Lush, authentic, multitasking. Only. Dudu Bertholini is one of those names that we can’t compare with almost anyone the ability he has to always be so unique. The Board of caftãs prints, with their arms loaded with bracelets and the long hair wrapped in a turban, the stylist shows in seconds the colorful personality who invented for you. Be in charge of Neon, brand that created and conducted over almost a decade next of friend Rita Comparato, or front of the camera, who embraced in recent years, Dudu didn’t for a second. Can’t–or want to–define what he really does.
-If you ask me what I do for a living, I can’t decide if I’m a stylist or a stylist. I believe that I am a Communicator sets-explains, in an interview with Donna.
Bertholini is the special guest this Friday (23) at Donna Spring Preview Iguatemi, in a chat on fashion within the programming that celebrates the launch of the special magazine Donna September Issue that hits the newsstands on Saturday (24). Donna’s partnership with Shopping Iguatemi, the event is part of a program started on Wednesday and that ends this Saturday with a chat with Manuela site Bordasch Steal the Look. Admission is free.
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After experience as one of the judges Love countertop & sex, program run by Fernanda Lima in Globe, Dudu Bertholini now prepares for a contract as host: will interview personalities from the fashion scene in us, fashionistas, with a program planned for next year on the subscription channel Fashion TV Brazil. On the eve of land in Porto Alegre as special guest to the release of this edition of Donna, Dudu talked with us about the direction of fashion in times of slow fashion and genderless, recalled moments of career and your still greater learning in the fashion universe.
The Neon has been very striking in your trajectory. What you loads of time in front of your brand?
Is a wonderful experience, which take the best memories. So much about what we experienced, as the difficulties in life for us to grow, learn and evolve. The Neon is my case of image construction sets more complete. Next Rita (Comparato, co-creator of the brand), I could live it always thinking the image as a whole. Create the clothes, the scenery, the track, the image, the concept, the presentation. I feel an immense affection for every look you’ve been doing it was, and that I will always carry with me –like all learning what it’s like to have business management, be enterprising, do each bet on the mark since I worked in the living room of my house in 2003 to close the workshop in 2013. Today, the Neon still active in a format of licensing, partnerships. We do a small retail management with a concept store in São Paulo, where we sell some of our classics such as caftãs and kimonos, and also size. At the end of the year, we will have a special partnership with a brand of Ceará named Catarina Mine, all made with a cooperative of crocheters. We are also doing upcycling (recycling) of the tissues of the Neon.
You’ve done partnerships with major magazines, such as the Riachuelo. How do you see the influence of fast fashions in the market?
Like everything else in life has negative and positive points. I love the idea of democratizing my design, all drawing is accessible at a fair price to the consumer. On the other hand, more and more people have to talk less in trend and go against this ephemerality. We live in superacelerado, and the fashion world reinvents itself each time. What fashion do you want from us, in fact, it’s not that we keep picking up every day what she created, but we focus on our identity and our style. Fashion today is no longer there for you run after her, is there to give you ways to improve your style and be the best version of yourself. Fashion asks you to do a curator of what suits you. What preserves a contemporary brand is the identity. If you are a person who is trying to run after all what’s hot, get ready for a marathon a la Bolt (laughs).
What do you recommend?
Excelling by quality parts and they last longer. In addition to being an attitude of style, is a sustainable attitude, because you will consume pieces that will last longer and that really make sense for you. At this point, we vote elect always quality and style. On the other hand, it’s great to have access to democratic and fair price products-power to mount a look without spending a lot. It’s a very fair market for consumers today. The important thing is to always seek fast fashions that we know they have a social responsibility. It’s hard to know this, you can find out what are the brands that value by values of social responsibility.
On the other hand, the slow fashion and sustainability appear with more and more strength in the market.
I think it’s very important, because the slow fashion is there to prioritize quality, to encourage the creative economy, to rescue precious and handicraft aspects. The fast fashion has its good points, but the world is moving to something much more slow. There is an urgent need to enhance what is done in a more handcrafted. I think the future of fashion is very much based on technology and sustainability. Including the technology supporting the sustainability, not with a technological world that assaults and passes over.
You are increasingly involved with the TV. In addition to the program for premiere, you get involved in the costumes of the miniseries Secret Truths and love & Sex. How is your day to day in this global function?
I love global function. (laughs) I’m very involved now with the project that premiere at the beginning of next year, on Fashion TV: a talk show with fashion professionals, called We, fashionistas. I’m recording this week and being a superaprendizado. I like to communicate. If you ask me what I do for a living, I can’t decide if I’m a fashion designer or stylist, I believe I am a Communicator sets. The TV is a fantastic learning: making a costume is completely different to do styling. The look gives support for dramaturgy, either in novels or in the program of Fernanda Lima. When I go to the front of the camera, is another challenge. I have the role to communicate, but always I. I’m there to be the Dudu and give an opinion, how I see things.
How do you see the genderless fashion?
We live in a time of urgent need for representativity, we pass the love the differences and never judging them. This is the role that fashion can exert more strength today. A long time ago that fashion is not exactly a transformative agent of society as it was at other times, as in the years 1920 and 1960. We live the urgency of deconstructing the genre and put an end to the binary, the issue of Blue Man and woman. Our genre is a construction of identity, and is an individual of each path in pursuit of happiness, of your sexuality. Today the sets don’t speak of two genera, but 200, and I believe each time we need to divide people between male, female, shemale, transsexual, crossdresser. And everyone is talking about the urgency of genderless be accepted, as well as the need to eliminate the contemporary world any kind of homophobia, racism, xenophobia, misogyny.
What is the biggest lesson that gave you?
Fashion taught me that she is here for us to love. So we extol our virtues and can hide what I don’t like so much. But, mostly, so we don’t judge people. It may seem contradictory, because we blame much the fashion for sending us a model that we cannot, almost as if she wanted all of us were angels of Victoria’s Secret, but it’s the other way around. The sets are here for us to accept and to help us be the best version of who we are. So we look at people in the street and don’t judge them as tacky or in tight sweaters, but for us, an anthropological way, understand what people are communicating through what they wear. And if you are someone who doesn’t judge others, be certain that you won’t be judged. When I think of the reason why work with fashion, is for me to pass on a message of acceptance, inclusion, of self-respect. And that fashion can help the world to love the differences.
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