Liliane Anaïl is the alter ego of the young Liliana Pinho that is not confined only to fashion. The expression of her creativity comes from the theatricality of her creations in its various aspects. She shows us her interpretation of a parallel reality, always evolving, which aims to present the clothing as a piece of original art that is not restricted to the banal. Her collections are unique and singular. An enchanted world that crossed national borders and made her debut on the catwalks of Milan fashion week with great success.

How did your project started? I noticed that it is a tripartite situation of fashion, photography and the bands.
Liliana Pinho: In terms of photography began in high school with extra-curricular classes. I have always been in love with this art, I grew up with pictures of my father. I started with one of his cameras and enjoyed the pictures he took overseas. It has always been a passion that I was developing. Later, I grew up in the middle of the photograph, moving and doing some workshops, met other professionals, bought magazines in the background was very self-taught. At the same time I was lucky because I met many people who gave me a hand along the way.
In fashion, my mother has a sewing studio. I grew up there. I started by making clothing for dolls, as everyone starts and then to me. Over time I have created pieces for other people who appreciated my wardrobe and from there to here has always been a crescent. I elaborated clothing for music bands only on a personal level. I then recently launch myself as a new creative at Milan Fashion Week (MFW).

How this invitation did come to your way?
LP: The invitation came from the internet. They contacted me, because they liked my works. One company decided to invest in me as a new creative in Italy. They found that my work had value out there and invited me to present my creations in MFW and from there was an exchange of knowledge, presented a collection and expose all my creation.

What is the underlying concept?
LP: It was the Black Veil. The concept behind this collection was recycling, and art materials that are not so usual in terms of fashion, for example, worked liquid latex. Used other recyclable notes is also rare to see in the clothing and from there I did something that looks like art, but at the same time could not be considered as such. No art. And show what you can do good things without being coordinated with noble materials and new fabrics.

In addition to the latex which were recycled materials you used?
LP: I used feathers, some particles that are used on Christmas trees, for example I used a lot of beads and wire. Even the work I did with the liquid latex is not very common. Perhaps one of the first frames it this way, at least from what I've seen in the market. I decided to present it as if it were a sculpture. I used it like a tissue from a base.

A certain amateurism in fashion world has its days numbered.

Each passing year increases the commitment of professionalization at this growing sector in many countries. Portugal is no stranger to this trend in an increasingly competitive market that demands quality at reduced costs. In a study entitled "Analysis of the textiles and clothing," Eva Vasconcelos, verifies thru her results that cover a period from 1999 to 2003, that economic growth in the sector has been declining over time, "To these results do not unrelated the adjustments that the sector has to struggled to adapt to changing market circumstances, marked by a strong foreign competition and the rising cost of manpower. Productivity continues to be one of the weaknesses of some companies in this sector. The problem seems to lie in the intangible factors of production, i.e., for this poor performance in productivity may be associated with a high level of absenteeism and a lack of training of human resources. Companies lack of middle / upper technicians, which are usually the engine of technological innovation and adoption of new organizational solutions. "
In the past TCI (Textile and Clothing Industry) developed at the expense of cheap labor and low production costs, this has help to eliminate obsolete companies without technology based. The future indicates that the liberalization of world textile trade is a difficulty not only for Portugal but for the whole European sector (where only the best prepared will survive). This may be a field of opportunity in a new world of multilateral relations, fostering innovation, creativity, quality and knowledge. The internationalization of Portuguese companies in the TCI is now a key factor for survival and success ", says the economist.

Since the publication of this work to the present day little or nothing has changed. Portuguese entrepreneurs still do not venture into national creativity and potential professionals prepared all year in the university and professional courses. Many still insist on the old maxim that is to copy the best trends from the foreign markets. A bleak picture which largely stems from the fact that most companies in this sector are family small and medium companies, which did not bet on the continuous training of its staff. "In conclusion, it appears that the textile industry in Portugal is in contrast to the decline in the garment industry which is faced scenarios that induce more optimism," as Eve Vasconcelos concludes and predicts.

http://foreigners.textovirtual.com/edit-value/analise-da-industria-textil-do-vestuario.pdf

Statistics show that physical attractiveness has a significant weight in our society.

Being ugly is an unforgivable mortal sin for any woman. In fashion, film, television and advertising account physical appearance whether we admit it or not. We all know that. We all feel it in a discreet manner, or more shameless one. The discrimination against those who are not "graced" with the ideal face and body is evident. More for women. There is always someone ready to criticize our image, our bodies, our clothing and our posture. The magazines increasingly exploit these "defects" relentlessly, like the cellulite in the legs, some deep dark circles, but worst of all is the obsession of modern society by the excess of weight.
According to a study by Joana Vilhena Morais, PhD in clinical psychology under the title, being female, being ugly and being excluded, "ugliness is currently one of the more prevalent forms of social exclusion of women, and as such, a important form of agency subjectivity. Taking the fat as one of the most representative functions in the current culture of ugliness, we point to the processes of exclusion experienced by those under it. To demonstrate how the image of women and the construction of female identity are strongly associated with beauty, we highlight some of the qualitative moral and derogatory stereotypes most commonly observed. In parallel, we emphasize the new paradigm of contemporary culture - a moral duty to be beautiful as an addition to the aesthetic standards of beauty that has always existed throughout history. "But what are the insignias attributed ugliness? Three basically, not been thin, not looking young and not looking healthy. These are the new paradigms of today's society. "If, historically, women worried about their beauty, they are now responsible for it. Of social duty, beauty has become a moral duty. The failure is not due more to a wider failure, but an inability individual "as stated by the author. To fill these "gaps" currently on the market are numerous beauty treatments that convey the physical perfection, which translates in terms of professional and personal success.
For Catherine Hikam, a professor at the London School of Economics and Political Science, there is an erotic capital in the world of work, that is, a person is more successful, beyond the physical aspect, if disposing of such qualities as resourcefulness, charm, elegance and sensuality in detriment of their intellectual abilities and even appropriate training to the exercise of a function determined by the company. To strengthen this argument, she states that "research in the United States and Canada ¬ clearly demonstrate that attractive men (i.e., more erotic capital) earn between 14% and 27% more than unattractive men. Considering that everything else is equal between them. For women, the difference is between 12% and 20%.
Basically, what all these experts say ultimately strengthen the argument that the degree of ugliness is an index with enormous weight in the hiring of an individual, but no one does not admit it because it is politically incorrect and the same applies to the personal life. So for Joanna Moraes, "the ugly, often associated with fat, has some of the greatest forms of discrimination in societies that cultivate the body. To eliminate it, mitigate it, or disguise it, all the efforts and sacrifices will be spent. Overt discrimination, overt and without guilt, unlike black, poor, gay or any other minority - discriminate against ugly is without any shame or embarrassment. "However, there are winds of change in this context; we can already see signs of a trendy new paradigm of beauty, the appearances of the XL models and even the fuller figured music singers that fill the pages of magazines. The power of hope and change is always the last to die.

http://www.psicologia.pt/artigos/textos/A0237.pdf

It is one of the albums recorded by the duo Maria Joao and Mario Laginha a tribute to 500 years of Portuguese discoveries.

This album is worth for two songs, not belittling the other melodies they are wonderful, but the version sung by Maria Joao of Beatriz at the piano of Mario Laginha is a musical delirium that just chills your skin just to listen and moves to the bottom of soul. This theme written by Edu Lobo and Chico Buarque, one of the masterpieces of Brazilian music and one of the songs most loved by the nation, was for decades interpreted by the greatest female voices of Brazil. A Portuguese version of this Beatriz, accompanied by the Symphony Orchestra of Hanover with the voice of Maria Joao is superb and I could added more goals, but they do not do justice to the vocal ability of this great performer. She gives a proper reading for all the songs she plans to sing, most notably in this melody, she gave it emotion, color and heat, which is not possible for any singer.
The promotional video is also very unique, because both are hanging by ropes, on the Tagus, in the late afternoon and early evening, which refers to a romantic setting that adds even more dramatic charge to this music.
Asa Branca, was a personal choice of both, having been created for this purpose a special arrangement for piano. If you listen carefully begins with a wonderful solo played by Mario Laginha smoothly the voice of Maria Joao prints the words in this almost melodic symphony, with the tone of the Northeast. Heavenly!
The title of this album was the suggestion of Maria Joao while on the phone when she hear the first chords of the original music played by Mario Laginha, found only natural that it come to mind these three animals running free. And so, this is how myths are constructed. Of course!

http://www.youtube.com/watch?v=KAggWL7WuGo

http://www.mariajoao.org/

http://www.mariolaginha.org

Sara Lamúrias is the creator of a very unique fashion looks. She aims through aforest to convey the idea of ​​comfort throw a minimalist concept. A construction that covers not only clothes, but also accessories. An intuitive view she explains thru stories in her collections.

The forest is a fashion concept it embodies the idea of environment? I mention this for the choice of material that is cotton and wool? And even the name?

Sara Lamúrias: In the aforest the environment is as present as I, as designers assume a civic responsibility. But I do not do that brand communication. The materials are chosen for this reason and also for comfort. The name had nothing to do with it, is the name of a song by The Cure: the forest, the choice was intuitive.

There is also a trend for minimalist comfort? Or is only to highlight certain details that are most important, as the prints in motion?

SL: The comfort is essential, is one of the working rules for the design. The clothing should not be felt, must accompany the body and should be beautiful. And yes, I often opt for simpler construction lines when the concept has to do with something more graphic. Summarizing, what I create develops in different ways according to the story that it is based.

Parts of the closes are largely sportswear, to a certain urban style wear, what was the concept behind this collection? And the colors?

SL: The collection object oriented design came from the combo project and the main concern was to create parts and accessories with character objects. There was a concern for creating pieces that were very utilitarian and created a path, a clear objective.

Andreia Oliveira is a name to retain in the national fashion world. Her collections are the result of a comprehensive and elaborate work, which does not end in the pieces itself, each collection is a concept. Is the result of research and deep reflection. She's not afraid to try and transform the most basic of sets organic coordinates, which almost come to life. She likes to learn, to create new challenges and evolve as a professional, towards a future that she is still building.

In the Air raid collection was nature your main inspiration?

Andreia Oliveira: This collection was about taekwondo, I did not use it in the obvious way. The uniform they use, but to reflect on the theme of martial arts. In the harder aspect, rawer, mixed with a kitsch technology, half the lights were rudimentary and belts with blue liquid. That was the direction to follow. A kitsch futuristic taekwondo.

That's why the lines are very straight, chosen to simplify?

AO: Yes, I'm a creative, I'm young, and I feel I'm still learning. So, I use this collection to experiment, that's what they serve for. I was tired of the curves and rounded shapes and the desire to want to go to straight lines, maybe came from this concept of taekwondo. I've had this desire to change and experiment, so the concept was to meet this need.

What were the materials you use?

AO: I used knitted mesh. I love to use them because they can apply many points, have different textures, depending on what we choose. Also picked some elastic mesh, which was to emphasize the question of whether the need for movement linked to sport and some transparent organza and silk.

The colors chosen also had to do with the concept?

AO: Yes, but also because I like it a lot. I enjoy taking a concept that calls for a starting palette of colors, but I decide to change. When I reflected on taekwondo, being a hash exercise, gross should have dark colors that are what people would think first. But I decided it was more appropriate to use light colors, cold and a pale to accentuate the robotic shielded and there could be connected to the future and that is the gross aspect of a person wearing the equipment taekwondo.

It is an event that aims to promote the Portuguese textile production, both within and across borders. An event that will take place from the 20th to 23th of October for the launch of the spring-summer collections for 2012.

Portugal Fashion (PF) emerged in 1995 as a counterpoint to ModaLisboa. I still remember the first show at the headquarters of the National Association of Young Entrepreneurs (Anje). A statuesque Claudia Schiffer indifferent to cold came down the staircase, with a lame evening dress with animal print signed by the already disappeared, Jose Carlos, who also triumphed that night. His collection entitled, appropriately diva that simply grabbed audiences and critics at the time.
At its inception, the PF is not intended to be merely a showcase of Portuguese designers, but as well for the textile and footwear industry nationwide. It was the launching pad for several national brands, creating a spotlight on the sector in terms of global markets. One of the purposes of this event has always been its internationalization. The underlying idea was that the project was part of the international fashion scene. A wage that gained media visibility with the hiring of the great supermodels of the era, Carla Bruni, Eva Herzigova, Valeria Mazza and Linda Evangelista. Over these 16 years of existence, Portugal Fashion matured and is not just an event associated with fashion. It enhances the image of Portugal, since 1999, through the permanent presence of some Portuguese designers in the calendars of the fashion weeks of Paris and Sao Paulo, as are the case of Fatima Lopes, Ana Salazar, Luis Buchinho, the Storytailors and more recently, Felipe Oliveira Baptista, current creative director of Lacoste's brand.
The PF also fosters the emergence of new values, through the alliance, created in 2004, which aims to boost the careers of young talent, fostering future partnerships with industry. Recently, under the title, glow ball, companies of interior design made their presence at this irreverent event that takes place over three days back into the city of Porto.
http://www.portugalfashion.com/

It was an object of desire for men over many generations.

The corset for centuries extolled the beauty of women. The reality however was much more painful. This intimate piece caused permanent deformations in the female body, not to mention the harm it caused by affecting the respiratory health of women. The bodices, denomination known during the Renaissance, evidenced especially the breasts, the problems, however, were the same. For decades were created more castrating models, more vile and unimaginable, that imposed even more restrictions on women's mobility. Imagine that was presented in the exhibition of the work of 1885, a bodice with artificial breasts that could be inflated.

The first world war dictated the end of this aesthetic, since women were summoned to take on the toughest jobs that were formerly performed by men and were humanly impossible to perform with this rigid intimate piece. The band appeared as a substitute and the corset was gradually disappearing. Only in 1947, was resurrected by the new look of Christian Dior, which valued the bust and waist. The '60s were times of spiritual freedom, but also for the body. Bras were burned in the public square and the bodice was again banned. In the late 80's, designers Versace and Jean Paul Gaultier relaunched this model to be used outside of the clothes and not inside, it's a fetish piece of their collections. Today, corsets are very comfortable and in fashion, both, as a piece of lingerie and as clothing. The Storytailors are Portuguese fashion designers, who use this kind of pieces that build a new feminine silhouette and give them more romantic aesthetic. After all, the bodice is here to stay.

The fashion designer Karla Vieira has recently launched in an event full of color, music and a sense of romanticism her new collection inspired in Portugal.

The antidote to the designer Karla Vieira to stimulate the senses is a collection, as she defines it, which is mainly "filled with color. I felt that there was a general depression and a negative state in people. I had the need to transmit positive energy through the colors, brightness and mixtures that people are not used to. Groups of red and pink, green and blue and there is born a palette that tries to stimulate them a bit, like a vaccine. "A combination of undulating silks with very defined and structured cuts made of delicate details as beads and ribbs that enhance feminine curves. The duality of a seemingly opposite color palette, red and fuchsia, green and blue, yellow and orange, which in the end are an antidote to the eyes, a mixture of seemingly incompatible colors that complement each other strangely. Models for a special occasion that enhance femininity, not to overshadow the personality of  the women who use the clothes, as the designer points out, "unforgettable moments, require  unforgettable clothing." The small notes in some of clothes of embroidered pieces are a riot of shades and shapes of the fauna of Madeira, which adorned the edges of the skirts and blouses. A very hippie mix, but sophisticated at the same time to be used during the day.

The brand KV however, is not limited to clothing. Other components of the look Karla Vieira are the accessories. The accounts are fully executed by hand. They are small works of art woven by wires and chains with original and very colorful patterns. The stylists elucidate, "All the jewels are inspired by the Portuguese culture. There is one originating from the embroidery of Madeira, another is the Barcelo cock. There is always a minor Portuguese detail, a tile, or nature. I was working in Spain a long time, about seven years, but then I felt the need to start on my own and promote my work. I needed to be in contact with customers and not behind. Start with the brand. First I created the accessories, then the clothing collections. "A concept of fashion is here to stay.

http://karlavieira.com/

They are the most fashionable footwear for the winter of 2011. An unexpected success for a boot with nearly 200 years of existence.

The origin of the wellie boot is a noble one unlike as it may seem. Thanks to the ingenuity of Arthur Wellesley, first Duke of Wellington in 1817. The English gentleman, a very practical man, asked that military boots were adapted. The new model had a shorter spout and was more comfortable to use. The transition from leather to rubber happened in 1853, with the vulcanization process developed by Charles Goodyear. The popularity of the shoes came with the soldiers in World War I, who wore the boots in the trenches of France. For centuries this utility footwear was confined to certain professional areas. It was the standard footwear of the farmers, officials of cold storage and cleaning. Did you know that before Nokia was a worldwide leader in the telecommunications they were selling wellies?
In Madeira, the common term to designate this footwear is water boots. A denomination that arose by the deformation of words boots for water, mainly wore when farmer proceeded to the irrigation of their lands. In Brazil, there is an expression that is the boring of galoshes, which according to a professor of Portuguese language and philology at the University of São Paulo, Valter Kehdi, this is a very annoying and inconvenient person. The idiom associated with galoshes, due to the fact that this is an annoying resistant person, such as boots.
The boots after 195 years of obscurity were recently rehabilitated in the international catwalks. They come in several colors, with very different patterns and with a more contemporary design. They are the shoes for this winter. The boots are not only water resistant but last forever, as they always look good in the country side or in the city.