Fashion Archivi - Fashionlife Magazine https://www.fashionlifemagazine.com/en/tag/fashion-en-2/ tutto su cultura, attualità, bellezza, luxury ... Sat, 11 Feb 2023 17:12:17 +0000 en-US hourly 1 https://wordpress.org/?v=6.7.2 https://www.fashionlifemagazine.com/wp-content/uploads/2025/02/cropped-Icon_fashionlifemagazine-32x32.png Fashion Archivi - Fashionlife Magazine https://www.fashionlifemagazine.com/en/tag/fashion-en-2/ 32 32 Farewell to creative genius “Thierry Mugler” https://www.fashionlifemagazine.com/en/farewell-to-creative-genius-thierry-mugler/ https://www.fashionlifemagazine.com/en/farewell-to-creative-genius-thierry-mugler/#respond Tue, 25 Jan 2022 15:46:25 +0000 https://www.fashionlifemagazine.com/farewell-to-creative-genius-thierry-mugler/ French fashion designer Thierry Mugler passed away of natural causes at the age of 73 on Sunday. Eccentric and quirky the designer creator of iconic fashion lines was famous for his super sexy corsets worn by stars such as Madonna, Sharon Stone and Lady Gaga. The first clothing line, he called it Café de Paris…

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French fashion designer Thierry Mugler passed away of natural causes at the age of 73 on Sunday.

Eccentric and quirky the designer creator of iconic fashion lines was famous for his super sexy corsets worn by stars such as Madonna, Sharon Stone and Lady Gaga.

The first clothing line, he called it Café de Paris in homage to the city that became his home, 1973, while he launched his actual brand in 1975.

Already we can glimpse what would become its leading “themes”: the overt inspiration from U.S. cinema and culture, the “wasp-like” waist that echoes that of classic pin-ups. The use of a futuristic plastic-like fabric in his sculpted clothes has become his trademark. The designer for decades has defined haute couture, dressing stars such as Diana Ross, Cardi B, Beyonce and more at galas, on red carpets and runways around the world. His most iconic creations appear in the Too Funky music video by British singer-songwriter George Michael.

The Creations

His designs were not afraid to be extravagant, sometimes resembling robotic suits with protruding conical shapes. His creations had a strong impact on the imagery of high fashion: with no fear of coming across as strange or shocking, his creations were inspired by technology, nature, and motors. Iconic were his robotic suits that originated from the famous film Metropolis.

His products

Mugler also had a famous perfume line, which he started in the 1990s.

In addition to clothes, Mugler has also been a filmmaker and photographer, and has been a dancer, acrobat, and avid bodybuilder, emphasizing that he has always wanted to explore the human body as art. One of Mugler’s best-known phrases: “When I was a child, I could not accept the world around me. I dreamed of creating one of my own size, one all to myself“.

Simply brilliant.

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ALEXANDER EGGER In the stellar cast of “House of Gucci” https://www.fashionlifemagazine.com/en/alexander-egger-in-the-stellar-cast-of-house-of-gucci/ https://www.fashionlifemagazine.com/en/alexander-egger-in-the-stellar-cast-of-house-of-gucci/#respond Mon, 15 Nov 2021 10:23:17 +0000 https://www.fashionlifemagazine.com/alexander-egger-in-the-stellar-cast-of-house-of-gucci/ Alessandro Egger Serbian by birth and Milanese by adoption, is one of the most sought-after models on the catwalks and in the Advertising Campaigns of major fashion houses such as Dolce & Gabbana, Versace, and Armani. Independent since he was 17, a faithful and principled boy with many life experiences and a clear goal to…

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Alessandro Egger Serbian by birth and Milanese by adoption, is one of the most sought-after models on the catwalks and in the Advertising Campaigns of major fashion houses such as Dolce & Gabbana, Versace, and Armani. Independent since he was 17, a faithful and principled boy with many life experiences and a clear goal to be an actor. A ‘special occasion brings us to meet Alexander for an exclusive interview full of surprises.

 

Alexander Egger

Alessandro in the fashion world you are a very well-known face, you have worked and work with the biggest fashion houses such as: Armani, D&G, Versace etc., among the figures belonging to this world that you have met who has conveyed the strongest message to you, so much so that you consider him/her a guide or a reference point?
As far as I’m concerned, it’s the people who work inside that give you a lot of excitement, the people you’re closest to and have an intense relationship with, such as it can be: a product manager, a dressmaker or a style office manager. These are the realities that have always inspired me, because every day they deal with hard and careful work, following a sustained pace, without looking at the clock, holidays or adequate compensation, while always giving their best.

“House of Gucci,” the highly anticipated new film by Ridley Scott, will hit theaters at December. You will be part of the cast, great opportunity, would you tell us about it?
Great and highly anticipated part of my life, which I visualized and manifested with even great commitment, then I had actually auditioned for another role but Ridley himself said he liked me and wanted me on another role, unbelievable when I think that this all happened through a self-tape, I have always been used to auditioning in a room with physical people and so double the happiness to have been able to take such a great job remotely. Which means that with commitment today you can do anything. And even with the crucial help of my agency that has been following me since I was not even 14 years old now, it’s been a few Years. Hahah.

Who did you get to know in this context?
I got to know several young and motivated Italian actors, and also to understand the real Hollywood approach. A Hollywood set is like a fairy tale everything is incredibly organized and professional. Then once on the set having had the pleasure of being directed and guided by Ridley Scott is priceless, his humility in taking care of even those who have a small role always made me remember my motto that there is no such thing as a small part, but a small actor, so even the smallest of opportunities among such a star-studded cast should be made great. In front of my trailer was Adam Driver’s, with whom I also had the pleasure of sharing the set. We talked about Brooklyn, the flight ahead two chats and took a souvenir photo. Then I went back to the set and had the second opportunity to have a chat with Ridley and capture it in a shot. There was also Jack Huston who had the makeup station next to mine, a hoot in person, too funny.

“As achild as well as an adult, maybe I was one of the few who didn’t dream, but he already knew what he wanted.”

Alexander Egger

On several occasions you have expressed a desire and willingness to pursue an acting career, does luck give way to determination? 
Luck exists in unexpected form as a consequence of manifestation and projection. If you visualize and plan to see yourself in a certain place, years or months or maybe days later I would find you there unexpectedly, an unexpected call, a gesture a signal. Luck for me belongs to those who create it. It takes a lot of effort, just look at all the successful people and ask the question, but is he there by luck? The answer is no, everyone has worked in their own way in some way to get to a point. It takes visualizing and being grateful even before it happens. 

So much has changed in the world in general with the rise of covid 19, specifically how has “the fashion world” changed?
The change is evident but fashion I think has been very strong and adaptive, in fact except for a few months, and clearly on public events it has come up with so many digital solutions to keep the wheel turning, from digital fashion shows, digital presentations, digital displays constant caution and control with pads, masks, gels and safe distance. In fact, I think it set the stage for important insights for everything related to the transition to e-commerce, those who had doubts had to reconsider, because it generated solutions for businesses. This clearly cannot replace the human relationship in the store, but at least it can contribute to the performance of a store without having to stop. In short, fashion is very determined but clearly it takes so much more work, so much more knowledge and adaptation. I am convinced that every crisis brings improvements for humanity, as I am also sure that everything will change and continue to change.

As a child, what did you dream of becoming?
As a child as well as an adult, perhaps I was one of the few who did not dream, but already knew what he wanted. I was always the center of attention, because I wanted to, I wanted to entertain, to give smiles, cheerfulness, in short to group and create bonds through games, jokes and imitations. It all started so simply, then with time it all became clear, about the road that would await me, which was the world of show business, which for me was never just TV, but everything, such as: dancing, singing, acting, physicality, etc. Today I realize it has always been a need for me, which is why after so many years I am still in it, growing and improving, because for me what I do is comparable to the air I breathe is vital. 

The fundamental traits of the Italian style?
Italian style is style, for me and for my closet it is essential to have a tailored cut trouser, I have three kinds, dry cigarette, oversize where we play with various fabrics such as velvets, technical fabric and jeans always with a modern cut.
I love Italian fashion, I live it every day and it excites me. Italian tailoring for me is essential and needed, now there has been an important contamination from the urban world, in fact it happens very often to see tailored long coats with the Jordans.
Last I would say, the trait of elegance, Italian style is made by people with their always neat cuts, beards, expressions, smiles, typical and irresistible charm and charisma.

Alexander Egger

What is the type of perfume you usually love to wear?
I love fragrances that like music and love are part of our lives. I personally love research, I really like frankincense, palo santo, cedar and essential oils, “the unique fragrances.” Then I can use any fragrance when I receive it, I adapt like an actor does to any fragrance, but the ones I prefer are undoubtedly the ones with a “special” story. I really like the holy oil my grandmother used to bring me from the monastery, a pleasant and relaxing scent. 

The downside?
The downside for me is all the work behind the spotlight, the commitment and the sleepless nights spent thinking, mulling and looking for solutions to move forward. Continued perseverance is always put to the test, over the years training brings you to know how to handle it, but still the facade remains that in the results is not noticeable. Actually, consistency is the hardest thing to maintain especially when you are working at a high level, to keep improving yourself to be the best part of you, it is a challenge with yourself.

What are your career goals today?  
This year’s goals I would say are off to a good start, between television and film. To reach them I will put strength and passion, I want to give Italy a unique acting, a role with which I can make girls dream and give inspiration to boys, give love and desire to improve themselves, dream and fight for their dreams. I have with me those who support and back me, a team that loves me.

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FRANCESCA LIBERATOREready to take on a new challenge for MFW https://www.fashionlifemagazine.com/en/francesca-liberatoreready-to-take-on-a-new-challenge-for-mfw/ https://www.fashionlifemagazine.com/en/francesca-liberatoreready-to-take-on-a-new-challenge-for-mfw/#respond Wed, 20 Oct 2021 08:44:14 +0000 https://www.fashionlifemagazine.com/francesca-liberatoreready-to-take-on-a-new-challenge-for-mfw/ Fashion designer Francesca Liberatore determined more than ever, decided last February. to present the new A/W 2021/22 collection digitally, despite the fact that as early as February 2020 she was called a forerunner of new film formats fashion with her J-Kolombina-R presented precisely at cinema The Space in Piazza Duomo. Francesca has always shown her attentive side turned to the search for…

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Fashion designer Francesca Liberatore determined more than ever, decided last February. to present the new A/W 2021/22 collection digitally, despite the fact that as early as February 2020 she was called a forerunner of new film formats fashion with her J-Kolombina-R presented precisely at cinema The Space in Piazza Duomo. Francesca has always shown her attentive side turned to the search for artistic synergies that have led her to engage with different cultural worlds, from cinema to art auctions, from music to photography. A personal portfolio of studies and professional experience including Moulin Rouge, where she has consistently mixed her art with that of major corporations, thanks to her pursuit of unusual and innovative concepts that have allowed her to explore new nuances and reach a wider and wider audience over time.

 

Today the fashion designer is ready to take on a new challenge at MFW in September, so, we just have to wait, considering that there will be no shortage of surprises.
For Fashion Life, we have the pleasure of meeting with her to better understand her choices and evolutions.

In reference to the A/W 2021/22 collection you made a careful choice, what was your consideration of it?   
A moral problem has arisen for me. If I had been a theatrical actress, I would not have appreciated the theater turning on its lights for a designer and not for me who work there, for fashion productions to come in and for the workers who normally set up shows there to stay home. So I felt that I should first and foremost sympathize with those who, at that time, could not exercise their passion by working in their place.

How was really your digital parade?
Fashion as a mirror of time had to accept the challenge without shying away from what contingency made us experience or prevented. Mine was not a digital fashion show but the storyboard of what it would be. In a theater my clothes would be actors of themselves recalling from the postwar period the different periods and ways of rebirth. It was therefore the 2D of a true narrative, which ‘could be’ because creativity does not stop and which ‘was so’ because we are all in the same boat.

An ‘occasion that offered   much food for thought and the desire to be present again?
It was interesting commenting on it streaming, for me primarily who normally never see it from the front! But just because fashion and art live by immersion and sharing on September 26, we will be back in attendance. I have dedicated this experiment of mine to all creative people like me who have had to change plans to align with the contingency, to all those who do not need to label themselves as artists, because they know how burdensome this condition sometimes is, to the actors, musicians, and directors, to all those who have not been able to practice their craft, to the photographers, to the makeup team with Markus Theisen, and the hair team with Beppe d’Elia, and finally to theater and film, which because of their greatness and truth cannot be encompassed in this moment.

The designer for A/W 2021/22 collaborated with the Società dei Concerti Foundation, thanks to which international music talents coordinated by President Enrica Ciccarelli Mormone have narrated the fashion show (AW 2021/22) with their instruments. As well as with director and film critic Mario Sesti, with Alessandro Turci lecturer and fashion critic, photographer and videomaker Alice Falco who has always been at Francesca’s side. A heartfelt thank you also went to the Fashion Chamber actively engaged in supporting and uniting made-in-Italy designers through the digital fashion show calendar.

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PAUL POIRETthe man who invented fashion https://www.fashionlifemagazine.com/en/paul-poiretthe-man-who-invented-fashion/ Wed, 02 Jan 2019 09:20:56 +0000 https://www.fashionlifemagazine.com/paul-poiretthe-man-who-invented-fashion/ L'articolo PAUL POIRET<br>the man who invented fashion proviene da Fashionlife Magazine.

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And the day came when it all began.
Then again, it takes a beginning to form a path, and rarely does a beginning manage to be traceable to a first and last name. In the case of fashion as we understand it today, one name is there: Paul Poiret.
Poiret was born in Paris in the late 1800s where women’s bodies were imprisoned in sumptuous, precious and rich corsets and yards and yards of cloth and lace. He began his creative journey by sewing clothes for his sister’s dolls as a child. But her creativity, her innovation, and her rebellion are frowned upon by a public still too attached to the trophy woman, to the woman swaddled in geometric inches of silk to clad stiff splints and ample crinolines. A woman who is austere and restricted in her movements.
Poiret desires for the woman freedom, lightness.
He immediately began his journey by learning his trade in the greatest Parisian tailors, trying a little at a time to revolutionize that world so anchored in the past and so much afraid of the future that was just around the corner. She began offering blazers and draped dresses (her forte) inspired by the Arab world with shimmering silk fabrics and precious embroidery. It was not a success. The women were bewildered
In the face of his boldness. By eliminating the splints the men would be able to see the shapes of their bodies and they still
Were not ready for this. It took years and much ingenuity for Poiret to come to be considered the revolutionary of his era. But the world was changing frantically, freedom was taking hold of creativity, and the new generation did not struggle to see in Poiret the advancing future.

 

The success was enormous. Poiret opened his brash atelier in central Paris. Large, bright and with huge windows. Unusual for the time where women locked themselves in small stores with half-hidden entrances to go and buy their clothes. With Poiret what was going on in his tailor shop was visible to everyone from the street. He was the first to conceive of the defilement. Mannequines wore his clothes
and walked down a catwalk for customers to see the fit of the draperies and the sumptuousness of those creations without any more constraints. Poiret began a traveling tour throughout Europe to introduce princesses and wealthy heiresses to the revolution of those dresses. If in art Picasso had broken all levees by conceiving t r i d i m e n – sionality, P o i r e t did so with fashion. But when a revolt
uction begins it is difficult to halt its process. Paul Poiret initiated the change by laying the foundations of fashion as we know it now: the dress conceived as an embellishment of the body, as a dream and as magic.
But in its wake others took advantage of the change that was now underway, and what had been a real social and costume revolution its fashion soon became old and boring. Coco Chanel was conquering Paris with her very comfortable, no-frills suits resting comfortably on women’s curves. He had imposed in his atelier the color black (a color that Poiret hated
deeply preferring it to bright colors) that reassured women, which immediately made Poiret go into oblivion.

Legend has it that Paul Poiret met Coco Chanel on the street and despising the black dress she was wearing asked her cynically, “Madame, why are you wearing a black dress? Are you by any chance in mourning for someone?” and Chanel, who had a good sniff of what was to happen shortly replied, “Oui, monsier. Pour Vous!”

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ROCCO ADRIANO GALLUCCIONew creative director of Carla Carini https://www.fashionlifemagazine.com/en/rocco-adriano-galluccionew-creative-director-of-carla-carini/ Wed, 02 Jan 2019 09:18:46 +0000 https://www.fashionlifemagazine.com/rocco-adriano-galluccionew-creative-director-of-carla-carini/ L'articolo ROCCO ADRIANO GALLUCCIO<br>New creative director of Carla Carini proviene da Fashionlife Magazine.

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From Alcoolique to Carla Carini “going through” social media

Interview with Campanian designer, who will be in charge of relaunching an Italian brand from the 1970s
Class of 1986, originally from Caserta, Rocco Adriano Galluccio, from early on demonstrated an innate passion for fashion. He began his career at the age of 16 working as a stylist and a few years later, following his experience in Bali, he decided to found his own brand “Alcoolique,” worn by national and international celebrities, later he does not miss TV with the program “Project Runway Italia,” until today, where he is very active on social media and was entrusted with the project of relaunching “Carla Carini.”

From your independent brand to a historic Italian fashion house, did you expect this?
Honestly, it has always been a dream of mine, but I definitely did not expect it in this particular historical period, it all happened quickly, although by now I have been working on the project for a few months already and I am really happy with it.

How do you experience the difference between your brand Alcoolique and the brand Carla Carini?
For me there is no difference, Alcoolique at the moment is focused on bijoux with a direct ONLINE distribution, for Carla Carini we will start with clothing, with worldwide distribution. But not many people know how fond I am of the Carla Carini brand : when I started as a kid to be a stylist much of my archive was just from the fashion house, as in the 1980s my mother was a super loyal customer, so I had recovered a number of garments that I used for my shoots and even back then I had my family tell me the whole story.

What do you do as creative director for Carla Carini?
I started from the interpretation of the brand identity and developed my personal vision by defining the whole story that will be told to the audience.
I have never left out the starting DNA of the brand, seeing it in a contemporary key, starting with the collection and going to the whole aesthetic of Carla Carini.
I always make it a point to put my beak on everything, to get the big picture and taking a lot from both myself and my collaborators.

How much does criticism influence your work?
Well … definitely you have to understand first of all who the criticism is coming from, whether it is (negative) constructive or just trying to destroy you for free.
In any case, as a general rule, I accept and listen to the advice of those who know more than I do in any field; I love criticism and sometimes it has helped me grow.

What is your favorite thing about your work?
I have to say that I like almost all the “parts” of the creative process… but by far my favorite moments are fabric selection and fitting.
The choice of fabrics because for me seeing and choosing them is like traveling, every time I touch one I imagine different worlds and what I could make.

Fitting because it is the precise moment when the designs become reality and the collection begins to take shape.

Of all the celebriets you have worked with, which one is your favorite?
Difficult question, also because for one reason or another I am connected to all of them, and for me every time is a surprise and I am honored, over the years the list has become long from Chiara Ferragni to international actresses such as Skai Jackson, passing through most of our women in show business, Noemi, Elodie, Francesca Michielin, Levante and Emma Marrone are just a few… but surely the biggest thrill was with Sarah Jessica Parker, I couldn’t believe it… and maybe still don’t believe it now!

You have a strong social presence, what are your thoughts on this?
I don’t hide the fact that I like anything that has to do with aesthetics, and for me that’s what Instagram is all about, getting a vision, one’s own language across, so it was pretty much a natural transition, I’m of the opinion that by now instagram is on par with linkedin–first you see the resume and then what a person posts.
I enjoy and enjoy social media, but over time I have learned when to put the phone down and enjoy things live.

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The ARMANI tree https://www.fashionlifemagazine.com/en/the-armani-tree/ Tue, 01 Jan 2019 11:24:30 +0000 https://www.fashionlifemagazine.com/the-armani-tree/ With its deep roots in the fashion world, Giorgio Armani is championing new changes. The pandemic has challenged every single aspect of our lives. Every leaf that fell, fell from a tree rooted in the ground with deep roots, but on different soil. Because the earth on which we rest our feet, no matter how…

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With its deep roots in the fashion world, Giorgio Armani is championing new changes.

The pandemic has challenged every single aspect of our lives. Every leaf that fell, fell from a tree rooted in the ground with deep roots, but on different soil. Because the earth on which we rest our feet, no matter how much some people insist on seeing it always the same, has changed profoundly. Society, ecology, economics, our very lives have been confronted with a momentous change. The beginning of a new Era. The construction of a new world that must lick its wounds but at the same time grow, finding new paths to which
adapt. And fashion is not exempt from this discourse. Indeed, explaining it to us in a tangible way was Giorgio Armani.
King George is that tree rooted with deep roots in the land of fashion. The fashion system represents the branches that knotty, grow anchored to the tree (some strong, some fragile and thin). And finally, the leaves are the ideas and creativity of all those who work around the fashion world. The leaves sprout each year, giving the tree majesty and life. Then the season passes, the leaves fall and settle on the ground. They mix with the earth and nourish the tree, which, in an endless circle of life, will return to blossom as soon as the time is ripe.
Fashion had long since lost sight of this extraordinary circle of life. There were fewer and fewer leaves, the soil was getting sicker and sicker, and inexorably the soil was infecting the tree.

 

But the Armani tree decided not to be infected anymore. The George tree, anchored for decades in the land of fashion, has decided not to die.
In the midst of the pandemic, his statements were a sigh of relief for all those who were aware that the land of fashion was too sick, and they were a wake-up call for many who had instead failed to realize what the fashion system has become: a hodgepodge of old ideas, a constant birthing of useless clothes and accessories that have destroyed the creativity of artists, designers and visionaries. Fashion production has bulimically fed entire generations, churning out billions of ugly clothes that often could not even find a market. One person has a good idea, and a thousand follow it, copying it in a debasing way. A vicious cycle that affects not only the fashion retail world, but part
from small tailors all the way up to large, world-renowned brands. A designer to fight the competition must fill the stores with clothes at reduced costs by choosing cheap (often polluting) fabrics, and to cut down on tax and production costs must very often hire people off the books, or turn to companies abroad that exploit men, women and children by taking away their dignity. Not to mention the creativity that is totally zeroed out in this way. Starting from this awareness,Giorgio Armani, faced with a change that must compulsorily affect the fashion system as well, broke the levees by shouting his disappointment about what has happened in the fashion world over the past decades.
Denouncing the irresponsibility of companies and designers, he called on them to overhaul this extraordinary artistic, social and economic sector: less production, reducing collections to environmentally sustainable production, more decent work for workers and employees, more creativity for designers and the artistic sector, more fair competition. Better to spend 100€ on a well-made and environmentally friendly garment than to spend the same money on ten polluting garments that debase the creativity of designers. Everyone must do his or her part. Starting with us buyers. We can choose to change the world even when we go shopping. And if we buy Armani, at this point, even better.

“The construction of a new world that has to lick its wounds but at the same time grow, finding new ways to adapt to. And fashion is not exempt from this discourse.”

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AYLAMade in Brazil https://www.fashionlifemagazine.com/en/aylamade-in-brazil/ Tue, 01 Jan 2019 09:26:26 +0000 https://www.fashionlifemagazine.com/aylamade-in-brazil/ L'articolo AYLA<br>Made in Brazil proviene da Fashionlife Magazine.

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Ayla is a young brand born from the creative soul of Brazilian model Helena Prestes. In addition to being beautiful, Helena has always been passionate about sports, a very spiritual philosophy, now linked to the discipline of yoga, which she considers a true blessing. Multifaceted, vibrant and creative-spirited Helena’s interests included creating a brand that could represent her home country. The Ayla brand identifies itself as “handmade,” made by hand, the desire is to be able to bring out the traditions and colors of Brazilian nature. The brand promotes local handicrafts and the country’s natural raw materials, considering that Brazilian fashion has great potential in the Italian market and beyond.

Helena’s idea in regard to her brand Ayla has always been to create timeless pieces, inspired by freedom, beauty and spirituality, using raw material (made in brazil).

 

” The brand promotes local handicrafts and the country’s natural raw materials, considering that Brazilian fashion has great potential in the Italian market and beyond.”

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