We chatted with the most recent generation of Sangue Novo, Andreia, Rita, João, Ari and Rafael, about what it is like to be a young designer in Portugal from (almost) every angle. They have wisdom beyond their years, as shown in this roundtable.

PRINÇIPAL Let’s begin with what is happening in your lives and in your workspaces right now?

RAFAEL When it comes to my work and brand, I am currently developing a website. I want this space to be an exploratory platform, where the user can not only buy, but also discover my work through a new lens and learn more about my creation process. Beyond that, I’m planning a fashion show of my latest collection. I think it’s a good opportunity to work on my artistic development at another level. It will be a performance or a happening, something that allows the audience to directly interact with the pieces.

ANDREIA I am at the same stage as I was before Sangue Novo. That is — finishing my degree in Fashion Design. I still have another year ahead, yet my time in Sangue Novo has given me great contacts and a better understanding of how the industry works, something the school environment can’t truly offer, due to its limitations.

Actually, Sangue Novo wound up bringing a sort of escape from all those limitations set by the university. It was a project that helped me understand what paths to follow and what doors to close.

In fact, I started developing something that could become a brand in the future, but for now it is a hobby whenever the school schedule allows it.

JOÃO Today I’m travelling to Cerveira where, thanks to the Sangue Novo award, I’ll be spending the next three weeks in a residence at Tintex. I’ll use this opportunity to explore and develop ideas for the next collection that will be presented on the ModaLisboa Workstation platform. Regarding projects, the current collection is at the Showpress showroom, along with Rafael’s and Ana’s work. All the loans for fashion shoots are currently run by them, a help and support that has been very welcomed, that saves me a lot of stress and also allows our work to gain new strength since we can reach different audiences.

ARI I’m currently working on the next collection. Development launched right after the Sangue Novo finale, because I already had an idea ready to put into practice, which was based on a reflection of the previous collection. I have also sent pieces to fashion shoots and I admit that, at times, I try to protect my work when I feel the direction of the shoot isn’t meeting the way I want my work to be shown. At the end of the day each expert has the right to their own perception, but it’s also important to defend our own vision. Anyway, I’m focusing on the next collection and taking each day as it comes.

RITA Like João said, my work is currently in a showroom, along with Rafael’s, and it’s been a huge relief to have someone handling the management for me, because it’s something I hate doing. This assistance frees up an immense amount of time to invest in other aspects of my project. Currently, I’m at somewhat of a standstill. I don’t know if I’m going ahead with the next collection because in January I’m starting my degree at Polimoda. These times are so uncertain and suddenly everything can be cancelled, so the best way is to not make too many plans right now. Luckily I can adopt this stance, so I prefer to be cautious.

PRINÇIPAL The work of a young designer is constantly changing. We can’t compare it to how it was 10 or 15 years ago. In light of this, what does it mean to be Sangue Novo in 2021?

ANDREIA More than ever, I feel that being Sangue Novo is having a story to share. When I say story, I don’t just mean hollow words, but a universe: to be able to share something unprecedented with the world, to question archetypes and change systems. Political statements are also very present, as well as the search for an escape into imaginary worlds. In my opinion, the search for something deeper and more meaningful, that transcends fabric, is the definition of Sangue Novo.

JOÃO I agree, we have to be able to captivate the audience with our universe. The deep-rooted story of that world has to be even more intimate and exciting because, when it comes down to it, the feeling of belonging (in this case to a reality created by a brand or designer) prevails over the garment itself.

I think we need to be brave: thousands of brands come and go every year, so we need to be strong enough to show our work consistently and do something different.

PRINÇIPAL Following the topic of the need to innovate. There is a difference between a homage and a copy. Fashion often relies on the (healthy) reinvention of the classics. With this in mind, Rita, how did you handle the comments comparing your latest collection to Martin Margiela?

RITA Throughout my degree, I’ve always explored many areas of construction and manipulation, as well choosing to work in monochromatic tones. It’s a palette that I really enjoy using and this entire approach has always been very natural to me. Regarding the feedback I received on this matter, I’d like people to pay more attention to both my and Maison Margiela’s work, because if they did they would quickly discover the obvious differences. My work has nothing to do with what Maison Margiela does. Sure, I also work with second-hand pieces, like so many young designers, because sustainability is important these days. However, I do feel anxious and try to avoid creating pieces that evoke more comparison in the future; even so, I feel at ease because I know that I don’t make copies.

ARI In order to develop something but also find your own language, I think it’s normal for students and young designers to be exposed to great designers as good sources of inspiration.

When I was 15 years old I discovered the work of Yohji Yamamoto and I remember being fascinated by his work philosophy. It awakened me to the possibility that I too could tell my story. Other designers like Vivienne Westwood and Rick Owen have said in interviews that they support and encourage young designers to copy, but also to identify the turning point that will lead them to their own vision.

In Rita and Martin Margiela’s case, I can understand the superficial comparison of both works; both share a taste for handcraft and deconstruction. There will always be reference points, but she, like me and every other creator, has the right to put into practice what she really feels, without it being directly connected to another well-known designer. Two designers can share the same idea at the same time and still be in opposite corners of the world.

PRINÇIPAL Exactly! The difference is in the way the designer “digests’’ the references and finds new paths. Let’s move on with a “throwback”: if you could go back in time, what advice would you give yourself when you were about to send the application to Sangue Novo?

JOÃO My first collection was quite fancy because I invested in the manipulation and dyeing of textiles. Looking back, I understand that I did it with the desire to apply as many techniques as possible, in the attempt to emphasise the connection between clothing and objects of inspiration. So I would tell myself, “don’t forget to equally focus on the materials”. Nonetheless, the first project transformed into a retrospective for the following collection, a more serious work, closer to what I really want to do as a designer and creative person. I have always worked a lot in collaboration with other people, so “Fora de Jogo” originally came about as a break from this format: a solo project, more dedicated to myself.

RAFAEL I identify a lot with your point of view, João, because my own collection was born from wanting something 100% mine, long before even thinking about applying to Sangue Novo. The collection began to come into being during the pandemic while I was working from home for Constança Entrudo. Going back to the question of advice, I confess that if I’d had more time to decide, I wouldn’t have applied. I would tell myself to actually get a sense of what I was designing: I feel I overstepped my ideas about the shape and structure of the pieces, but it all came so naturally, and I identified so much with what I was trying to express, that I didn’t question anything at all.

“Think a little more before you jump into it”, that would be my advice, because after entering the competition, the reality hit me and I was confronted with the challenge of bringing my proposal to life.

ANDREIA My Sangue Novo collection happened through a personal revolution of sorts. At the time I sketched it, I was going through a very boring period in class, despite having a project worth half of my degree on my hands. Everything around me seemed wrong, and the feedback I was getting about that project didn’t meet the concept I wanted to follow. It was then that I took everything that I was told I couldn’t do in my university project and I transformed it into my application to Sangue Novo. “If you don’t succeed, try again”, would be my advice, because even if I hadn’t been accepted, I would have tried again. I believe in the potential of my universe. I know that not everybody will understand it, but I also know someone will.

RITA In my case, I think it would be “try to fully understand the scope of what you’re getting into”. Back then I was on my final internship, so getting into the Sangue Novo competition was not in my plans. Between deciding to enter and handing in my application, three very sleepless weeks went by. But it was a fun experience, and I believe that if you’re faithful to your vision, people will understand and see the honesty of your work.

PRINÇIPAL Post-Sangue Novo, do you think that digital will be your main ally when it comes to keeping the life and relevance of your work afloat?

JOÃO I believe so, but it is also extra work. An extra that, little by little, will dictate the relevance of our work and that suddenly becomes the centre of everything.

It’s this gigantic added pressure, because we have to always be creating content, managing engagement, trying to be interesting... It’s a one man show that doesn’t always bring the proper compensation and steals a lot of time from creators.

Of course, no one is forcing us down this path, but taking into account how much time I have already invested in Fora do Jogo’s image on Instagram, to go back and give up on social media, isn’t an option for me either.

RAFAEL Actually I think I made a huge mistake because I never created a site and content for my brand. Instead, I started creating more professional content, but on my personal profile. Anyway, I feel the same way about pressure that João does.

PRINÇIPAL The rhythm of fashion creation can never keep up with the pace of digital spaces and the demand for content. A single work of months, or even years, can’t depend on the validation of a like or a tricky algorithm.

ANDREIA When it comes to online presence, and based on what Rafael said, I believe that, slowly, there won’t be a separation between a designer and their work. It’s something already happening on TikTok, for example, where you find many creators that also offer a little of their personal side. The video format of the platform offers a sense of closeness with the content creators, which contrasts with Instagram’s typical superficiality. So, I believe the future of fashion communication will largely go through TikTok.

PRINÇIPAL Despite the diverse directions each of your professional paths are taking, you all share one thing in common: school. What did school not prepare you for when you went into the workplace?

JOÃO AND RAFAEL Everything!

RAFAEL But I believe I didn’t feel the so-called “weaning”, because during the second year of university, I took advantage of the fact that I was still studying to make contact with a designer, and that’s how I joined Constança Entrudo’s atelier — a moment that coincided with her first collection as a brand, as well as the beginning of her studio in Lisbon. It was an encounter that prepared me for the rhythm and work method more in line with reality, for which university was not preparing me for at all.

RITA I come from a professional course at Modatex. The program includes an intermediate internship and a final internship. The course itself is divided into two stages, so that we can work on our technical skills as well as our creative process. Between these two phases, we have an internship. Ari and I studied together and we had an internship in a company that develops mass produced products. For the final internship, I worked in Luís Buchinho’s atelier, where things were much more relaxed, without the industrial pressure.

The internships were good for preparation. We had trainers that frequently shared their work experiences.

to two possible scenarios of Portugal’s fashion industry, which allows us to understand which path we want to follow.

JOÃO I finished my studies in 2015 with the Lisbon Fashion School and I think, if I had known then what I know now, I would have gone to Modatex instead. I identify with almost nothing I learned at school, and although my course also had a very strong technical component, I felt I was being trained to be a studio designer, and not to operate in the real world.

The experiences that followed contributed to my growth, shaped my work ethic, and made me resilient, with a desire to always discover more. But if I had to mention a turning point, the Études internship was the most complete and enriching experience I’ve ever been through.

With time, I learned that we can’t all be brand designers or creative directors; there are many roles a person can fill in this universe and still be connected to the product and creation.

On the other hand, there are even more people wanting to work in fashion, and schools have the responsibility to show every possible professional future, even though in Portugal we are limited to the availability of degrees in Fashion Design.

RAFAEL I did my degree at the Lisbon School of Architecture and I feel a great part of the lack of support came from the size of the classes — up to 30 or 40 students. Besides that, we didn’t have an incorporated internship. We could leave after the third year without any internship experience, unless we found it ourselves.

PRINÇIPAL Why is fashion important today?

JOÃO I consider it important from the perspective of transmitting our thoughts, our way of seeing the world. More than ever, it’s a vehicle with a lot of power, which can support social causes and contribute to change.

ANDREIA In my opinion, fashion transcends clothing itself. Nowadays, the people who buy designer clothes buy them with the desire to belong to a particular niche, and to communicate that belonging and support for the causes and ideologies that the brands transmit. It’s a reflection of individuality, and it is more personal than ever.

RAFAEL Beyond being a hybrid area that brings creativity and a commercial approach together, it’s also a form of expression that keeps very close contact with the consumer. The appreciation of a garment extends beyond its appearance, because it also translates the designer’s ideas and the brand’s values. This relationship between the person and a piece connected by certain ideas, beliefs, aesthetics, etc. is an association that I consider very important.

PRINÇIPAL What brands inspire you, that you consider references for their know-how?

ARI For their cohesive language, I would say Vivienne Westwood, Yohji Yamamoto and Rick Owens. They are creators (and brands) that know how to evolve and adapt, without compromising their genesis.

ANDREIA I would say Miuccia Prada is an example of a designer that has been able to preserve her image long-term, but also attract the attention of a younger audience. In that same vein, I think Virgil Abloh has been able to successfully broadcast and defend his message in his two previous collections. When it comes to personal references, I really enjoy keeping up with the work of younger designers, like Botter’s, by the design duo Lisi Herreburgh and Rushemy Botter, also Susan Fang, Rui Zhou and not forgetting Grace Wales Bonner; her work brings a very rich perspective when it comes to menswear, thanks to her feminine eye.

RAFAEL I look at Rei Kawakubo’s work very often, it’s a constant reference for me and, I believe, this is another designer who also knew to stay true to her character. I also like to feel the presence of brands and designers that, despite being young, have been faithful to their identity since day one, such as Marine Serre and, once again, Rui Zhou. I admire them wholeheartedly for the way they so quickly came onto the circuit and exploded for the right reasons: cohesion and allegiance to their values.

Truthfulness prevails above all and they both prove there is enough space for brands beyond the “same old empire” houses; it’s good to feel that.

JOÃO For me, Our Legacy is one of those menswear brands that has a very strong concept, full of subcultural and niche references, but which has always known how to bust its sales and to communicate it to a wider audience. Another great example is Études. Having been there I know how the brand works internally. Despite having changed a lot since then, I think their essence of a multidisciplinary collective is very strong.

PRINÇIPAL Finally, what is there to learn? ANDREIA I still have a year and a half of studies ahead, but I feel I’ll need to come into contact with the world out there; that is, to have international experience. I think Portugal remains a good starting point for a professional career in fashion but, to keep growing, I will have to learn first-hand how the rest of the world is moving, on every level. Whether it be a Masters or an internship, I want to go on an adventure.

RAFAEL I would also like to gain experience abroad, to have the opportunity of working with a brand or a great atelier and to live close to that dynamic.

I know that much of the input I get from Constança Entrudo comes from her international experience, she shares a lot of that learning with us on a daily basis. But I would like to feel that for myself, to understand what doors could open in the future.

RITA I fully agree with what Rafael said. If everything goes well, in January, I’ll start my Masters at Polimoda and I’d like to use this opportunity to keep networking with international brands. I don’t think I’m quite ready to start a brand on my own yet, and although I belong to a generation of multifaceted young people, capable of making anything happen, I feel that the way forward is really to experience the industry abroad.

JOÃO My current goal is to finish the phase with ModaLisboa. When it comes to the “Fora de Jogo” project, I’m not sure what comes next but, personally, I want to keep focussing on my career and staying active. Since I’ve come back to Portugal — I’ve always been working internationally — it’s more interesting in every aspect, but I also feel I’ve fulfilled my goals here. Our industry has a lot to give but, effectively, I’d like to work internationally again for the same reasons the others have mentioned. I want to keep growing and push past my comfort zone.

ARI As a creator, I want to my work to mature and I believe part of that process is through collaborating with other designers. It’s a way of establishing bonds on the fashion circuit that I enjoy very much.

On the other hand, I’ve had feedback from some people who say my product doesn’t fit the national fashion context so I am mindful of that. For that and other reasons, I also want to venture out internationally and make connections, like creating a toolbox for future personal projects. ♥