national congress building (cover), alvorada palace€¦ · imagined by Oscar Niemeyer and Lúcio...

national congress building (cover), alvorada palace photos cristiano mascaro

05 letterAMIR sLAMA, ABEst’s pREsIDENt, tALKs ABoUt thIs IssUE

06 urbanismthE URBAN soLUtIoNs thAt WERE Not pUt INto pRACtICE

10 bacKstagethE pARALLEL poWER CIRCUIt At thE CENtRAL pLAtEAU

12 cHaractersYoUNG, tALENtED AND BoRN IN BRAsÍLIA

16 FasHionthE BRAZILIAN sUMMER IN 50 LooKs

58 eventCApItAL FAshIoN WEEK shAKEs thE FAshIoN sCENE IN thE CENtER oF thE CoUNtRY

60 arcHitectureBRAsÍLIA pALACE hotEL: stYLE AND GLAMoUR

62 gastronomYthE ChEF BEhIND thREE sUCCEssFUL REstAURANts

63 maKing oFthE DAILY RoUtINE oF VoGUE ABEst’s tEAM IN BRAsÍLIA

Getting to the tenth issue of Vogue ABEST fills us with pride. An outstanding way to celebrate this moment is to honor a city that translates many features of Brazilian fashion: youth, innovation, fantasy.

Brasília turned fifty years old in 2010 and served as the backdrop to show summer collections from almost fifty designers. Many of them has already assumed, as inspiration, lines — straight or curved — imagined by Oscar Niemeyer and Lúcio Costa and that were turned into reality thanks to the hands of thousands of laborers. Today, they are lived out day to day by people that come from all over and give meaning to this continuous and dreamlike construction at Central Plateau.

This commemorative issue projects a new look at the Capital, recounting a little of what did happen and what didn’t happen, mixing places, characters, colors, and insiders. The concrete, the mosaics, the modernist panels and the sky — what a sky! — turn into the backdrop for a fashion’s history.

ABEST believes that this is the best way to promote Brazilian fashion: through its own country. All the national repertoire of images, forms, colors, and people transform itself into fashion and transforms fashion itself.

Instead of being limited by boundaries, to adopt Brazil as inspiration is to deepen oneself into an unrestricted caldron of references that, when mixed with the history of a given designer, reflects who we are and where we want to go. In nine issues of Vogue ABEST, we have already come a long way, showing the various aspects of what we love. Let the magic number 10 show us the way towards many other achievements, since the sky’s already the limit. And that the sky be as captivating as Brasília’s one!

LEttER FRoM thE pREsIDENt

alvorada palace’s cHapel photo cristiano mascaro

amir slamaPresident, The Brazillian Association of Fashion Designers - ABEST

ApRIL 21, 1960.thE LAUNCh oF BRAsÍLIA hELpED LúCIo CostA E osCAR NIEMEYER’s

WoRK GAIN A NEW DIMENsIoN. MILtoN BRAGA, UNIVERsItY oF são pAULo’s pRoFEssoR, REpoRts IN hIs BooK ALL DEtAILs AND

poLEMIC soLUtIoNs oF thE othER sIx pRojECts

BY LAURA RAGo

An enterprise as daring as the monumental constructions erected throughout the history of humankind, the construction of Brasília as the headquarters of the federal capital became a landmark in the government of Juscelino Kubitschek and showed a unique moment in the history of Brazil. The Governmental Master Plan, put into practice from 1956 to 1960, a period known as “50 years in 5”, would both drive forward the modernization of the Brazilian economy through foreign capital and deepen the inequalities among income groups. Intrigued by the process to choose the best urban and architecture solutions, the architect from São Paulo, Milton Braga, professor at the Architecture and Urbanism College in the University of São Paulo (FAU-USP), transformed the subject into the theme for this master’s degree essay, and the result has recently become a book, co-published by Cosac Naify, Imprensa Oficial and Pinacoteca do Estado de São Paulo. O Concurso de Brasília: Sete Projetos para uma Capital (Brasília Competition: Seven Projects for a Capital City) rescues the contents of

thE othER BRAsÍLIAs

the projects awarded in the National Competition for the Pilot Plan of the New Capital City of Brazil.

Although the construction of Brasília is historically situated in JK’s government, the idea is much older. According to Milton Braga, the desire to build a capital city away from the coast came up in the late 1800’s. The politician and diplomat José Bonifácio Andrada e Silva, according to the author, was one of the first and most influential supporters of the idea, because he believed that the location in Rio de Janeiro did not offer safety to the center of the power. He suggested the name Petrópolis or Brasília for the new city. The theme was part of the discussion of the Constitution Assembly of 1823, which was dissolved, and the Constitution of 1824, sanctioned by D. Pedro I, did not incorporate the decision of taking the capital of the country to the interior. As of 1831, the theme was discussed a few times by members of the parliament, but it only became consistent in the 1950’s.

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rino levi included in the maquette the intensive living sector, with 1-kilometer radius, and the urban center, which should be located on the margins of the lake and house public offices, administrative center, commercial and cultural center

The applications for the competition were opened in September, 1956. From the 62 teams of architects and engineers which applied, 26 presented ideas, and seven were awarded in March, 1957. In addition to Lúcio Costa, the winner, others also qualified: Boruch Milman, João Henrique Rocha and Ney Fontes were qualified second place; Rino Levi, Roberto Cerqueira Cesar, Luiz Roberto Carvalho and M.M.M. Roberto were in third and fourth. In fifth place: Henrique Mindlin and Giancarlo Palanti; João Batista Vilanova Artigas, Carlos Casoaldi, Mario Wagner Vieira da Cunha and Paulo de Camargo e Almeida; and Construtécnica S.A., Milton Ghiraldini (chief architect).

According to Milton Braga, the projects by Rino Levi, M.M.M. Roberto and Lúcio Costa brought contributions to urbanism that go beyond form. Levi thought his city as a large object, with 300 meter-high buildings. In these vertical neighborhoods, real sky-scrapers, some floors between the stories would function as streets, stores and

services. And to make the intersection among everything, there would be two types of elevators: the general elevators, which would correspond to the collective transportation system of the city, and the local elevators, which would take the residents to their floors. As for the Roberto brothers, they proposed to improve the quality of life in small towns in a project of “federation of urban units”, where people would exchange the use of cars in their daily routine for mechanical belts. “These projects carried a variety of solutions that make it possible for us to imagine what the ‘other Brasílias’ would be like, and they came up at a moment when the country was still capable of thinking about its future,” he explains.

Lúcio Costa’s project followed the park-city concept to promote social living in rationally organized spaces with plenty of air, sun and nature. “He knew how to highlight the symbolic load of the capital city, being able to skillfully incorporate the sectors of common life into an urban landscape able to evoke the administration function without oppressive monuments,” Braga analyzes. The construction took three years and it was Oscar Niemeyer’s – head of the Urbanism and Architecture Department of NOVACAP, the Urbanizing Company of the New Capital, - duty to design all buildings, according to JK’s decision. With the military regime, new magnificent urban attempts were cut short. In Braga’s opinion, despite the end of the dictatorship, the country still suffers from lack of planning to solve structural problems.

oN thE shELF

In addition to O Concurso de Brasília: Sete Projetos para uma Capital (Brasília Competition: Seven Projects for a Capital City), other books on the architecture of the city are being launched this year. The Cultural Center of Moreira Salles Institute launched two titles: As Construções de Brasília (The Constructions of Brasília), result of the exhibition that gathered 157 images made by photographers from its collection and a selection of 44 modern and contemporary works of visual art, and Brasília, with 153 images made by the French-Brazilian photographer Marcel Gautherot between 1958 and 1960. Another photographic work is Brasília, 50 Anos (Brasília, 50 Years), by Maria Lopes. Published by Décor, it rescues a little of the history of the appearance of the federal capital.

lucio costa won the competition because, according to the jury, he dealt with the spirit of the 20th century. It was seen as new, free, open and disciplined, without being strict

milton ghiraldini’s project was criticized by the jury because of the poor presentation of the railway and the huge extension of the highways, in addition to the central web and the exaggerated simplification of the zones

vilanova artigas was in fifth place because it presented a good solution for the rural economy and highlighted the tenant system

MANY ChAptERs oF BRAZILIAN hIstoRY WERE WRIttEN At thE tABLEs oF soME BRAsÍLIA’s REstAURANts. It Is DURING LUNCh oR DINNER thAt MANY DECIsIoNs thAt INFLUENCE thE LIFE oF CItIZENs FRoM NoRth to soUth ARE MADE

BY ana maria campos

At one of the most famous restaurants in Brasília, Piantella, many CPIs (Inquiry Parliamentary Commissions) have been buried, agreements have been made and deals have been closed. The favorite location of two of the most powerful presidents of the House of Representatives, Ulysses Guimarães (PMDB - Partido do Movimento Democrático Brasileiro, Brazillian Democratic Movement Party - SP) and Luiz Eduardo Magalhães (PFL - Partido da Frente Liberal, Liberal Front Party - BA), still attracts politicians. It never loses its tradition. It was there, for example, that a PT (Partido dos Trabalhadores, Work’s Party) entourage celebrated, in 2002, the election of workman Luiz Inácio Lula da Silva as the number one in Brazil, and made toasts with Romanée-Conti – at R$ 13,000 per bottle. It became evident then that the habits of the previous administration would remain.

Since the times of Luiz Eduardo, the son of Antonio Carlos Magalhães, who loved champagne and even got a sign in his honor in the room, Piantella became known as the restaurant loved by PSDB (Partido da Social Democracia Brasileira, Brazillian Social Democracy’s Party) members. During the government of Fernando Henrique Cardoso, ministers finished their work at the restaurant’s tables. José Dirceu, the former-almighty head of the Civil Affairs Ministry during Lula’s first mandate, also adjusted well to the menu. He was there that day to celebrate Lula’s victory, and on the day he left the government,

poWERFUL tABLEs

because of the accusations that he was head of PT’s Mensalão scandal (an off the record monthly salary for politics), he ate the food prepared in Piantella’s kitchen.

Prostrated because of the accusations that caused his overthrow, Dirceu left the Planalto Palace straight to the official residence, in Lago Sul, a noble district in Brasília, where he whined to his friends, like the attorney Sigmaringa Seixas and representatives of the Cuban Embassy. His meal, however, came from the restaurant, at the request of one of Piantella’s owners, the attorney Antônio Carlos de Almeida Castro, nickname Kakay, who was there to sympathize with Dirceu, his close friend.

Also during the crisis of Democrat’s Mensalão, the restaurants in Brasília were attended at decisive moments. José Roberto Arruda, the governor who played the most important role in one of the most well documented corruption scandals – like the attorney general of the Republic, Roberto Gurgel, would say – said goodbye to his position in one of the cool restaurants of the capital city. Hours before he was locked in a room at the Federal Police Department, where he stayed in prison for 60 days, Arruda ate his last meal in freedom at Trattoria da Rosário, in Lago Sul, the place where TV host Sabrina Sato goes with her boyfriend, Congressman Fábio Farias (PMN - partido da Mobilização Nacional, National Mobilization Party - RN).

Arruda ordered lamb shoulder blade chops with fettuccine in the lunch during which he discussed with attorney José Gerardo Grossi the prospects for him to stay in power. When he left jail, he had already lost his position. Before that, however, the same location was chosen for a much more familiar situation by Arruda’s executioner, Durval Barbosa, the owner of the lar-gest video collection on corruption in the Republic. The man who taped scenes of illegal money being delivered to Arruda and many other politicians, who overthrew the governor of the Federal District, the vice governor Paulo Octávio, the president of the Legislative Chamber Leonardo Prudente, and caused a request for intervention in the capital city of the country, chose Trattoria do Rosário for his engagement dinner. At the neighboring tables, authorities that only knew Durval from the scenes shown on TV news were having dinner: Senator Aloízio Mercadante (PT-SP), the Minister of Education, Fernando Haddad, and the president of the Federal Council of the Brazilian Bar Association (OAB), Ophir Cavalcante.

Durval celebrated the romantic occasion with his fiancée and his friend Edson Sombra, the journalist responsible for Arruda’s arrest. Sombra also went to a gastronomic environment for the grand finale of the negotiation of the supposed bribe that sent the Federal District’s governor to jail for attempted bribery. He chose Torteria de Lorenza, in the south-west district, as the meeting point to receive the money that would pay for a change in his deposition, supposedly proposed by Arruda to change pieces of evidence in the corruption inquiry known as the Pandora’s Box Operation. Warned by Sombra, the Federal Police was ready and arrested the bribe’s middleman, just as common citizens, at the surrounding tables, were having breakfast and reading the newspaper.

Whereas Trattoria do Rosário is one of the most sought-after Italian restaurants by politicians, on the same block the french restaurant Alice Brasserie, owned by chef Alice Mesquita, is one of the spots attended by people who want to keep an eye on what authorities are up to: prosecutors and district attorneys, in addition to ministers of higher courts. It looks like an arrangement. They do not blend in, at least not in public. Each person in their own place. The difference is that politicians rarely pay the check, as revealed by the owner of one of the most sought-after restaurants by authorities, also in Lago Sul. The check is usually paid by the person eating with them.

An easy place to find PT members in Brasília are the establishments owned by businessman Jorge Ferreira, who has prestige enough to participate in the weekend soccer games at the Alvorada Palace. Friends with President Lula and José Dirceu, he is the great host of PT’s Republic. The former Secretary of Treasury, Antônio Palocci, and the head of Lula’s chief of staff, Gilberto Car-valho, are always seen at Feitiço Mineiro, with typical food from Minas Gerais and live music, and also at Brahma, Brasília and Armazém do Ferreira bars. During the World Cup games, the large screen at Brahma bar, in Asa Sul, was a hot spot. The former Minister of Sports Agnelo Queiroz (PT), candidate for governor of Brasília, watched all the games there.

During the first phase World Cup game between Brazil and Portugual, Brahma bar almost remained closed -- right when the two teams were tied! -- because of a fine it received due to overly loud music. When informed that the inspectors had closed Lula’s friend’s bar, the governor of the Fe-deral District, Rogério Rosso (PMDB), an ally of the Planalto Palace, was personally involved in solving the problem. He proposed a resolution and immediately the doors were opened for the PT to throw back draft beers. Stories from Brasília.

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thE pAssIoN FoR BRAsÍLIA UNItEs thE tRAjECtoRIEs oF ACtREss rosanne mulHolland, thE DIRECtoR José eduardo belmonte, AND thE MUsICIANs FRoM thE BAND móveis colonias de acaJú

BY silas marti photos mÁrcio scavone

BRAZILIAN CERRADo’s tALENts

móveis coloniais de acaJu, MUsICIANs

Brasília is a barren land when it comes to shaping new artists. While it has not yet produced a creative generation, some talents carry the city’s flag through the rest of the country. Vogue ABEST elects three of them in this special issue in honor of the 50 years of Brazil’s capital.

In the realm of cinema, José Eduardo Belmonte, director of A Concepção and Se Nada Mais Der Certo, recalls his teenage years spent desperately scouring embassies’ cinematheques in an attempt to find inspiration for his films.

Even if the Brazilian cerrado’s soil is not the most fertile, at the very least it has served to sprout a music scene as broad as Brasília’s horizons. In the wake of the explosion of Capital Inicial and Legião Urbana in the 80s, the next decade saw rock give way to reggae, ska, grunge and other styles, which is just the type of terrain the band Móveis Coloniais de Acaju does well.

As pluralistic as the capital itself, this group of ten musicians — among them one was born in Sweden, another is Ecuadorian, and many others were pulled from their roots and grew up in Brasília — arose at the end of the 90s, playing at student council events, graduation parties and other unpretentious occasions.

“It was kids stuff, playing instruments and starting a band,” says bassist Fabio Pedroza, the son of university professors and who met the group’s members during school. “There was this movement in high school, we would just start calling up people who went to our school.”

Near the highway bus station, at the gateway into the Esplanade of Ministries, are the band’s first stages: the now defunct Teatro Garagem and Gran Circo Lar.

The actress Rosanne Mulholland, who was discovered by Belmonte after a commercial, talks about her childhood, when she staged theater performances for her family, and the discovery of the profession troupe of actors that she joined in the central highlands.

The musicians of the band Móveis Coloniais de Acaju also tell how the local high school band turned into one of the city’s most expressive musical revelations. With foundations in ska and swing, they keep heating up the Brazilian cerrado.

Wrapped up in the ska scene, a Jamaican style of music that is at the base of reggae and that was very well received in Brasília, the band emerged as a homage to an obscure revolt, and at the same time, an ode to the polyphonic sound of the brazilian cerrado.

The called Revolta do Acaju, an invention of the band, would be the historical episode in which the indigenous populations jointed the portuguese to expel a wave of british colonization on the island of Bacanal in Tocantins. It sounds true, but it’s a farce, like much of what you hear in Brasília. “Our lyrics, in a general sense, talk about the urban quotidian,” resumes Pedroza. “We don’t have a political message, but we do talk about a consumer-driven society”.

All of that coupled with the sounds and characteristics of ska and swing, and space for a satire about a politician, who, in the lyrics of a song, turns into a sandwich. “That was the foundation in the formation of the band,” says the bassist. “But we don’t pigeonhole ourselves to any styles or categories.” So much so that Móveis Coloniais de Acaju decided to create their own festival in the federal capital. The foundation of the festival is the miscellany, which is the DNA of the group. From that basis of criteria, the bands are chosen to come out there. Most definitely a common ground.

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José eduardo belmonte, DIRECtoR

rosanne mulHolland, ACtREss

In place of the sea, Rosanne Mulholland grew up watching a wall of sky. She remembers afternoons with nothing to do, when she staged theater performances at home with her cousins and forced the adults to attend. It was Brasília, but it was not a modernist house.

“I was born and raised in Brasília”, says the actress. “We traveled every year, and I always wanted to go to the beach. My desire was to see the ocean because Brasília only has the lake and it was polluted,” she recounts. Aside from the short vacations when she saw the sea, the actress had to settle with the wide-open horizon of the central highlands, freshwater lakes and lagoons, and the boredom that affects the cerrados’s residents. “If you grow up in Brasília, there’s not much to do”, she says. “Brasília didn’t have a huge cultural scene and that lack of what to do made me want to do something.”

As a young girl, Rosanne tried everything: drawing, crafts, and ballet. The daughter of a Rio de Janeiro native who migrated to the city when she was still young and an American missionary who eventually settled in Brasília after passing through Ceará and Maranhão, Rosanne only later discovered that her vocation was theater, but it was hard to find a decent course of study in the federal capital.

From school to school, dreaming of Ingrid Bergman, Audrey Hepburn and Bette Davis, also using a big of self-study, she ended up doing some commercials. José Eduardo Belmonte discovered her through an advertisement, which lead him to hire her for his feature film A Concepção.

In the film, she plays a young woman with a thirst for madness and libido that oozes from her pores.She says that her character has nothing to do with her own adolescence in Brasília, which was very tranquil and mild-mannered. In any case, this character would be the gateway into the fiery title character in Falsa Loura by Carlos Reichenbach. Are those fictional girls a bit like Brasília in reality — perfection on the surface and a sea of scandals underneath? No. She disagrees with the idea that the city is at the center of scandal. “It bothers me to hear this come from people who are from Brasília,” says Rosanne. “Most of these scandals involve people who are not even from there.”

From the moment he moved to Brasília until he decided to leave the city, José Eduardo Belmonte saw a “virgin territory turn into bloodthirsty land”. Love and hate, for the filmmaker, walk together in what would be utopia and turned into a stage of tricks and falsities.

It was because of a letter written by a hippie brother, who was conquering the cerrado, that Belmonte’s family traded Rio for the central highlands when he was 4 years old. Passing through the city, the oldest spoke of the glories of his birth city, an all-white metropolis built in the middle of the country in order to host the nation’s power.

“But when we got there, there was nothing, just dirt, wood,” Belmonte recalls while in a cafe at Augusta street in São Paulo. “It was a shock.” Once the initial fear had passed, he grew up with all the spatial freedom in the entire world, yet he had nothing to do. With the dictatorship as another backdrop at the time, he filled his empty afternoons with visits to the different embassies’ cinematheques.

He mixed in his movies what saw them do, or rather, based them on the crazy acts of rebellious youth in A Concepcão and trying to survive in the midst of a moral crisis in Se Nada Mais Der Certo. These were touches that he had learned from

masters like french filmmaker Chris Marker, as well as the experience to stroll through the strange paradise of Lúcio Costa and Oscar Niemeyer.

I spent a lot of time walking around the entire city and I would look at that open landscape, that empty exterior reflecting onto the inside, he recalls. “Those ample spaces really affected me, the permanent vision of the horizon, the melancholy that it creates, the notion that everything is possible, and yet, you cannot have anything.”

Tired of this feeling of powerlessness, Belmonte traded Brasília, city of false utopias, for the raw realities of São Paulo. “Cinema is a war, you have to engage in absurd ferocities to get money,” he explains. “It was getting too hard to live in Brasília, everything there is full of jealousy, ignorance, and brutality. It turned into a bloodthirsty territory.”

But Brasília didn’t leave him. Ever since he moved to São Paulo, he still hasn’t gotten used to not having a horizon. In Se Nada Mais Der Certo, his only film that takes place in the capital of São Paulo, he decided to film the end at sea. The outcome would not have fit into the chaos of the city’s concrete landscape. “That stayed in me,” he resumes. “I see myself as a filmmaker from Brasília. I have the city inside of me.”

UNDER A BREAthtAKING sKY oR FRAMED BY MoDERNIst BRAZILIAN ARChItECtURE, 50 pURE-FAshIoN-pLEAsURE LooKs ARE MoDELED

FoR BRAZIL’s 2011 sUMMER. MoDERNIsts As LúCIo CostA AND osCAR NIEMEYER AND RELAxED No-FUss LIKE YoUth FRoM thE CApItAL oF

thE CoUNtRY, BRAZILIAN DEsIGNERs ALso ooZE CREAtIVItY AND ExCELLENt pRoDUCts oF shApE - jUst LIKE thE CItY

photos eduardo reZende EDItoR Franco pellegrino

MoNUMENtALsUMMER

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LoLIttA // CLUBE BossAWWW.LoLIttA.CoM.BR // WWW.CLUBEBossA.CoM.BRsERpUI MARIE WWW.sERpUIMARIE.CoM.BR

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executive production Roberta Germano photos Eduardo Rezende (ABá) assistant Frederico Borba set assistants Cassiana Umetsu and Akira Martins beleza Cris Narvaes (ABá) with Redken, L’oréal professionnel and Guerlain products assistants Max Araújo and pedro Dorneles Fashion production Gabriela Couto assistant Laís Melo set assistant Rosane Albuquerque manicures Maria teresa da silva and Maria Rosário Nunes image retouching Breno de Faria special thanks helio Cabeleireiros team, secretaria de Cultura, Guerlain, Boeing turismo and

ENtREpENEUR MáRCIA LIMA hAs RUN CApItAL FAshIoN WEEK FoR thE pAst FIVE YEARs, thAt LAUNChED 22 DEsIGNERs

BY roberta germano photo eduardo reZende

From left to right;sandra Lima, Romildo Nascimento, Clarice Garcia, Eliel sallustiano, Camila prado, Márcia Lima, Ivan hugo, Ana paula osório, sann Morcuccy, Érika Duarte, Akihito hira

Visionary and entrepreneurial, Márcia Lima noticed early on a need for a large and well-organized fashion event to publicize designers in the Midwest. “I saw incredible potential. They just needed more attention and resources.” In 2005, the dream came to fruition and the first Capital Fashion Week surpassed expectations with the participa-tion of 20 thousand people. From then until now the event has only grown. The business fair, set up during the fashion shows, has enabled the sale of collections to both Brazilian and international multi-brands. At the forefront, the launch of 22 new designers draws a lot of attention. The next CPW, during the height of summer, is already scheduled for November 23 to 26.

The main objectives are social inclusion and con-cern for the environment. “We want to create job opportunities for economically disadvantaged populations. They are very talented women, like the ones from the cooperative Cia. do Lacre, who have already had special participation at Rock in Rio in Lisbon.” Márcia still wants to democratize fashion. “If there is still room to watch the show, I let everyone in. Nobody can be deprived of looking at such beautiful things,” she defends.

The designers selected have their shows financed by the event and their collections evaluated by Jum Nakao. “He is the art director. He is super exigent

and analyzes all the collections from the sketches to the final concept,” explains Márcia. She adds that topics evaluated also include quality, consistency, and above all, creativity.

In order to understand the rhythm of growth in the area of fashion in Brasília, think of post-war New York. At that time, it was a place in the midst of industrial progress, multicultural, without any strict traditions and hungry for something new. The motto in the highlands is to create history and, to do this there is a type of freedom characteristic of the vast, open lands being open to opportunities. “The youth of Brasília is knowledgeable and curious. They are people of very different origins, and because of it, the designers exhibit such rich references.” As the song of Oswaldo Montenegro, they follow the “logic of architecture and the logic of the world”. Márcia highlights that the level of intellect is very high and the environment is propitious to creation and the emergence of new talents.

“Everything turns into dawn at this city that is ope-ning for tomorrow,” is what Juscelino Kubitschek had already said about the center of power that arose in the 60s. And the businesswoman reexamines the matter at hand upon being reminded that the city has the highest income per capita in the country. “The fashion industry has everything it needs to grow here,” she evaluates.

FAshIoN MARKEt

EVENt

CoMpLEtELY RECoNstRUCtED AFtER A DIsAstRoUs FIRE, thE hotEL BRAsÍLIA pALACE Is oNE oF thE tRADEMARKs oF thE

CItY’s MoDERNIst ARChItECtURE AND GLAMoUR

BY roberta germano photos aKira martins

MoDERNIstExpERIENCE

At the end of the 1950s, Tom Jobim and Vinicius de Morais were composing bossa nova’s greatest hits. Água de Beber, inspired by the murmur of a drop of water heard by musicians at Catetinho, was played for the first time to the public at the Hotel Brasília Palace’s bar. A symbol of the city’s architectonic and fond history, the hotel designed by Oscar Niemeyer was inaugurated in June of 1958 — two years before the “future city”— and quickly became a meeting spot for the city’s most elite nouveau riche as well as official conferences between the government and military members. Already the main hall, framed by Athos Bulcão’s painting, called for lavish balls that exuded a hint of glamour to cold nights in the interior of Brazil.

In August of 1973, a fire destroyed the hotel. “It had already gone through two other incidents, but this time the hotel was left with just the building’s skeleton, and needed to be closed,” remembers Daniel Bernardes, general manager of Brasília Palace. He says that after decades of abandon, public pressure prompted the building’s reconstruction. “The process was long and hard. Everything had to be approved by Oscar Niemeyer and IPHAN (Institute of the Historical and Artistic National Patrimony), since it was a national historic site. It was necessary to respect the original project, yet at the same time adopt new security measures for the Fire Department’s approval,” he recounts. After nine years of work, Brasília Palace was inaugurated in 2006 with the presence of both Athos Bulcão and Niemeyer.

Illustrious guests as Che Guevara, Sartre, Queen Elizabeth, Indira Gandhi, and lavish weddings give radiance to the place’s past. “The receptions, the paintings, and the games in the garden are still very vivid memories,” says architect Carla Scano, who didn’t think twice when choosing the hotel for her wedding. It’s also a competitive address to gain entry to on the weekends. The restaurant Oscar Jazz&Cusina maintains an enviable list of concerts.

The furniture, true to the style of the 50s and 60s, attracts a wide range of people — from fashion photographers to young architects — from all over the world. They come to Brasília to see and experience the modernist architecture and objects from the era, an example being George Nelson’s luminary known as Bubble located in the hotel’s lobby. There are still many collector’s items designed by names like Arne Jacobsen, Betty Betiol, Ero Sarinen, Florence Knoll, Giuseppe Scapinelli, Harry Bertoia, Miles Van Der Rohe and Pierre Paulin. Staying at the Brasília Palace is like diving into the nation’s modern history. You gotta see it to believe.

totally reconstructed spaces, including the illustrious hall with the legendary painting by Athos Bulcão above, bring back the climate of the 50s

Above, the hotel’s facade.the lobby, with open spaces and signature furniture

ARqUItECtURE

The creation of flavors has awakened the curiosity of Mara Alcamim since she was 12, when she used to stay by the stove watching her mother cook. After working for three years at restaurants in New York, she decided to start her own business. The chef believes that the secret is to take care of all the details, from the cleaning products to the service. And she does all that in her three restaurants: Universal Dinner, Zuu and Quitinete.

The menu gets special attention; after all, diffe-rently from Americans, who prefer faster meals, she says that for most Brazilians, going to a restaurant is a form of entertainment. “People eat very late and like to stay at the table for a long time with their friends,” she says. Her first success was Universal Dinner – with a contemporary menu and modern décor, it attracted the coolest people in the city. Zuu – the apple of the chef’s eyes – brings more creative recipes. “We have a tasting menu with five delicious dishes and a happy hour with Spanish tapas.” Incorporating the European concept of gourmet space, Quitinete has the perfect ambience for a lunch for two, and it also offers options of ready-to-eat dishes to serve at home. “I love to have my friends over, and it’s great to have pre-prepared meals for such occasions,” says the chef, who is planning her next enterprise, still kept under lock and key. ROBERTA GERMANO

BRAsÍLIA À LA CARtEGAstRoNoMY

ChEF mara alcamim Is thE hEAD oF universal dinner, Zuu AND Quitinete, thREE oF thE Most ChARMING REstAURANts IN thE CApItAL CItY, WhERE shE pLANs to opEN Up ANothER pLACE

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the chef Mara Alcamim takes care of all Universal Dinner (above) and Zuu’s details - two of the most succesful restaurants in the capital.

Vogue ABEST’s team landed in the federal capital city to photograph the fashion editorial of the tenth magazine of the Brazilian Fashion Designers Association. A deep turquoise-blue sky, sunny days and the gorgeous architecture by Oscar Niemeyer and Lúcio Costa were the background for this issue, totally devoted to the city.

It was a unique experience for everyone in the team to walk around the wide avenues, see Athos Bulcão’s panels and experience the magnificence of the curves and lines of this city, declared a World Heritage.

Brasília enchants at every step. The National Museum, with totally round shapes and floating runways, the side walls of the National Theater and the tile panels bring the perfect balance between art and architecture. The domes of the Congress and the Senate and the military sector with its magnificent shell, evoking the shape of Duque de Caxias’s sword handle, became an imposing scenery for the creations of Brazilian designers. CLAUDIA PEREIRA

BRAsÍLIA: A DREAM, A REALItY

MAKING oF

the Vogue Abest team working at Brazil’s capital

MANAGING DIRECTORPatricia Carta

EDITOR IN CHIEFDaniela Falcão

SPECIAL PROJECTS EDITORSilvana Holzmeister

EXECUTIVE PRODUCERRoberta Germano

FASHION EDITORFranco Pellegrino

GRAPHIC PRODUCTION DIRECTORPaulo Sergio Castillo Lopes

ASSISTANTSDanilo Carvalho, Fernanda Magliari and Roberto de Araújo Apolinário

EDITORIAL AND PUBLISHING SERVICESCopy Editor Antonio Gilberto Carradas and Claudio Eduardo Nogueira Ramos

Typing Antônio Marcos da SilvaSECRETARIES

Patricia Silva e Márcia Caetano

CONTRIBUTORSAkira Martins, Ana Maria Campos, Beatrice Igne-Bianche, Breno de Faria,

Cassiana Umetsu, Cris Narvaes, Cristiano Mascaro, Eduardo Rezende, Fabiana Doná Skaf, Frederico Borba, Fujocka, Gabriela Couto, Jo Castro, Laís Melo, Laura Rago, Marcio Scavone,

Maria Rosário Nunes, Maria Teresa da Silva, Marina Beltrame, Max Araújo, Paula Sarney, Pedro Dorneles, Rafael Senna, Rosane Albuquerque, Silas Marti, Yasmine Sterea

MANAGEMENTCORPORATE DIRECTOR Ricardo Kowarick

EXECUTIVE DIRECTOR Idel ArcuschinFINANCE DIRECTOR Ana Cristina Ferreira Leite

EDITORIAL COMITEEIgnácio de Loyola Brandão, Costanza Pascolato, José Zaragoza, Matinas Suzuki, Sig Bergamin

VOGUE ABEST is published by Carta Editorial Ltda.©2010 The Condé Nast Publications Inc.Avenida Brasil, 1.456, tel. (11)3084-1400

CEP. 01430-001, São Paulo, SP, BrazilDIRECTORS Patricia Carta, Ricardo Kowarick, Idel Arcuschin

FOUNDED by Luis Carta (1975-1986) Andrea Carta (1986-2003)Printed by IBEP Gráfica

www.cartaeditorial.com.brSupplement sponsored by Abest

PRESIDENTAmir Slama

ADMINISTRATIVE VICE-PRESIDENTValdemar Iódice

EXECUTIVE VICE-PRESIDENTRoberto Davidowicz

PROJECT MANAGEREvilasio Miranda Costa ([email protected])

EVENTS MANAGERMaria Luiza Mitidiero ([email protected])

PRODUCTION COORDINATIONCláudia Pereira

ABESTRua Sabará, 566 conj. 141 CEP: 01239-010 São Paulo - SP Brasil

Tel/fax: + 55 11 3256 1655 [email protected]

www.ABEST.COM.BR

CREATIVE DIRECTIONDrausio Gragnani

GRAPHIC PROJECT | ART DIRECTION André Felipe

SINCE 2003, THE FIRST BRAZILIAN 100% CONCEPT-AGENCY

www.GRAGNANI.COM.BR

www.abest.com.br

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