InfoModa Column

Text Juliana Vasconcelos, ECOM/IDP Advertising student

We said we would come back with the interview we did with Rachel (speaks as if she was watching FRIENDS) and here we are!

In the last article, Rachel Sabino shared a little about her experience from childhood to the present day, as a journalist working in the world of fashion. Today we're going to talk about her vision of the Brasília market and some tips 😍

JULIANA FROM ECOM: NOW ABOUT BRASILIA, DO YOU THINK THE MARKET HERE STANDS OUT LIKE THAT IN BIG CITIES? 

Brasília is not an industrial hub like SP, for example, so it cannot be compared. But it's a lot about seeing what "gap" there is here. First: it's not a hub, so there's no way to compare the production that exists in SP. After: The city does not offer fashion schools, for example. However, it is seen that, based on what we have around us, it could be, for example, a Design hub. Brasília's architecture is an inspiration for all types of Design. If we have people qualified to teach and create, it is possible that fashion here can take off. Recognizing our potential in design, people need to invest in themselves to get out of the bubble, and recognize the gap that exists in the city, what the city doesn't have and could have. There is also the devaluation of the people around them, because everyone wants to use what others are using, which is not from here. People want the best possible result, but they don't invest in people. So the profile of the local market is most of the time this: they want a result without an investment. There is also the "childhood" of the consumer, because it is necessary to recognize this in order to mature the market. Brasília is a very young city, so there is no way to compare it to a city that is just 400 years old. She is very young, very shy and it is up to this generation to make things happen. Brasilia is the city of public service, so you can find everything here, there is still no identity. The observant eye is still missing, it is a point where you can find different things in different places. Visiting Conic with a more technical perspective, for example, is essential to increase your repertoire, as it is a mix of everything, entrepreneur, executive, local commerce. It's like an accent, we don't have it, but that's what makes our accent.

JULIANA FROM ECOM: DO YOU BELIEVE THAT OTHER STATES CAN INVEST IN THE CAPITAL? IS THIS A FERTILE SOIL?

Investment is productive, YES, but it requires a connection, a relationship, outsiders need to recognize that there is potential here. 

JULIANA FROM ECOM: YOU WORK WITH BRASÍLIA SHOPPING, RIGHT? WHY DO YOU THINK THIS IS AN IMPORTANT COMMUNICATION? WHAT IMPACT DOES IT HAVE ON PEOPLE’S LIVES, ON OUR CAPITAL?

The relationship with Brasília Shopping began when I was an intern at Correio, when I covered the Vogue fashion event. The shopping mall is the face of Brasília and speaks well to the population. They invited me to create fashion content, so we can see here a brand investing in content. Brasília Shopping has a new format, which is more commercial, focused on sales, but it is important that it is creating fashion communication in the points of sale that already exist. This communication does not need to be "buy now", it can be more dynamic, lighter in content, turning the shopping mall's platform (or any brand's) into a content portal to be consumed. Open doors to new fashion communications and warm up the city's retail. 

After so much learning from these 2 publications, we couldn’t help but ask:

JULIANA FROM ECOM: IF YOU COULD GO BACK IN TIME, WHAT WOULD YOU SAY TO RACHEL FROM 5 YEARS AGO?

5 years ago I had the mentality that I was only going to cover fashion, but to do that you need to go into other places, get out of the bubble to be able to cover fashion in a more human way, with greater understanding. The more "general" subjects provide a technical repertoire, but also experience. "Be open to producing other agendas, other themes and don't trust people so much, don't be naive to the point of believing in people, in everything they say, because people aren't as good as you think and you can't fall for head, if you hand yourself over to anyone, no." It's an absurd ego dispute, one wanting to take credit from the other. There are a lot of good people, yes, but there are a lot of people who are "not worth it", who live with a mask, like a character. Behind a GOOD fashion journalist, there is a disheveled, sweaty and exhausted producer after covering a story. One observation is having seen great designers like Constanza, who didn't care about being photographed, but rather about having a successful fashion show and presenting what they were working on, presenting. "Don't worry too much about what you're going to wear at the parade, you're not there to be photographed, to fall over, you're there to do your job, to cover the event in the best possible way." The quality of delivery and your interest in the work is much more important than the clothes you are wearing. Knowing your place, knowing why you are there, to do your job or to feed your ego. 

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