InfoModa Column
Text by Juliana Vasconcelos, Advertising student ECOM/IDP
We said we were going to come back with the interview we did with Rachel (she speaks as if she's watching FRIENDS) and here we are!
In her last article, Rachel Sabino shared a bit about her experience from childhood to the present day, as a journalist working in the fashion world. Today we'll talk about her perspective on the Brasília market and some tips.
JULIANA FROM ECOM: NOW ABOUT BRASÍLIA, DO YOU THINK THE MARKET HERE STANDS OUT LIKE THOSE OF OTHER BIG CITIES?
Brasilia isn't an industrial hub like São Paulo, for example, so it can't be compared. But it's very much about seeing the "gap" that exists here. First: it's not a hub, so it's impossible to compare the production that exists in São Paulo. Second: the city doesn't offer fashion schools, for example. However, it's seen that, based on what we have around us, it could be, for example, a design hub. Brasilia's architecture is an inspiration for all types of design. If we have skilled people to teach and create, it's possible that fashion here could take off. Recognizing our potential in design, people need to invest in themselves to get out of their bubble and recognize the shortcomings that exist in the city, what the city doesn't have and could have. There's also the devaluation of the people around us, because everyone wants to use what others are using, which isn't from here. People want the best possible result, but they don't invest in people. So the profile of the local market is often this: they want a result without investment. There's also the "childishness" of the consumer, because it's necessary to recognize that in order for the market to mature. Brasília is a very young city, so it's impossible to compare it to a city that's over 400 years old. It's a very young, very timid trend, and it's up to this generation to make things happen. Brasília is a city of public servants, so you can find everything here; there isn't yet a defined identity. There's still a lack of an observant eye; it's a point where you can find many things in many places. Visiting Conic with a more technical perspective, for example, is essential to broaden your understanding, because it's a mix of everything: entrepreneurs, executives, local businesses. It's like an accent; we don't have one, but that's what makes our accent.
JULIANA FROM ECOM: DO YOU BELIEVE THAT OTHER STATES CAN INVEST IN THE CAPITAL? IS THIS A FERTILE GROUND?
Investment is productive, yes, but it requires a connection, a relationship; those on the outside need to recognize that there is potential here.
JULIANA FROM ECOM: YOU WORK WITH BRASÍLIA SHOPPING, RIGHT? WHY DO YOU THINK THIS IS AN IMPORTANT COMMUNICATION? WHAT IMPACT DOES IT HAVE ON PEOPLE'S LIVES, FOR OUR CAPITAL CITY?
My relationship with Brasília Shopping began when I was an intern at Correio, covering Vogue's fashion event. The shopping mall perfectly embodies Brasília and connects well with the population. They invited me to create fashion content, so we can see here a brand investing in content. Brasília Shopping has a new format, which is more commercial, focused on sales, but it's important that it's creating fashion communication in its existing points of sale. This communication doesn't need to be "buy now," it can be more dynamic, lighter in content, turning the shopping mall's platform (or any brand's) into a content portal for consumption. Opening doors for new fashion communications and boosting the city's retail sector.
After all that we've learned from these two publications, we couldn't help but ask:
JULIANA FROM ECOM: IF YOU COULD GO BACK IN TIME, WHAT WOULD YOU SAY TO RACHEL FROM 5 YEARS AGO?
Five years ago, I had the mindset that I would only cover fashion, but to do that, you need to go to other places, get out of your bubble to be able to cover fashion in a more human way, with greater understanding. More "general" subjects provide technical knowledge, but also toughness and experience. "Be open to producing other stories, other themes, and don't trust people so much, don't be naive enough to believe everything they say, because people aren't as good as you think, and you can't just fall head over heels for anyone." It's an absurd ego battle, everyone trying to steal the credit from each other. There are many good people, yes, but there are also many who "aren't worth it," who live behind a mask, like a character. Behind a GOOD fashion journalist, there's a disheveled, sweaty, and exhausted producer after covering a story. One observation is that I've seen great designers like Constanza, who didn't care about being photographed, but rather about having a successful show and presenting what they were working on. "Don't worry too much about what you're going to wear to the show; you're not there to be photographed, to impress, you're there to do your job, to cover the event in the best way possible." The quality of your work and your interest in it are much more important than the clothes you're wearing. Know your place, know why you're there—to do your job or to feed your ego.
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