HELENA DIB. . .
The Brand offers women's, men's and unisex clothing. A new way of thinking gender division in fashion. there is no compulsory clothing specifically for women or men and they can migrate in both wardrobes. The consumer is free to choose (or not) the pieces without a pre-established selection. The pieces have broad, but adaptable models through laces, zippers and moorings and most of them do not qualify for gender, since the brand respects the choice of each one's choice to be what they want to be. An avowed to freedom of expression without justification, freedom of movement and choice without whys. Just the will and the need to use, to be and to act. Unique and individual pieces that will be chosen by unique and individual people who will make them female or male, or give it a new label (or no label at all).
In this specific collection the TYVEK material was used as a form of inauguration of a new thinking, an artistic manifestation. However, the intention is to continue the other collections working with technological fabrics that bring more comfort and mobility to the consumer.
With a view to equality, the brand defends an empowerment of marginalized groups (even if they are not a minority) both in their network of labor and in the ideals of the brand. Sustainability issues are the main pillar, trying to balance the environmental, social, political and economic, we argue that these issues should no longer be treated as a differential, but as the basis of any creator's work.
Isósceles carries out a work with the Organization Vida Ativa, outsourcing its production with them to the right price. Vida Ativa is a rehabilitation network for former chemical dependents who, through craftsmanship, reintegrate members into society. The handicrafts made by the women of the ORG, have as raw material the textile waste produced in the process of making clothes, so the garbage returns to the clothes in the form of surface. It uses valued labor, recyclable raw materials, and reduces textile waste and finalizes the process by applying a conscious reverse logistics policy. Since the materials are mostly 100% recyclable, the brand chooses to make available at points of sale the exchange of parts that will no longer be used for discounts. Thus, the pieces that would go as waste to landfill can be dismantled in our production line, transform into new surfaces and, in the last case, be recycled and become a new fabric for the manufacture of new parts.
It is of great importance for the brand to make clients aware of the importance of preserving the environment and human rights.
Sensible Inheritance is an expression through fashion in the face of the impact of everyday experiences. The work focuses on the artistic sensitivity transmitted from father to son through the study of different scopes, a concept studied by Alfonso Lopez Quintas. The beginning of the analysis is made through an observation of the musician Francisco Eller, Cássia Eller's son and the artist Yugo Mabe, artist Manabu Mabe's son as well as the author's own experience of his parents. Helen Dib sees in her father, the owner of a shed of selective collection and recycling, an idol. And his mother, a plastic artist and architect who uses the precious things found in the shed to make them objects of art and decoration, a muse.
In moments of reflection and self-observation, the author realizes that just like Francisco and Yugo, she herself carries with her the inheritance of seeing in the trash, raw material for art and for fashion.
Through the sensitivity hook of finding possibilities in objects / things that no longer have value, the author makes an exercise of finding forms, utilities and even solutions through objects found in the trash and does a work of integration with CRATOD patients - Rehab Center for Alcohol, Tobacco and Other Drugs - with the intention of reintegrating people who are on the margins of society.
The collection proposes a fashion that takes into account not only the aesthetic and economic bias, but which values environmental, social and economic issues. A new way of thinking sustainability, extending this to an urban aesthetic context. Through the wide shapes with pieces that permeate the artistic and the streetwear, the collection brings the manual techniques already known under a hightech vision - handmade tapestries techniques made with the Tyvek technological fabric and applied in an organic way, playing with the irregular textures, as well as we see in the cities. The colors run away from pastel shades, based on black and white and going to a lighted purple and a living green. The accents come in an acid orange that bears the reference of the garis themselves.
The innovation of the collection is mainly the challenge of working with a high-tech, hard-to-reach material, turning it into contemporary clothing. In addition, the clothing is made in partnership with the NGO Vida Activa, a CRATOD (Center of Reference for Alcohol, Tobacco and Other Drugs), which, through craftsmanship, reintegrate former chemical dependents into society. Active Life patients work with embroidery and little nut techniques. And, simultaneously, they are open to learning new manual techniques that come into the collection and are taught to them by the author. The textile residues generated in the production and the making of the piece become re-used fabric flaps for the handicraft work carried out in the NGO, which returns to the collection in the form of a surface (the handicrafts applied to the garment). The jewelry from the collection are made from the garbage generated in the production of gifts in acrylic factories. An ecological solution for the disposal of such materials.
The project unites identity, aesthetics and modernity, urban issues and social, environmental, political and economic fashion. It exposes the author's origins by exploring childhood stories and stories that have been stored for years in memory only. The work aims to defend that sustainability should stop being a differential in fashion and become an obligation of concern of every creator. Using recycled and reused raw materials, reducing the waste that may exist during a production / clothing production chain, the work considers each stage of the textile chain attaching importance to the abovementioned pillars (social, environmental, political and economic). A differentiated aesthetic blend and modernity by transforming an industrial fabric into streetwear that awakens desire in a young audience while simultaneously raising awareness of the importance of looking at garbage as a solution. In addition, it addresses these issues (garbage) with market solutions to reduce textile waste, reuse the fabric of the production chain, and support chemical-dependent rehabilitation cooperatives by making clothing that is economical / salable.