Luiza Marcier
08 Sep - 13 Oct 2007
LUIZA MARCIER
"À COLECIONADORA 21 + 12 flying dresses"
September 8 - October 13 2007
À Colecionadora is the state in which Luiza Marcier presents her creations.
The state may be:
1. A 10-minute fashion show on a runway at a “fashion” event...ughh!
2. Four years in a store inside her father’s art gallery – a place of objects that were almost alive during the fun era that was the 1980s – during the novo riche pre-consumer phase of one of the first shopping centers in the city of Rio de Janeiro in the barrio of Gávea.
3. About a bride in a wedding dress laced with cigarette burn holes, a post-combustion dress - fruit of the combustion between human beings. A recorded message: “The dress will self-destruct during the ceremony”.
4. In a street across from the college where you got your degree (....).
5. In models that walk on tables in a Rio bar.
6. In a projection of drawings of clothes onto a white dress over the body of a magician’s assistant in a travel agency in a deactivated train station in downtown Rio.
7. In the blue ink of a Bic pen scrawled over white, x-rayed on the black background, stamped with footprints of sandal with uniform straight-line movements.
8. A state of bololô.
9. In a square.
10. In a lucky streak.
11. In a scribble.
12. In a huge square.
13. In a theater piece.
14. 15. 16. 17. 18. Hanging on hanger over a white wall, clothes that are painting in a store-gallery in your home. Clothes on the street, they bundle up, travel, fold over and go. Clothes that exist, clothes that don’t yet exist drawn and glued to a white wall. Intermediate clothes, clothes with projected light.
À Colecionadora is solid, punk, liquid and gaseous. It dresses the mutant human being. Luiza Marcier knows she is À Colecionadora, so she sews a sensorial script from among her own collections. A scribble makes her present, a curve is mounted and dissolved, color yourself inside and fly.
12 pieces of clothing from overlapping eras, from different layers (geological?) of time, from some of the 12 months of the year, from any year, from a deactivated station are À Colecionadora.
21 flying dresses over a foreigner’s or Rio’s bodies? À Colecionadora
Luiza Marcier, almost 33 years old, was born in Rio de Janeiro. In 1977, she received her degree in Design from the Industrial Design School in Rio de Janeiro and has been working with clothes since she was 18 years old.
In 1998, she launched her brand “À Colecionadora” in an amusing stand at the Babylonian Fair “Hype” in Rio de Janeiro. At her stand visitors entered a white canvas square through a huge circle and tried on clothes on a cushioned floor.
In 1999, because of her work at the fair, Luiza was invited to give a show with her brand name at the Rio de Janeiro Fashion Week. Instead of the traditional promenade, À Colecionadora showed squares that assembled and dissembled, outlining in the air ideas of clothes – three-dimensional sketches.
That same year Luiza presented a fashion show with clothes made of plastic bags, held on the lake at the Modern Art Museum, as a guest of the poet Chacal at the Almanac 99 event.
In 2000, in response to an invitation for a collective fashion show commemorating Brazil’s 500th anniversary, Luiza developed her work “holes”. There were three organza party dresses with cigarette burn holes through which threads passed and restructured, deconstructed or weaved the clothes. The dresses unfolded into a series of skirts.
In 2001, the first “À Colecionadora” store was inaugurated in Gávea in Rio de Janeiro. It functioned until 2005 with a wall on which dresses were hung as drawings or paintings – a gallery-stage for an incessant parade of ideas, images and collections. Each collection launched there also created certain trends in Rio’s fashion fevers: head bands, t-shirts, sandals or dresses. Moreover, it is an unmistakable style that can be recognized and divulged on the streets of Rio – the thoughts of À Colecionadora about Rio’s fashions.
In 2002, at Fashion Rio, the city’s official fashion week that was inaugurated at that time, Luiza showed a summer collection in which the À Colecionadora humour appeared spontaneously by using the professional fashion structure (models, runway) to speak about building images through clothes.
In 2003, in a collection entitled “Ethnic Groups for the Moon”, once again on the Fashion Rio calendar, À Colecionadora was outstanding. The brand gained its first and already classic stamp, simulating a constellation.
Along with various questions there were also proposals. Black silk dresses erforated by laser cuts that deferred to the cigarette burn holes. Organza dresses with wool threads designing the body. Sketched wedding dresses brought the design of a dress over a trial of a dress. And a collage dress of various parts of the soul.
At the end of 2003, when the store seemed to be fitting into the profile to launch fashion for street wear, Luiza left the traditional fashion circuit and took À Colecionadora to the runways at bars. Models promenaded on the tables of Rio’s bohemian bars wearing a collection stamped with the logos of the bars in Rio, dresses and skirt inspired by tablecloths and napkins and t-shirts about city icons.
In 2004, she presented the first compilation of her work with tailor-made clothes at an exhibit. Mannequins were dressed as brides and bridesmaids watching the festivities passing by. The atmosphere was a restaurant-bistro-café in Ipanema.
Also in 2004, Luiza returned to Fashion Rio to show her dress collection and ideas inspired by Bic pen scribbles...doodled organza dresses, sandals that stamped the runway blue and white, À Colecionadora scrawling her view of fashion shows and runways. Afterwards, these doodles spread around the city, throughout Brazil and
the world. In October of this year, Luiza was invited to show her collection at the Mercado Mundo Mix, a fashion fair in Portugal.
In 2005, with scenery of paper houses, À Colecionadora walked through a kindergarten stage setting in a show at Fashion Rio. The doodles now took other shapes and were expanded in clothes-drawings on clothes. The collection after some time was also closing a research cycle, in order to begin another.
In 2006, À Colecionadora presented a monologue fashion show of an intermediate collection. A room in an old travel agency at a deactivated train station...a single model, a slide projector, several drawings and ideas for clothes projected onto a white dress. The unique experience of the fashion show repeated several times, and never the same.
Throughout the years, since 1995, Luiza has produced numerous works for costumes in films, video clips and theatre, and in all of them seeking an appropriate form, gentle or radical, to translate in clothes the particular universe of each work.
Furthermore, Luiza developed some live performances such as how to make clothes at the “Miscellaneous” event at a cinema in downtown Rio in 2001, and the performance “I Can’t Get This Book Out of My Head” together with the publisher Anna Dantes from the A Gentil Carioca Gallery in 2006.
Since 2004, her desire to make clothes and think about fashion has been extended to the desire to transmit. For two years Luiza was a fashion consultant at NGOs for artisans at the Art-Industry Project by the Rio de Janeiro Federation of Industries. Presently, she is a professor of fashion creation at the design courts at PUC.
In August of this year, À Colecionadora will launch together with the publisher Dantes the Conde Fortas catalogue published for the first time in Belgium in 1840 – a work about the imaginary world, a compilation of books and ideas that have never existed.
In September/2007, invited by Galerie Catherine Bastide, she will be in Brussels to present her collection 21+12 flying dresses, a project room that intends to spread Rio’s À Colecionadora fashions throughout the world.
"À COLECIONADORA 21 + 12 flying dresses"
September 8 - October 13 2007
À Colecionadora is the state in which Luiza Marcier presents her creations.
The state may be:
1. A 10-minute fashion show on a runway at a “fashion” event...ughh!
2. Four years in a store inside her father’s art gallery – a place of objects that were almost alive during the fun era that was the 1980s – during the novo riche pre-consumer phase of one of the first shopping centers in the city of Rio de Janeiro in the barrio of Gávea.
3. About a bride in a wedding dress laced with cigarette burn holes, a post-combustion dress - fruit of the combustion between human beings. A recorded message: “The dress will self-destruct during the ceremony”.
4. In a street across from the college where you got your degree (....).
5. In models that walk on tables in a Rio bar.
6. In a projection of drawings of clothes onto a white dress over the body of a magician’s assistant in a travel agency in a deactivated train station in downtown Rio.
7. In the blue ink of a Bic pen scrawled over white, x-rayed on the black background, stamped with footprints of sandal with uniform straight-line movements.
8. A state of bololô.
9. In a square.
10. In a lucky streak.
11. In a scribble.
12. In a huge square.
13. In a theater piece.
14. 15. 16. 17. 18. Hanging on hanger over a white wall, clothes that are painting in a store-gallery in your home. Clothes on the street, they bundle up, travel, fold over and go. Clothes that exist, clothes that don’t yet exist drawn and glued to a white wall. Intermediate clothes, clothes with projected light.
À Colecionadora is solid, punk, liquid and gaseous. It dresses the mutant human being. Luiza Marcier knows she is À Colecionadora, so she sews a sensorial script from among her own collections. A scribble makes her present, a curve is mounted and dissolved, color yourself inside and fly.
12 pieces of clothing from overlapping eras, from different layers (geological?) of time, from some of the 12 months of the year, from any year, from a deactivated station are À Colecionadora.
21 flying dresses over a foreigner’s or Rio’s bodies? À Colecionadora
Luiza Marcier, almost 33 years old, was born in Rio de Janeiro. In 1977, she received her degree in Design from the Industrial Design School in Rio de Janeiro and has been working with clothes since she was 18 years old.
In 1998, she launched her brand “À Colecionadora” in an amusing stand at the Babylonian Fair “Hype” in Rio de Janeiro. At her stand visitors entered a white canvas square through a huge circle and tried on clothes on a cushioned floor.
In 1999, because of her work at the fair, Luiza was invited to give a show with her brand name at the Rio de Janeiro Fashion Week. Instead of the traditional promenade, À Colecionadora showed squares that assembled and dissembled, outlining in the air ideas of clothes – three-dimensional sketches.
That same year Luiza presented a fashion show with clothes made of plastic bags, held on the lake at the Modern Art Museum, as a guest of the poet Chacal at the Almanac 99 event.
In 2000, in response to an invitation for a collective fashion show commemorating Brazil’s 500th anniversary, Luiza developed her work “holes”. There were three organza party dresses with cigarette burn holes through which threads passed and restructured, deconstructed or weaved the clothes. The dresses unfolded into a series of skirts.
In 2001, the first “À Colecionadora” store was inaugurated in Gávea in Rio de Janeiro. It functioned until 2005 with a wall on which dresses were hung as drawings or paintings – a gallery-stage for an incessant parade of ideas, images and collections. Each collection launched there also created certain trends in Rio’s fashion fevers: head bands, t-shirts, sandals or dresses. Moreover, it is an unmistakable style that can be recognized and divulged on the streets of Rio – the thoughts of À Colecionadora about Rio’s fashions.
In 2002, at Fashion Rio, the city’s official fashion week that was inaugurated at that time, Luiza showed a summer collection in which the À Colecionadora humour appeared spontaneously by using the professional fashion structure (models, runway) to speak about building images through clothes.
In 2003, in a collection entitled “Ethnic Groups for the Moon”, once again on the Fashion Rio calendar, À Colecionadora was outstanding. The brand gained its first and already classic stamp, simulating a constellation.
Along with various questions there were also proposals. Black silk dresses erforated by laser cuts that deferred to the cigarette burn holes. Organza dresses with wool threads designing the body. Sketched wedding dresses brought the design of a dress over a trial of a dress. And a collage dress of various parts of the soul.
At the end of 2003, when the store seemed to be fitting into the profile to launch fashion for street wear, Luiza left the traditional fashion circuit and took À Colecionadora to the runways at bars. Models promenaded on the tables of Rio’s bohemian bars wearing a collection stamped with the logos of the bars in Rio, dresses and skirt inspired by tablecloths and napkins and t-shirts about city icons.
In 2004, she presented the first compilation of her work with tailor-made clothes at an exhibit. Mannequins were dressed as brides and bridesmaids watching the festivities passing by. The atmosphere was a restaurant-bistro-café in Ipanema.
Also in 2004, Luiza returned to Fashion Rio to show her dress collection and ideas inspired by Bic pen scribbles...doodled organza dresses, sandals that stamped the runway blue and white, À Colecionadora scrawling her view of fashion shows and runways. Afterwards, these doodles spread around the city, throughout Brazil and
the world. In October of this year, Luiza was invited to show her collection at the Mercado Mundo Mix, a fashion fair in Portugal.
In 2005, with scenery of paper houses, À Colecionadora walked through a kindergarten stage setting in a show at Fashion Rio. The doodles now took other shapes and were expanded in clothes-drawings on clothes. The collection after some time was also closing a research cycle, in order to begin another.
In 2006, À Colecionadora presented a monologue fashion show of an intermediate collection. A room in an old travel agency at a deactivated train station...a single model, a slide projector, several drawings and ideas for clothes projected onto a white dress. The unique experience of the fashion show repeated several times, and never the same.
Throughout the years, since 1995, Luiza has produced numerous works for costumes in films, video clips and theatre, and in all of them seeking an appropriate form, gentle or radical, to translate in clothes the particular universe of each work.
Furthermore, Luiza developed some live performances such as how to make clothes at the “Miscellaneous” event at a cinema in downtown Rio in 2001, and the performance “I Can’t Get This Book Out of My Head” together with the publisher Anna Dantes from the A Gentil Carioca Gallery in 2006.
Since 2004, her desire to make clothes and think about fashion has been extended to the desire to transmit. For two years Luiza was a fashion consultant at NGOs for artisans at the Art-Industry Project by the Rio de Janeiro Federation of Industries. Presently, she is a professor of fashion creation at the design courts at PUC.
In August of this year, À Colecionadora will launch together with the publisher Dantes the Conde Fortas catalogue published for the first time in Belgium in 1840 – a work about the imaginary world, a compilation of books and ideas that have never existed.
In September/2007, invited by Galerie Catherine Bastide, she will be in Brussels to present her collection 21+12 flying dresses, a project room that intends to spread Rio’s À Colecionadora fashions throughout the world.