brand. Compte Spain
080 Barcelona Fashion Week has struck again, hosting an array of cutting-edge brands honouring craftsmanship and sustainability above all else. Known as a force for driving change, the event’s 33rd edition showcased 24 established and emerging designers at the Recinte Modernista Sant Pau in Barcelona this past week. From Larhha’s Sainte-Chapelle-inspired collection to Sita Murt’s celebration of 100 years in business to Avec Amour’s reworked all-American school uniforms, this season was nothing short of striking.
The anime film, Ghost in the Shell, heavily influenced 404 Studio’s latest collection, leading founder and creative director Anaïs Vauxcelles to envision futuristic fashion that highlighted the war between consumerism and scarcity of materials. Body-hugging distressed knitted tops, dresses, and trousers with metallic thread woven through were constant, alongside cut-out and lace-up detailing, leather garments with pastel shearling on hems, and graphic sweatshirt dresses – all of which nodded to the ‘sustainable war’ theme present in the film. Circular shoulder bags mirrored the style of each look, paired with fluffy pastel heels, colourful metallic hoop earrings, and stacked rings designed in collaboration with Lavani Jewels.
Going back to his roots, Mateo Velásquez of Velásquez looked to Marmato – the Colombian town he was raised in – to inspire his autumn/winter collection. Celebrating the mining culture that was present throughout his upbringing, gold was at the forefront, manifested through glitter-painted fabrics, chunky jewellery, and diamanté fringe details. Patchwork denim jackets, plaid button-ups paired with wide-leg trousers, supersized sun hats, two-tone motorcycle jackets with matching skirts, and distressed caps were placed with exuberance, nodding to the working-class miners. The juxtaposition between the two styles symbolised the strenuous work to find treasure – something that is often overlooked.
Dominnico’s ever-present Y2K aesthetic was elevated once again within its newest collection, ‘Hook’. Marrying best-selling silhouettes with a marine-inspired aesthetic, designer Domingo Rodríguez Lázaro took Sailor Boy to a whole new level. Lace sailor boy hats and scarves were paired with barely-there bra tops, frilly lace skirts, thigh-high leather boots, fur trims, and lace-up denim co-ords. Coquette styles were also introduced, with satin bows pinned on pleated micro mini skirts. The brand’s signature pastels were broken up with touches of lime green and brown, creating an edgier feel within the collection.
Guillermo Justica’s autumn/winter collection, ‘Mycorrhizal’, inspired by mycorrhizae – fungi with a symbiotic relationship with the roots of plants – explored how even with chaos running rampant, everything finds balance. With this in mind, Justica redefined classic garments, creating oversized turtleneck sweaters that covered half of the models’ faces, fur hoodies and matching maxi skirts, puff sleeve leather jackets, and sleeves that almost touched the runway. If it wasn’t supersized, it was manipulated in another way, whether that be through colour-blocking, layering, or lace-up corsetry. The randomness of the garments didn’t fall flat though, as Justica managed to find harmony throughout each and every look.
Larhha’s latest collection allowed spectators to visit the Sainte-Chapelle – a Gothic-style royal chapel in Paris – without leaving their seats. Designer Miguel Marín Lara studied architecture alongside fashion, which was translated through voluminous silhouettes. Structured skirts resembled columns, flying jackets were an interpretation of mediaeval clerical hats, and shift dresses covered in embellishments mirrored stained glass windows. Satin draping, velvet dresses, ginormous sleeves, and a bridal crinoline all added to the historical feel of the collection, while contemporary elements – think denim jackets, pops of bright pink, orange, and mint green, and gold bags – brought the past and present together wondrously.
Dramatic shapes and silhouettes took hold of The Label Edition’s newest collection titled ‘Unfolding’. Véronique Von Siebenthal, the brand’s co-founder and creative director, saw architecture as the vision for her latest work, designing puff sleeve leather jackets – made with premium leather new to the brand – striped blazer dresses, and Canadian tuxedos. Denim and corduroy made an appearance yet again, as well as the brand’s signature gold buttons. The structured silhouettes were complemented by blue and burgundy tights, cowboy hats, chunky gold necklaces, and oversized denim ties. Bright floral printed puff sleeve blouses, plunging v-neck gingham tops, and striped shirts were dotted in between monochrome looks.
Celebrating 100 years of the company, Sita Murt unveiled their autumn/winter collection, ‘100 Years Knitting the Future’, spotlighting stellar knitting techniques. As a tribute to the brand’s founder, six looks from the show were archive pieces – from 1996 to 2014 – that displayed the brand’s everlasting craftsmanship and steadfast attention to detail. A melange of textures and varying yarns came together to form semi-sheer flowy maxi dresses, knit intarsia dresses with iridescent yarn woven through, oversized mohair and baby alpaca wool jumpers. Cardigans were worn open with matching bras on full display, underwear became shorts, and knitted halter tops cinched models’ waists.
Avec Amour’s spring/summer collection, ‘Cannon Beach’, acted as an ode to what could’ve been. Designers María Undo and Daniel De Villanueva looked to old-school uniforms and cold summers on the coast of Oregon to shape their work. Long sleeve university-esque polos with the brand’s emblem stitched on, striped dresses with rounded collars and pleated skirts, two-tone varsity jackets, oversized cardigans, and even the occasional American football found themselves on the runway. All the classics were effortlessly reinterpreted with a contemporary spin. Satin mini dresses took on a 60s and 70s feel à la Jane Birkin and elegant corsets were paired with flowy skirts.
Compte Spain has redefined what a happy ending truly means in their latest collection, deciding that it doesn’t just have to be the classic Hollywood ending, but can still be “happy” even if it’s sad. Through this idea, garments reflected the emotion a happy ending evokes. Sequins glittered under the runway’s lights and bold red wowed spectators. Alongside the show-stopping moments, strapless mini dresses with structured hips, intricate bow detailing, quilted micro mini skirts, floral embellished co-ords, sheer button-up shirts, and see-through maxi dresses in soft pinks and purples brought the collection together.
‘Side Effects’, Habey Club’s newest collection, came to be after designers David Salvador and Javier Zunzunegui watched the film Sick of Myself, which follows two narcissists trying to fill their emotional voids by attracting attention. Rosette-covered tank tops, ruched micro mini skirts, and fur-collared jackets begged for attention. So did striking blue clutches and red strapless mini dresses. Belts sat at the top of body-hugging strapless maxi dresses, drop waist dresses gave way to puffy skirts, and flip-flops were lined with fur. Each look, whilst arguably conventional, was striking, demanding recognition, just like the film they were inspired by.
brand. Habey Club
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words. Amber Louise
imagery. 080 Barcelona Fashion
