Renato Duarte: "Industry must not put aside audacity, risk and creativity, or it will end up educating a market that is poorly differentiated in supply."

The goal of “Thinking Fashion” is to think about fashion in a transversal way. Its importance, the players, the search for national and international relevance, even the way it can change people’s lives.

Over the next weeks, “Thinking Fashion” will appear in the form of a digital interview. A selection of thinkers will be put to the test. The result is the sum of several reflections and perspectives on fashion, this dynamic and multidimensional organism by nature.

Thus, we leave the digital interview to Renato Duarte, radio host.

The introductions are done. Now, all you have to do is think.

1. We cannot talk about fashion without talking about trends. Do you follow any?

Not consciously, in the sense that I am not particularly aware of the trends of the moment nor do I condition my choices to what is worn each season, but it is possible that there is an influence that is not conscious or completely noticeable. Perhaps trends inspire me, but I can’t list any in particular.

2. Does success in fashion come from work, luck, or some combination of factors like one in a million?

Audacity, strategy, networking, all of this counts, and all of this is a lot of work.

3. To see their work recognized, the designers need the immateriality of advice or people who buy their clothes?

They need to sell clothes, yes. If we measure success and recognition based on the ability to bring the work developed to a large number of people, then sales have to be one of the main indicators to measure the relevance of a collection.

4. Some say that fashion is an art form. But there are those who argue that it is a minor art. Is everyday life the enemy of contemplation?

I would say that the fact that it is an art form so integrated into our daily lives only adds to its elevation. The creative challenges that this presents to designers have been worked on in extraordinary ways over time.

5. Why do some Portuguese designers find it so difficult to make a living from their main profession?

There are issues that are common to other industries, such as scale, the difficulty in creating strong and relevant brands, and the country’s poor artistic and cultural literacy, which does not allow us to properly value the pieces that are so well thought out and produced in Portugal. We have know-how and a lot of quality, which is recognized by major international fashion brands, but then, we can’t create an identity strong enough to captivate a large number of people and actually feed an industry, which would allow the professionalization of more and more designers.

6. In what ways can the industry approach author fashion? Or should the path be taken the other way around?

Not being an expert, it seems to me that the path can and should go both ways. The industry should not put aside the audacity, risk and creativity, under the threat of educating a market with little differentiation in the offer. Author fashion has much to gain by thinking about the relevance it can have in a highly competitive market, without losing its basic identity.

7. If you put together five or six pieces from a fast fashion store you can buy one piece from some Portuguese designers, which has more quality and is often unique. Is there shame, laziness or lack of interest in buying Portuguese?

As I said above and without wanting to complicate things too much, I think it’s a matter of education. Weak cultural habits don’t allow us to understand the unique and highly differentiated aspect of an author piece of clothing, not recognizing this value, it becomes difficult to accept a logic of fair prices and create consumption habits that can meet the needs of this industry.

8. Has sustainability changed the fashion paradigm?

I believe that there is a change underway that involves more conscious consumption choices. It is becoming increasingly difficult to not recognize that fashion is one of the most polluting industries, that this has to be looked at and that we all have to act on it.

9. Many people want to go to fashion events in Portugal. 95% of those same people have never bought Portuguese fashion. What will be the interest then?

To see and be seen. Nothing more than that. To be part of a moment that is recognized as having a certain social prestige, without any real effort to understand exactly what is being shown and celebrated there, and the importance it may have for the creators and for the country.

10. Does it still make sense to have Fashion Weeks in the traditional format?

Fashion weeks have been undergoing changes that pandemic has accelerated. It would be somewhat autistic to think that the format of fashion weeks should not evolve with the times, society, and the way people consume and access fashion products.

11. Because of a pandemic there was a growth of digital. Did the physical stores had to close to invest in online stores?

I have no data, but I believe that online stores grew in sales in the pandemic context. The online selling experience is far, in my view, from replacing physical stores, I don’t wish or foresee that happening.

12. How can you think about fashion in Portugal?

To think fashion in Portugal it is essential to be aware of the extraordinary creative capacity of the designers that have emerged in recent years. I think that if we take time and effort to understand the motivations, the scope and the quality of what has been done in our country, it is not so difficult to be optimistic and define a strategy for national fashion.

13. Is there a deliberate “culture of alienation” in relation to the achievements of Portuguese designers abroad?

The affirmation of Portuguese designers abroad is extremely important, is part of the strategy to promote national fashion and should be intensified, consistently and intelligently. However, I confess that I think it is more urgent and essential, for the time being, to work on the perception that we have here inside of the work of our designers.