GUSTAVOLINS （グスタボリンス）ファッションブランド　2011年春夏メンズコレクション

GUSTAVOLINS 2011 SPRING／SUMMER MEN'S COLLECTION

GUSTAVOLINS （グスタボリンス） 2011 SPRING／SUMMER SEASON － BRAND Q&A

Q1. Please outline your concept for SS11 and the reasons behind it.

I worked with a geometrical and sculptural vision to the menswear wardrobe. The idea was to design a wardrobe with a soft tailoring construction with a fluid movement on the lines. The jackets are conceived as shirts, because half lined and the shorts built as very soft jackets. The trousers can be spiraled , straight or draped on the fold of the legs.

Q2. For this season, what fabrics are you paying attention to?

Light and cool wool, linen, glove's leather, cotton, poplin of silk and cotton.

Q3. What role does color play in your SS11 collection?

The colors are gray, black, ink, chalk, orange, rose goyave or lime. The color block is enlightened with bright colors named above in order to open the vision on clothes.

Q4. Please choose 3 key items from the collection and outline why you chose them.

Soft tailoring, draped knitwear and structured shirts. I put the accent on the design of seams, volume of raincoats and small jackets.

Q5. Please tell us what things are important to you when thinking of a new design.

I think on movements, shadows, the way light is projected on clothes and the COMFORT WITH FITTED SILHOUETTES. I like to give men a twisted elegance with a military silhouette softened by a fluid and functional menswear.

Q6. What do you think of fashion in Japan?

I love the way Japanese men wear clothes, specially the clothes I design. I was in Tokyo this spring and could how Japanese men wear them. They have a very cool attitude but with this twisted tailoring silhouette. It is an example of jetty elegance. The colors choice of Japanese men help pieces to be melted among themselves.

Q7. Is there any news of your brand that you would like to tell us about?

I began a cooperation with Hermes house about recycling work. we are supposed to take silk scarves or pieces of damaged leather and find an idea to create new pieces based on the default. It is very close to what I do with kimonos or panels with falls of toilette. I am very happy to work with them because this way is very close to contemporary way of thinking.

Q8. Finally, please give us your thoughts on our website JAMOOL LIFE.

I am studying about the foundations of Europe and connections between Europe and Central Asia. I was in Greece this summer and could feel deeply the influence of Greek culture on European development. I am flying to Brazil tonight and can think about differences between Japan and Brazil with Europe in the middle. It is very powerful for me to feel I am in between.

Photographer : Marleen DANIELS

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GUSTAVOLINS （グスタボリンス）

Designer

Gustavo Lins

Gustavo Lins was born in Brazil and originally majored in architecture. He completed a Master at the Polytechnic University of Catalonia in Barcelona in 1989. He began freelancing as a pattern maker in 1990 working both for omen’s wear fashion top brands such as Jean-Charles de Castelbajac Jean-Paul Gaultier Kenzo Paris and Agnès B ; and in menswear for Louis Vuitton and John Galliano.
It was 2003 when he created his label Gustavolins in order to develop a high fashion ready-to-wear collection for men and women. The collections are available in selected boutiques such as L’Eclaireur (Paris and Tokyo) Lift Etage (Tokyo) Wynn (Las Vegas) Jin (Seoul) and Chegini (Wien) among others. Exhibitions and installations of his work have been displayed at L’Eclaireur (Paris and Tokyo) Joyce Gallery – Palais Royal M+F Girbaud (Paris) and Dantone (Milan).

Concept

An intimate connection brings menswear and women’s fashion closer.
An interplay between masculine and feminine the expression of unseen sensuality an unending harmonious duality.

Symbol of history and exoticism the Kimono for Gustavo Lins is a fetish element and an erotic space.
A garment with no buttons nor closures no locks no keys.
A garment that can be untied anytime which less the body go free in grace and abandoned voluptuousness.

The most precious materials are daringly overlapped.
Fusing different materials together is a constant in Gustavo Lins’ work.
With the way he combines strips of leather leaving the rough edges visible the original material takes on an organic aspect.