl, I used to see everything from the perspective of a magnifying glass, all very great toward me. Gradually I learned to tear the idea that we’re small.
An eye on the microscope, the other in the telescope-the definition has already been used to set the writing of the Uruguayan Eduardo Galeano, who transitioned on the small stories of everyday life and the major subject areas of the world with the same force. And also serves to Helen, which makes even more great looking fashion simultaneously through the microscope and the telescope.