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Com o know how de mais de 70 anos no segmento têxtil dentro do grupo Primor, estamos há 8 anos no mercado desenvolvendo estampas e desenhos exclusivos para

o segmento de moda.

Contamos com um parque industrial com tecnologia e equipamentos de ponta, modernas

instalações, uma equipe de desenhistas para desenvolvimentos exclusivos ,

e uma linha de bases inteiramente pensada na

reestruturação do uso de matérias primas e seus recursos naturais,

nossa linha Going Green.

TECENDO INOVAÇÃO

​

Em nossa própria tecelagem produzimos bases que mesclam fibras naturais e sintéticas,

tecidos versáteis pensados especialmente para o público

feminino, masculino e infantil.

ESTAMPANDO CRIATIVIDADE

​

Digital reativo, rotativa reativo e rotativa em pigmento, são técnicas que permitem

que todos os desenhos sejam estampados em qualquer uma de nossas bases,

por isso a Sprint é hoje uma das principais estamparias do país.

Um programa da Associação Comercial e Industrial de Americana que conscientiza, estimula e reconhece as empresas socialmente responsáveis e engajadas em colaborar com o futuro de nossa comunidade.

Nós valorizamos a origem da moda brasileira. Por isso, abraçamos e somos parceiros do Sou de Algodão, o movimento que cultiva a moda responsável do nosso país.
Sou de Algodão é um movimento único no Brasil que nasceu em 2016 para despertar uma consciência coletiva em torno da moda e do consumo responsável. Para isso, uniu toda a cadeia produtiva e da indústria têxtil dessa fibra, desde o homem do campo até o consumidor final, passando por tecelões, artesãos, fiadores, designers de moda, estilistas e estudantes! É muita gente de fibra por trás de uma única peça de algodão!
Que o algodão é natural, confortável, leve, tropical e representa o que há de melhor em nossa brasilidade, todo mundo já sabe. Mas não para por aí, hoje, o Brasil é o maior fornecedor de algodão sustentável do mundo. E isso significa que a iniciativa colabora para uma jornada do produto ambientalmente correta, socialmente justa e economicamente responsável.

Disney FAMA (Facility and Merchandise Authorization Application and Instructions), é um programa que certifica e garante a utilização de componentes e materiais com propriedade intelectual (direitos reservados) de nomes, logos, marcas e personagens que são controlados ou propriedade da The Walt Disney Company e seus filiados.

Para obter o certificado é preciso seguir o código de conduta da Disney baseado nas convenções da Organização Mundial do Trabalho (ILO) e comprovar a não violação de regras, como o uso de mão de obra infantil ou involuntária, discriminação, desrespeito a meio ambiente, entre outras exigências legais.

O programa representa o esforço setorial das redes varejistas para a implementação das melhores práticas entre fornecedores e subcontratados, visa o combate ao trabalho análogo ao escravo e infantil, é a favor do uso do trabalho digno na cadeia produtiva dos artigos de moda.

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Com o know how de mais de 70 anos no segmento têxtil dentro do grupo Primor, estamos há 8 anos no mercado desenvolvendo estampas e desenhos exclusivos para o segmento de moda.

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Etiquetas Escolares para creche e escola. Etiquetas adesivas para objetos e termocolantes de uniformes e roupas. Resistentes à riscos e a prova da água.

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Linha Home, a mais completa linha de produtos para casa Jogos Americanos Aventais para churrasco Toalhas para Lavabo Guardanapos Rua Itupava, 559 - Alto da XV 80040-000 Curitiba - PR Fone: (41) 3264-1252 Fax : (41) 3015-3852 Email: contato@linhareta.com.br

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Types of gender identity: Types and definitions

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Gender is different than sex. Although genetic factors typically define a person's sex, gender refers to how they identify on the inside. Only the person themselves can determine what their gender identity is. This article will discuss what gender identity is, some definitions of different gender identities, and where people can find support.

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Language and labels are important parts of understanding your gender and knowing how to be affirming and supportive of other people's genders - but they can also be confusing.

There are so many gender terms out there, many of which overlap. Some also have definitions that shift over time or across different sources of information.

Thanks to the internet, we have more access to information, education, and visual representations of diverse genders - but comprehensive and inclusive resources about gender as a concept and this aspect of identity are still lacking.

Here, we attempt to bridge this gap by breaking down what many of these terms mean and how to use them.

Having language that helps demonstrate the many ways people experience, express, or identify their gender allows us to more clearly see and understand the entire gender spectrum - including and beyond the traditional binary gender categories of man and woman.

AFAB

Acronym meaning "assigned female at birth."

Agender

Someone who doesn't identify with the idea or experience of having a gender.

Aliagender

A nonbinary gender identity that doesn't fit into existing gender schemas or constructs.

AMAB

Acronym meaning "assigned male at birth."

Androgyne

Someone who has a gender presentation or identity that's gender neutral, androgynous, or has both masculine and feminine characteristics.

Aporagender

Both an umbrella term and nonbinary gender identity that describes the experience of having a specific gender that's different from male, female, or any combination of the two.

Bigender

This term describes someone who identifies with two distinct genders.

Bigender indicates the number of gender identities someone has.

It doesn't indicate which genders someone identifies with or the level of identification they have with a particular gender (such as 50% male, 50% demigirl).

Binarism

Generally, binarism refers to the gender systems and schemas that are based on the existence of two opposing parts, such as male/female, man/woman, or masculine/feminine.

More specifically, binarism is a type of sexism that erases ethnic or culture-specific nonbinary gender roles and identities.

Body dysphoria

Body dysphoria is different from body dysphoric disorder.

It refers to a specific type of gender dysphoria that manifests as distress or discomfort with aspects of the body.

This may include anatomy, shape, size, chromosomes, secondary sex characteristics, or internal reproductive structures.

Boi

A term, primarily used in LGBTQIA+ communities, that typically describes someone who has a presentation, sexuality, or gender that's considered "boyish."

Butch

Primarily used in LGBTQIA+ communities, this term typically describes someone with a presentation, sexuality, or gender that's considered masculine.

Butch doesn't necessarily indicate the other terms that someone might use to describe their presentation, sexuality, or gender.

Cisgender

A term used to describe people who exclusively identify with their sex or gender assigned at birth.

Cisnormativity

The assumption that a person identifies with the sex or gender they were assigned at birth, or that having a cisgender gender identity is the norm.

Cissexism

A form of oppression that discriminates against those who aren't cisgender.

Demiboy

This nonbinary gender identity describes someone who partially identifies as a boy, man, or masculine.

The term demiboy tells us about someone's gender identity, but doesn't convey any information about the sex or gender assigned to someone at birth.

A demiboy can identify as cisgender or trans.

Demigender

This umbrella term typically includes nonbinary gender identities and uses the prefix "demi-" to indicate the experience of having a partial identification or connection to a particular gender.

This may include:

Demigirl

This nonbinary gender identity describes someone who partially identifies as a girl, woman, womxn, or feminine.

The term demigirl tells us about someone's gender identity, but doesn't convey any information about the sex or gender assigned to someone at birth.

A demigirl can also identify as cisgender or trans.

Dyadic

This describes people who have sex characteristics - such as chromosomes, hormones, internal organs, or anatomy - that can be easily categorized into the binary sex framework of male or female.

Dyadic conveys information about someone's sex characteristics but doesn't indicate anything about their gender.

Feminine-of-center

This describes people who identify their gender as feminine or femme.

Some feminine-of-center people also identify with the word woman, but others don't.

The term feminine-of-center tells you about someone's gender identity, but doesn't convey any information about the sex or gender assigned to them at birth.

Feminine-presenting

This describes people who have a gender expression or presentation that they or others categorize as feminine.

Feminine-presenting is a term that captures the part of someone's gender that's shown externally, either through aspects of their style, appearance, physical traits, mannerisms, or body language.

This term doesn't necessarily indicate anything about the way someone identifies their gender or the gender or sex assigned to them at birth.

Femme

This is a label for a gender identity or expression that describes someone with a gender that is or leans towards feminine.

Some femmes also identify as women, while many others don't.

Femme indicates the way someone experiences or expresses their gender, and doesn't provide any information about the gender or sex assigned to them at birth.

Female-to-male (FTM)

This term and acronym is most commonly used to refer to trans males, trans men, and some transmasculine people who were assigned female at birth.

It's important to only use this term if someone prefers to be referred to this way, as some trans males, trans men, and transmasculine people use terms that don't include or indicate the sex they were assigned at birth.

Gender apathetic

This term describes someone who doesn't strongly identify with any gender or with any gender labels.

Some gender apathetic people also use terms that indicate their relationship with the sex or gender assigned to them at birth - such as cis apathetic or trans apathetic - while others don't.

Generally, people who are gender apathetic display an attitude of flexibility, openness, and "not caring" about how gender identity or presentation is perceived and labeled by others.

Gender binary

Also known as gender binarism, this term refers to gender classification systems - whether cultural, legal, structural, or social - that organize gender or sex into two mutually exclusive categories such as male/female, man/woman, or masculine/feminine.

Gender dysphoria

This is both a medical diagnosis and informal term used to communicate challenging feelings or distress people experience in relation to gender.

The medical diagnosis of gender dysphoria refers to a conflict between someone's assigned sex (as male, female, or intersex) and the gender with which they identify.

When used informally, gender dysphoria describes interactions, assumptions, physical traits, or body parts that don't feel affirming or inclusive of someone's expressed or experienced gender.

Gender expression

Gender expression is the way someone expresses gender through behavior, mannerisms, interests, physical characteristics, or appearance.

It's often, but not always, described using terms such as masculine, feminine, neutral, androgynous, conforming, or nonconforming.

The words used to describe someone's gender expression are dependent upon social or cultural norms and stereotypes and may change over time.

Gender identity

This is the way someone experiences gender internally as part of their core sense of self.

Gender identity can't be assumed based on appearance, anatomy, social norms, or stereotypes.

Gender identity isn't determined by assigned gender or sex, and often develops or changes over time.

Gender-neutral pronouns

These pronouns aren't stereotypically or culturally categorized as male or female, masculine or feminine, or for men or women.

Gender-neutral pronouns are used by both cisgender and transgender individuals as a way to affirm and convey important information about who they are and how they want to be referred to.

Examples include:

Gender nonconforming

This term is used to describe people with a gender expression or presentation that's different from cultural or social stereotypes associated with the person's perceived or assigned gender or sex.

Gender nonconforming isn't a gender identity, though some people do self-identify using this term.

It doesn't convey any information about the way someone experiences gender internally.

More accurately, gender nonconforming is a term used to describe physical traits in relation to socially and culturally defined gender categories.

People of any gender - cis, trans, or nonbinary - can be gender nonconforming.

Gender normative

A term used to describe gender traits or identities that are perceived to fall within social norms and expectations.

Gender presentation

Similar to gender expression, gender presentation refers to the way someone uses behavior, mannerisms, interests, physical characteristics, or appearance to convey or present a particular gender externally.

Gender questioning

A person who's questioning one or multiple aspects of their gender, such as their gender identity or expression.

Gender roles

The interests, behaviors, and mannerisms that a society or culture assigns to a particular gender or to the things expected of a person based on their assigned, perceived, or actual gender.

Gender roles change over time and across cultures.

Gender variant

Similar to gender nonconforming, gender variant is an umbrella term used to describe people with a gender identity, expression, or presentation that's different from the perceived social norm or dominant group.

Some people dislike this term because of its potential to perpetuate misinformation and negative stigma about noncisgender gender identities and nonconforming presentation being less normal or naturally occurring.

Genderfluid

This label is used to describe gender identity or expression.

It involves the experience of moving between genders or having a gender that changes over a particular period of time. For example, from moment to moment, day to day, month to month, year to year, or decade to decade.

Genderfuck

Similar to the term gender bender, genderfuck involves the act of combating or dismantling the gender binary and stereotypes through a gender identity, expression, or presentation that challenges existing norms and expectations in a given cultural context.

Genderqueer

This nonbinary gender identity and term describes someone with a gender that can't be categorized as exclusively male or female, or exclusively masculine or feminine.

People who identify as genderqueer experience and express gender many different ways. This can include neither, both, or a combination of male, female, or nonbinary genders.

Graygender

A gender term that describes someone who experiences ambivalence about gender identity or expression, and doesn't fully identify with a binary gender that's exclusively male or female.

Intergender

A nonbinary gender identity that describes the experience of having a gender that falls somewhere in between female and male or is a mix of both male and female.

Intersex

An umbrella term that describes people who have sex characteristics - such as chromosomes, internal organs, hormones, or anatomy - that can't be easily categorized into the binary sex framework of male or female.

Intersex conveys information about someone's sex characteristics but doesn't indicate anything about their gender identity.

Masculine-of-center

This term describes people who identify their gender as masculine or masc.

Some masculine-of-center people also identify with the word man, but many others don't.

The term masculine-of-center tells you about someone's gender identity, but doesn't convey any information about the sex or gender assigned to them at birth.

Masculine-presenting

This term describes people who have a gender expression or presentation that they or others categorize as masculine.

Masculine-presenting captures the part of someone's gender that's shown externally, either through aspects of their style, appearance, physical traits, mannerisms, or body language.

This term doesn't necessarily indicate anything about the way someone identifies their gender or the gender or sex assigned to them.

Maverique

This nonbinary gender identity emphasizes the inner experience of gender.

It describes those who experience gender or have a core gender identity that's independent of existing categories and definitions of gender, such as male or female, man or woman, masculine or feminine, and androgynous or neutral.

Misgender

The act of referring to someone using a gender pronoun or gendered language that's incorrect, inaccurate, or not inclusive of the person's actual gender identity.

Male-to-female (MTF)

This term and acronym is most commonly used to refer to trans females, trans women, and some transfeminine people who were assigned male at birth.

It's important to only use this term if someone prefers to be referred to this way, as some trans females, trans women, and some transfeminine people prefer to use terms that don't include or overtly indicate the sex they were assigned at birth.

Multi-gender

This umbrella term is used to describe people who experience more than one gender identity.

Other gender labels that fall under the multi-gender umbrella include:

In some cases, "genderfluid" may also fall under this umbrella.

Neutrois

This nonbinary identity and umbrella term is used to describe people who have a gender that isn't exclusively male or female.

Neutrois can be a broader term encompassing other gender identities, such as nonbinary, agender, genderfluid, or genderless.

Nonbinary

Also referred to as enby, this is a gender identity and umbrella term for gender identities that can't be exclusively categorized as male or female.

Individuals who identify as nonbinary can experience gender a variety of ways, including a combination of male and female, neither male nor female, or something else altogether.

Some nonbinary individuals identify as trans, while many others don't.

Whether a nonbinary person also identifies as trans is often dependent on the extent to which that person identifies, even partially, with the sex or gender assigned to them at birth.

Novigender

A gender identity used by people who experience having a gender that can't be described using existing language due to its complex and unique nature.

Pangender

A nonbinary gender identity that describes people who experience all or many gender identities on the gender spectrum simultaneously or over time.

Polygender

This gender identity term describes the experience of having multiple gender identities, simultaneously or over time.

This term indicates the number of gender identities someone experiences, but doesn't necessarily indicate which genders are included in the given person's polygender identity.

Sex

The classification of a person as male, female, or intersex based on the existing system of organizing human bodies and biologies.

This system is based on chromosomes, hormones, internal and external reproductive organs, and secondary sex characteristics.

Sex assigned at birth

This refers to the act of assigning or designating a particular sex to a person based on their chromosomes, hormones, internal and external reproductive organs, and secondary sex characteristics.

This is often done by medical professionals during pregnancy or immediately after childbirth.

The sex a person is assigned at birth doesn't determine or indicate anything about their authentic gender experience or identity.

Social dysphoria

A specific type of gender dysphoria that manifests as distress and discomfort that results from way society or other people perceive, label, refer to, or interact with someone's gender or body.

Soft butch

Both a gender identity and term used to describe the nonconforming gender expression of someone who has some masculine or butch traits, but doesn't fully fit the stereotypes associated with masculine or butch cisgender lesbians.

Stone butch

Both a gender identity and term used to describe the nonconforming gender expression of someone who embodies traits associated with female butchness or stereotypes associated with traditional masculinity.

Third gender

Originating in non-Western and native cultures, third gender is a gender category that includes people who have a gender that can't be exclusively categorized as male or female, or is different from male or female.

Transfeminine

A gender identity label that conveys the experience of having a feminine gender identity that's different from the gender or sex that was assigned at birth.

Transgender or trans

Both an umbrella term including many gender identities and a specific gender identity that describes those with a gender identity that's different from the sex assigned at birth (male, female, or intersex).

Transmasculine

A gender identity label that conveys the experience of having a masculine gender identity that's different than the gender or sex that was assigned at birth.

Transitioning

The act of making physical, social, medical, surgical, interpersonal, or personal changes that help to affirm gender or address gender dysphoria.

Transsexual

Falling under the transgender umbrella, transsexual is a word that was medically and historically used to indicate a difference between one's gender identity (i.e., the internal experience of gender) and sex assigned at birth (as male, female, or intersex).

Transsexual is often (though not always) used to communicate that one's experience of gender involves a medical diagnosis or medical changes - such as hormones or surgery - that help alter anatomy and appearance to feel more congruent with gender identity.

Due to a fraught history, the word transsexual can be contentious and shouldn't be used unless someone specifically asks to be referred to this way.

Trigender

This gender identity describes the experience of having three gender identities, simultaneously or over time.

This term indicates the number of gender identities someone experiences, but doesn't necessarily indicate which genders are included in a given person's trigender identity.

Two-spirit

This umbrella term was created by native communities to bring traditional indigenous understandings of gender and sexuality into Western and contemporary native education and literature.

Each First Nation tribe has its own understanding and meaning of what it means to be two-spirit, so this term can have many definitions.

Two-spirit generally refers to a gender role believed to be a common, acknowledged, accepted, and praised gender classification among most First Nation communities, dating back centuries.

It's amazing that gender - something many of us thought was a very simple concept - is actually so personal, nuanced, and complex. For that reason, it's totally OK if this list is a lot to digest!

Just remember: Gender is an essential part of health and well-being for everyone.

Becoming familiar with language that helps you to talk about this part of identity and society is a great way to care for yourself and be an ally to others.
Mere Abrams is a researcher, writer, educator, consultant, and licensed clinical social worker who reaches a worldwide audience through public speaking, publications, social media (), and gender therapy and support services practice onlinegendercare.com. Mere uses their personal experience and diverse professional background to support individuals exploring gender and help institutions, organizations, and businesses to increase gender literacy and identify opportunities to demonstrate gender inclusion in products, services, programs, projects, and content.

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64 Terms That Describe Gender Identity and Expression

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Language and labels are important parts of understanding your gender and knowing how to be affirming and supportive of other people's genders - but they can also be confusing. There are so many gender terms out there, many of which overlap. Some also have definitions that shift over time or across different sources of information.

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Genderless Kei

Also Known As

Genderless Style, Genderless, Neo-Ikemen, New handsome boys

Genderless Kei is a self-described genderless fashion style for both men and women, however, it is most popular among men or male presenting individuals. [1] The style grew quickly in popularity after genderless models appeared in the popular Tokyo Girls Collection 2015 Autumn/Winter fashion show. [2]
Genderless Kei (ジェンダーレス系) or simply Genderless (ジェンダーレス) is simply a term that describes the androgynous look of the style. There is a male-only term that is also sometimes used to describe the style, Neo-Ikemen, or new handsome boys.

Genderless kei is influenced by general trends in Asian fashion towards "pretty" clothing for all genders, as well as by feminine men and masculine women characters in manga and anime. The style is also considered a push back on long-held conservative cultural beliefs about gender roles and sexuality.

The actual style of genderless kei is very broad, with no real style rules, save creating an androgynous look.

Popular aspects of genderless kei include using fashion aspects usually reserved for the other gender to create an androgynous look. For instance, for some men, this would include splashes of flamboyant pinks and a pair of traditionally feminine platform shoes. Sometimes, outfits will be more extreme, such as those that resemble cross-dressing, like wearing feminine styles or dresses for men. For women, an example might be wearing a suit jacket. However, any blend of style works for any person of any identity, and looks can include many different variations of these themes.

Common accessories for genderless kei include nail polish and cute accessories, such as hats and purses. Generally, for both men, women, and non-binary members of the fashion, cute accessories and themes are popular.

Dyed hair in unnatural colors is very popular in genderless kei. Hairstyles also tend to be androgynous as well. Although sometimes traditional hairstyles and hair colors may be used.

The classic genderless kei appearance is slim-bodied and cute-faced boys, or a boxy look for women to avoid curves. Makeup and colored contact lenses, dewy white skin, and pouting cherry lips are also used commonly across the style for all who wear it.

Sometimes outfits look similar to already existing kawaii styles, and it is hard to tell if the intent behind it is genderless or not. It is the intent that makes things genderless more than the fashion.

Genderless kei is not directly related to sexuality or gender identity. Most who wear the style actually identify as straight. There are some who identify as gay or non-binary, however, this is not the majority. The style isn't about attempting to 'pass' as a woman or make a statement about sexuality. Instead, it is meant to reject the idea that clothing must be gendered.

Some conservative Japanese people are against this genderless trend. They say that this style is cowardly or unnatural. Recently, the term "herbivore males" (soshoku danshi) was created to describe this group negatively, and accuse them of being cowardly and vain. Interestingly enough, this criticism has primarily been towards men, but not women.

Although some hope this style will help to break down these barriers and prove this criticism unnecessary and wrong, the style is too new to say what lasting effect it will have on Japanese society.

Genderless kei is not based on shops or brands, but rather models, singers, and other various personalities in Harajuku and on Instagram who are creating the style.

GENKING (Model)

Yohji Kondo (Singer)

Toman (from the JPOP band XOX)

Ryucheru (Ryuchell)

Pey

Satoyupi

Yusuke Hida (Usuke, Devil)

Shoshipoyo

Kanata

Sakupan

Satsuki Nakayama

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Genderless Kei is a self-described genderless fashion style for both men and women, however, it is most popular among men or male presenting individuals. [1] The style grew quickly in popularity after genderless models appeared in the popular Tokyo Girls Collection 2015 Autumn/Winter fashion show.

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For an outsider, the genuses and phyla of Japanese fashion subcultures can be hard to keep straight. A random Harajuku sample could turn up Goth Lolitas sulking in Edwardian cupcake dresses; glamorous Gyaru with spray tans and blond hair; Mode clotheshorses in high-fashion labels down to the socks; Decora ravers collaged with a rainbow of plastic barrettes; sylvan Mori girls looking like forest nymphs - and all of these constantly dying off, fusing, or morphing to create new styles. How to categorize the recent blossoming of kawaii guys, with slender frames draped in pink, girly accessories, and pouting, raspberry-tinted lips? These boys belong to the newest Japanese style tribe, Genderless Kei. More than just men in makeup, Genderless Kei pushes traditional gender boundaries and sexuality in a country where neither topic has been up for much discussion. The trend has its roots as an offshoot of the Korean Ulzzang phenomenon. Ulzzang, which literally means "best face" in Korean, is a beauty ideal for both men and women that incubated among the picture-perfect idols of K-Pop. In the last few years, it's spawned a mania across Asia for a pure and innocent look characterized by flawless features with a doll-like, elfin androgyny. The dandies of the Tokyo scene have absorbed and mutated that aesthetic a step further.

The Genderless Kei starter pack would include: a '90s Devon Sawa 'do, dewy skin so white it glows, platform shoes, eye-popping color contacts, instagrammable nail art, a mini backpack, and all things pink. Naopis, a model and fashion blogger for Nylon Japan with a platinum mushroom cut and a penchant for athleisure, says it's all about putting ladylike colors on men. Though it's a hue that Japanese guys have traditionally shied away from, pink is his favorite color, "because it's so loud and daring." Japanese bloggers point to the influence of J.W. Anderson's fall '13 collection, which sent strapping male models down the runway in ruffled shorts, tube tops, and knee-high boots. Two years later, the Japanese designers behind Tokyo Girls created their own runway moment with their fall 2015 collection. Despite the brand's name, the show presented both male and female models in gender-swapping styles. Alongside women in edgy Boy London streetwear, the runway featured high profile male models dressed in pussy-bow blouses, fringed jumpsuits, and even a wedding gown.

Among their ranks was model Genking, the unofficial leader of Japan's genderless trend. For him, gender fluidity is nothing new: "I've loved it ever since my mom tied up my bangs with a Hello Kitty hairband in kindergarten," he says. In the last year, the " mysterious beautiful boy" (his one-time Instagram moniker) with an Andreja Pejic blond mane has risen from social media selfie star to full-fledged TV personality, and with his visibility, Genderless Kei has exploded into a Japanese media obsession. Despite saying that he has the "heart of a woman" and the fact that he is more frequently spotted in womenswear, Genking says that Genderless Kei isn't about trying to be perceived as a woman. "I want to create a new kind of fashion platform in which I can be a men's model as well as a ladies' model," he said in an interview for an Onitsuka Tiger lookbook last year. For him, gender-ambiguous fashion is most exciting in unexpected splashes - men who accessorize with one cute and girly item, or women who incorporate a cool and masculine piece. He points to Rihanna as a female genderless style icon in the way that she works (works, works, works, works) tomboy pieces into her street style. Toman, another Genderless Kei model and member of the boyband XOX, came to fame as a reader model for young men's fashion magazines. The pink-haired Peter Pan lookalike, whose 2.5 hour intensive beauty regimen has been the fascination of Japanese talk shows, now also graces the pages of women's fashion magazines - the same ones he personally reads for style tips. He and Genking say that they come across both male and female fans copying their hair and outfits. As Toman put its, "There are no rules!" because Genderless Kei is not about passing, but rather surpassing gender norms.

And while everyone's talking about the men in pink, Japanese women seem just as eager to push gender boundaries. Lately it feels like it's hard to find a Japanese women's fashion editorial that doesn't feature a "handsome girl" sporting some element of menswear: Katharine Hepburn trousers, athletic jerseys and baseball caps, and oversized silhouettes. In fact, the only difference between Genderless Kei boys and girls, says self-described gender-free model and dancer Ranma Yu, is that so far the Japanese media spotlight has only shone on the boys. She's a former performer with the century-old Takarazuka Revue, a theater troupe whose all-girl cast dresses in drag to play both the male and female roles. Her stage name is a nod to the popular character from the '80s anime Ranma 1/2 - as in half-boy, half-girl - which revolves around the hijinks and romances of a teenage martial arts fighter whose gender flips every time he comes in contact with water. There's a niche for every obsession in the nation that gave us owl cafés and used-panty vending machines. But, ever the land of contrasts, Japan is still a country where tradition is treasured, and that often includes traditional gender roles. Japan ranks near the bottom on the World Economic Forum's global gender gap index, with a huge disparity in earnings, parliamentary seats, and unpaid domestic work between men and women. And even if you discount the West's image of the subservient geisha wife pouring tea for her salaryman husband (which is no longer much more than a cliché), division of the sexes in the social sphere is still real, and has consequences.

Within the climate of Japan's 1950s-esque gender norms, it might seem unlikely that a trend like Genderless Kei would be embraced. And in some ways, Japanese clothing does reflect typical gender conventions: Only in the last few years have a small number of public schools, where uniforms are mandatory, started to offer female students the choice of pants. Just like in the West, though, gender-bending fashion has gone in and out of vogue throughout Japan's long history. There are examples of cross-dressing as ancient as the female shirabyoshi court dancers, who wore trousers and carried samurai swords, and the elaborately coifed and painted beauties of kabuki, who have always been played by men. Then there are fads as recent as the turn-of-the-century "Miss High-Collar" look, when schoolgirls combined men's hakama, a kind of kimono-pants hybrid, with European boots - not to mention the heavily made-up male visual-kei rock n' rollers of the '90s, with their Labrynth-era David Bowie hair and flamboyant costumes. However, some believe that Japanese society might be more open to a trend like Genderless Kei because of the way that both Japanese men and women value fashion, says Masafumi Monden, author of Japanese Fashion Cultures: Dress and Gender in Contemporary Japan. He argues that, as a contrast to the West, being fashion-conscious does not undermine Japanese men's heterosexual masculinity. On the contrary, it can enhance their desirability. The preferred male aesthetic in Japan is "reasonably fashion-minded, slender, with smooth skin, nicely done hair, and well-kept eyebrows." Monden explains that the Western world's "assertive, overly confident kind of masculinity" is visually conveyed through an emphasis on an (apparent) lack of interest in fashion or appearance. Justin Bieber or Zac Efron's transformation from squeaky-clean, boyish figures into "significantly more macho, ragged selves," Monden suggests, is a great representation of a more Western conception of male maturity. What's more, "fashion/appearance and sexuality are not always tied together as closely in contemporary Japan as they are in many Western cultures," says Monden, so cross-gendered fashion choices aren't a sure-fire way to draw one's sexuality into question. Genderless Kei is the zenith, then, in a trajectory that has always allowed a Japanese guy a little less hesitancy to make feminine sartorial choices, and a Japanese girl a little more freedom to dress "like a man."

So celebs like Toman and Genking aren't just playing along with Japan's "don't ask, don't tell" policy when they say that the trend doesn't necessarily imply that the wearer is queer. One of the most influential faces of the trend on social media is Ryucheru, a "kawaii boy" with rosy cheeks, cherubic curls he adorns with a rainbow of '80s sweatbands, and glittery accessories hand-collaged with Lisa Frank stickers. He and his girlfriend Peco-chan are Harajuku's Kimye, a hetero teen fashion power couple whose kissy-face selfies show up as often on Ryucheru's Instagram feed as throwback clips from Totally Hair Barbie commercials and Teen Witch. Genking, on the other hand, made waves when he came out as gay on live TV last year. But he's just as quick to distance his look from his sexuality. "Genderless Kei is about appearance. [Being] transgender is about gender," he says, implying neither has to do with sexual orientation. It might be this distinction that makes Genderless Kei such an impactful style statement. The words "unisex fashion" inevitably conjure images of drab, shapeless basics, a standard which recent attempts at gender-neutral fashion, such as Zara's much-maligned Ungendered collection, have mostly failed to rise above. These pieces fall flat because they've been scrubbed of their gender signifiers, which might be all that retailers think their markets can handle. (Because if the average American guy actually wore one of those frilly J.W. Anderson skirts, he would almost certainly risk his manhood.) But if that's not quite the case in Japan, then the opportunities for genderless expression through fashion can be taken to the next level. Genderless Kei doesn't rely on unisex styling, but playfully seeks to remove the gender labels from traditionally gendered pieces. "Once upon a time a man was a man and a woman was a woman. Now we are free to wear what we want," says Toman. At the same time, Genderless Kei's separation from an overt statement about sexuality might actually make it a safe, subtle way to express one's personal politics. The explosion of gender-fluidity in Japanese fashion does seem to reflect a generational desire to shift away from the traditional. Genking idealizes the U.S. as a more open and accepting society. "I think that if Japan could become a country like that, it would be overflowing with even more amazing people!" he says. Naopis points out that even though having a Genderless Kei look doesn't mean that you're gay or trans, there are undeniably many identity minority groups represented among the Genderless Kei style tribe. "It's just that it's still a difficult thing to easily come out in Japan," he says. It would be a mistake, then, to dismiss the impact that Genderless Kei's popularity could have on the social visibility of those who feel oppressed by the country's traditional mores. "To reach an era when, regardless of gender, women and men can enjoy fashion and beauty, means that it's becoming a more comfortable environment for sexual minorities. That's a good thing," he says.

Monden points out that currently it's easiest to spot Genderless Kei among celebrities and fashion insiders, whose fame generally gives them more leeway to dress flamboyantly. But with the Japanese media making "genderless" into a buzzword, Genderless Kei just might have the crossover potential of once-niche trends like kawaii and Visual Kei. If that's true, we'll have to wait a few seasons to see what kind of trickle-down effects the mainstreamification of Genderless Kei could have on acceptance and equality in Japanese society, especially for gender-nonconforming people like Genking and women like Ranma Yu. To her, Genderless Kei means "self-expression." Not just a fashion trend to leap upon and then leave behind, "it's a symbol of my individuality."

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Japan's "Genderless Kei" Trend Is About So Much More Than Just Fashion

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For an outsider, the genuses and phyla of Japanese fashion subcultures can be hard to keep straight. A random Harajuku sample could turn up Goth Lolitas sulking in Edwardian cupcake dresses; glamorous Gyaru with spray tans and blond hair; Mode clotheshorses in high-fashion labels down to the socks; Decora ravers collaged with a rainbow of plastic barrettes; sylvan Mori girls looking like forest nymphs - and all of these constantly dying off, fusing, or morphing to create new styles.

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Jennifer Robertson is a professor of anthropology and history of art at the University of Michigan.

In the narrow alleys of Tokyo's ultra-trendy Harajuku district, a growing number of Japanese men who self-identify as "genderless" are boldly broadening their sartorial and cosmetic choices. With faces expertly made up, hair dyed and stylishly coifed, eyebrows plucked and painted, they sashay from one indie boutique to the next.

Harajuku has become a catwalk for jendaresu-kei (or "genderless style"). Although women who dress in a more stereotypically masculine way may also identify as "genderless," in Japan, the term jendaresu-kei more commonly refers to biological males who are neither interested nor invested in looking like "suits."

Some, like celebrity model Ryuchell, insist that they are neither cross-dressing nor, necessarily, gay. Nor are they transgender in the sense of having a gender identity that differs from the sex they were assigned at birth.

What blogs and news stories on this genderless-male sensation often fail to articulate is that Ryuchell and his cohort have -- whether consciously or not -- separated sex (the biological body) from gender (the accessorized body). For them, a male body need not conform to a stereotypical manly appearance.

Matching colorfully patterned fabrics and fingernails with "kawaii" (cute) hats and purses, they signal a vibrant new masculine style. But they may also represent wider changes in the way male roles are perceived in Japanese society.

A history of plurality

Until recent surgical advances, sex has been more or less fixed, while gender has been fluid and malleable. Dominant cultural conventions tended to limit biological bodies to two separate gender categories: feminine and masculine. But Japan has a long history of plural sexualities and gender-blurring practices, which today's "genderlessness" closely resembles.

From ancient to early modern times, individuals routinely pursued lovers whose beauty and charm were more appealing than their biological sex. These trysts -- a key ingredient of classical literature -- have been revisited in modern novels and comics. The contemporary "boys' love" (or BL) genre, for instance, features both sexually explicit and romantic relationships between male characters.

Feminine males and masculine females are common tropes in Japanese culture, usually in ritual or theatrical contexts involving cross-dressing. The onnagata (male players of women's roles in classical Kabuki theater) and otokoyaku (female players of men's roles in the Takarazuka Revue theater troupe) are famous outside the country for their gendered performances.

Off stage, Japan is home to hundreds of cross-dressing clubs (like Tokyo's famous Elizabeth Club) that are aimed at middle-aged, white-collar and outwardly straight males. Members enter an environment that helps them transition from businessmen to stereotypically feminine personas for the purpose of stress release, among other things.

Blurring boundaries

These cross-dressing clubs and theater traditions still rely on mainstream conceptions of femininity and masculinity. But Japanese history is also filled with examples of pioneers who have blurred the distinction. A century ago, the spectacle of Westernized modern girls (or "moga") strolling through Tokyo sporting short hair, slacks, culottes and flapper-like outfits, raised many an eyebrow. After all, most women wore kimonos in public.

Jeered on the streets and called "garçons" in the press, moga were dismissed as unfeminine. Criticisms were premised on a zero-sum view of sex and gender: If females were becoming more masculine, it meant that males were becoming feminized. Nevertheless, more broadminded urbanites, including artists, viewed the modern girls as avant-garde.

Today, moga would likely self-identify as genderless, in the sense that they rejected the traditional kimonos and chignons. And today's genderless males also have historical counterparts in the Europeanized "high collar" (haikara) men from the turn of the 20th century.

Fussy about their appearance, these metrosexual dandies wore facial powder and carried scented handkerchiefs. Invoking a familiar zero-sum equation, critics claimed that the "high collars" spent more time beautifying themselves than women did.

Similar complaints were leveled against their more youthful contemporaries, the "beautiful youths" (bishonen) eulogized in popular illustrated magazines, their ambiguous gender and sexual orientations appealing to men and women of all ages.

More recently, the term "herbivore males" (soshoku danshi) was coined to describe young men who eschew machismo, are fastidious about their appearance, and treat females as friends, not sex objects. Conservative pundits accuse them of being unmanly cowards.

Changing expectations

The genderless males of today's Harajuku district are either unaware of -- or do not acknowledge -- their predecessors. Instead, as Ryuchell explains, the inspiration for genderless style encompasses three modes of fashion: androgynous Korean pop groups; "visual kei," a 1980s glam-rock genre featuring flamboyantly outfitted male performers; and the fashion of 1980s and 1990s America, which combined colorful clothing and accessories in unusual, eye-catching ways.

Like "herbivore" and "high collar" before it, genderless is becoming more than a buzzword. The trend of men eschewing Japan Inc's navy blue suits is outlasting the fast cycles of the fashion industry. As a lifestyle, signs of genderlessness are also evident among men far removed from the Harajuku scene.

Ikumen (literally "child-rearing men") may wear suits to work, but they are breaking with convention by insisting on spending more time at home with their children. This is partly thanks to the work of Fathering Japan, a non-profit organization that encourages men to become "smiling dads" who enjoy playing a more active role in their children's upbringing.

The group's increased visibility and growing network have gradually helped reduce the stigma around the role of house husband. In turn, zero-sum criticisms of role-blurring mavericks appear less and less frequently in the media.

To limit discussion of Japan's genderless males to the Harajuku fashion scene is to ignore the velvet revolt against "suit masculinity" and all it signifies.

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kei: exploring japan's 'genderless' subculture - cnn

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Jennifer Robertson is a professor of anthropology and history of art at the University of Michigan. In the narrow alleys of Tokyo's ultra-trendy Harajuku district, a growing number of Japanese men who self-identify as "genderless" are boldly broadening their sartorial and cosmetic choices.

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At the close of a year in which the cultural agenda has been dominated by talk of gender, it seems apt for Manchester Art Gallery to be opening an exhibition dedicated to modern fashion and design from Japan.

Back in 1983, decades before Selfridges' Agender clothing line was a tickle on a marketing team's collective cortex, Yohji Yamamoto professed his preference for gender-neutral dress to The New York Times.

"When I started designing, I wanted to make men's clothes for women. But there were no buyers. Now there are. I always wonder who decided that there should be a difference in the clothes of men and women. Perhaps men have decided this."

It has taken the rest of the fashion world three decades to make ground on Japan's pioneers, and even now, it lags behind: the first choice demanded on even the most cutting-edge fashion e-store, Selfridges included, remains "men" or "women".

In Manchester, one of the few "menswear" pieces on display - a navy wool jacket by Yamamoto with voluminous sleeves that hang in deep swags above a belted waist - suggests the body that might best occupy it through its size alone. In cut and conception it is a jacket for any body.

Evening wear and catwalk pieces in this small show play more dramatically with gendered signals, including one ensemble with a Victorian-inspired bustle and another in which a dramatic train is formed from two dresses stitched hem to hem, with the choice of which dress to leave trailing resting with the wearer. Such OTT markers of feminine identity through a garment contribute to the (again, very 2015) idea of gender as performance rather than something fixed or innate.

"These designers are so establishment now that it's easy to forget how radical they were," notes Miles Lambert, curator of costume for the Manchester City Galleries. As he examines a plain black smock, again by Yamamoto, he adds: "They are also hard to date: this is from the 1990s, but designs like this were done over a series of years."

Labels such as Yamamoto, Issey Miyake, Comme des Garçons and Yuki always showed scant concern for seasons: interviewed by The Village Voice in 1983, Issey Miyake outlined his opposition to the fashion cycle: "I want my customer to be able to wear a sweater I designed 10 years ago with this year's pants." The approach may frustrate fashion historians, but as with the issue of gender, they were ahead of their time, tapping into concerns now held more widely within the industry.

"When they started presenting collections in Europe in the 1970s and '80s, I don't think these designers held the same view of wanting people to change what they wore or the need for new ideas for every collection," explains Lambert. "In the early 1980s they were seen as very much anti-establishment fashion. When Comme and Yamamoto showed in Paris in 1981 the models were 'unkempt', the clothes had a muted palette of black, white and grey, the music was dirge-like - it was deliberately different. They've had an immense effect on what has subsequently been seen on the catwalk."

The fashion press was not universally positive - Women's Wear Daily notoriously dubbed Rei Kawakubo's designs for Comme des Garçons as "The Hiroshima bag-lady look" and printed a double page spread of avant-garde designs from Japan with large black "X"s through each image.

The loose, layered, body-concealing garments of the early collections came in dramatic contrast to the clingy, Lycra-enriched styles of designers such as Azzedine Alaïa or Thierry Mugler. These were not clothes that demanded hours in the gym. Nor, with their worn textures, exposed stitching, raw edges and deconstructed tailoring, did they cleave to the concept of luxury espoused by other houses showing in Paris.

In placing such garments alongside furniture and decorative arts of the era, Modern Japanese Design shows "radical" features were part of the visual culture of Japan at the time - not least an interest in natural materials and the appearance of being unfinished. Fiona Corridan, Curator of Contemporary Art at Manchester, sees a definite "influence on British makers of the time from Japan," which included "deconstruction and playing around with different materials - not being blinkered ... but with an eye on the past and tradition."

The silhouettes in the exhibition bring together catwalk looks purchased by the museum and pieces donated by collectors. One of the most apparently modest is the most intriguing - an ivory Comme des Garçons dress with a T-Shirt-like shoulder line covered in crumple-inspired fan-shaped pleats. It was worn as a wedding dress in 1984 and was later donated to the museum. With its understated wrapped shaped and apparently neglected finish, it's a spirited break from tradition. (An educated guess suggests a drive to Rita Britton's trailblazing Pollyanna boutique in Barnsley was involved.)

One assumes such garments were the property of spirited and defiant women - certainly true of the most recent exhibit, a headpiece by Maiko Takeda worn by Björk on the cover of Vulnicura (2015). "The costumes have such presence," says Lambert, looking at an ensemble in which the bodice appears to be made from a man's jacket mid-construction, with one perfectly finished pocket on the chest and an asymmetric skirt. "This deliberately looks unfinished or inside out, the fabrics don't match, but you could wear this at my age or at the age of 70."

The peculiar ageless quality of Japanese fashion was well conveyed to me recently by artist Liliane Lijn (who I interviewed about a new book, Fashion Game Changers). She modelled for Issey Miyake in 1987, aged 48, when already an artist of repute. Describing one outfit, Lijn noted the clothes "didn't subscribe to the conventional notions of what the female should look like - but Issey also doesn't subscribe to how the conventional male should look".

Nearly 30 years on, she was happy to be photographed for the book in the same ensemble. Lijn noted, in parting: "Women want to grow up just as men want to grow up, they don't want to be little girls." Yet, despite the radically inclusive outlook these Japanese designers espoused, the wider fashion industry's discomfort around issues of age and body shape continues to warrant discussion - and it's clear it still has a lot to learn from them.
'Modern Japanese Design', Manchester Art Gallery, through January 2017. 'Fashion Game Changers' will be published by Bloomsbury in March 2016

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How Japanese designers pioneered gender-neutral dressing

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At the close of a year in which the cultural agenda has been dominated by talk of gender, it seems apt for Manchester Art Gallery to be opening an exhibition dedicated to modern fashion and design from Japan.

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linha reta bordados
https://www.google.com/search?client=opera-gx&q=linha+reta+bordados&sourceid=opera&ie=UTF-8&oe=UTF-8

PESQUISAR ALEXANDRE LINHARES (galeria soma)
H-AL

familia preto
peças classicas unissex
camisa, camiseta, blazer, jeans, jardineira (?)

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Mindmap/brainstorm

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Estamparia de Camisetas e Tecidos. Trabalhamos com diversas técnicas de estamparia: sublimação em peças cortadas e Sublimação em Bobinas por Metro.

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Todo o texto abaixo, foi escrito exclusivamente pela equipe da Transtore, com muito carinho, com a intenção de te auxiliar na escolha do produto! Leia com atenção para tirar todas as dúvidas. Binder Colete Transtore - Material Cirúrgico. - Triplo fecho na lateral do corpo. - Corte arredondado embaixo do braço para maior conforto.

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Você provavelmente já ouviu falar sobre, mas talvez ainda se pergunte: o que é upcycling? Hoje respondemos a essa pergunta com uma investigação sobre o assunto, cada vez mais em pauta na indústria da moda. Afinal, para um futuro sustentável de consumo é preciso que haja uma desaceleração das produções em grande escala, assim como uma mudança em prol do melhor uso de materiais já existentes, o que nos leva a essa tendência que busca o fim do desperdício.

Para trazer todas as informações necessárias, começamos com uma explicação sobre o que é upcycling. Em seguida, batemos um papo com a expert em tendências da WGSN, Mariana Santiloni, a fim de descobrir qual o futuro desse movimento que une sustentabilidade e moda, e também convidamos a designer Juju Lattuca para nos contar um pouco sobre a sua trajetória e relação com o upcycling.

E se engana quem pensa que essa tendência vai demorar para chegar por aqui. Algumas marcas pequenas brasileiras já estão apostando todas as fichas em coleções focadas na reutilização de tecidos! Para saber mais, continue com a gente abaixo:

_ o que é upcycling?

Mas afinal, o que é upcycling? O upcycling nada mais é do que uma técnica de reaproveitamento de materiais já existentes, transformando peças que seriam descartadas em aterros sanitários e dando um novo sentido para elas. Em outras palavras, usar as sobras para criar algo novo. Essa tendência surgiu na década de 90, porém só agora estamos de fato olhando com mais atenção. Um dos motivos é porque estamos cada vez mais em busca de alternativas sustentáveis para o consumo do futuro.

E por falar em alternativas sustentáveis, vale mencionar que o upcycling é uma solução inteligente e lucrativa para marcas e consumidores, pois o que era desperdício se torna um novo item vendável. Além disso, alimenta a criatividade e resulta em roupas exclusivas. Também estão diretamente ligadas ao upcycling, a técnica de patchwork, que trabalha com emendas de retalhos de diferentes tecidos, e o rework, que, assim como o próprio nome diz, é uma forma de retrabalhar uma determinada peça por meio de customização.

Foto: Vivienne Westwood (Reprodução)

De acordo com uma matéria do site BOF (Business Of Fashion) e o levantamento da instituição Ellen MacArthur Foundation, anualmente a indústria global da moda produz cerca de 53 milhões de toneladas de fibras têxteis e 70% acaba em aterros sanitários. Já no Brasil, segundo um relatório do Fashion Revolution de 2020, por ano são produzidas 1.100.000 toneladas de roupas, sendo 12% de desperdícios.

No mundo inteiro, diversas marcas jovens já estão caminhando para um trabalho mais sustentável e manual com peças feitas a partir do reaproveitamento. Porém, algumas outras já renomadas no mercado da moda, também estão abrindo o olhar para essa tendência, um exemplo mais recente é a britânica Vivienne Westwood, que apesar de já ser conhecida por levantar diversas causas ambientais por meio de sua marca, apresentou na última semana uma coleção feita com 90% de materiais com menos impacto no meio-ambiente e jeans reciclados.

Em 2019, a marca Patagonia produziu cerca de 10 mil peças de roupas feitas a partir de materiais reciclados e de roupas já existentes no acervo. Entre as marcas de luxo, a Burberry anunciou no final do ano passado o seu mais novo programa chamado "ReBurberry Fabric", onde em parceria com o British Fashion Council, irá doar as sobras de tecidos para estudantes de moda carentes.

_ o futuro sustentável por wgsn

Para entender melhor nos tempos de hoje e como será no futuro, entrevistamos a especialista em tendências da o que é upcycling WGSN, Mariana Santiloni. Do impacto econômico ao consumidor final, a expert também nos contou como a pandemia acelerou essa tendência.

1. quando surgiu o upcycling? a pandemia acelerou a sua difusão?

M.S.: Em 2016, nós, da WGSN, previmos que as pessoas comprariam pensando além do propósito de adquirir um item novo. Com a pandemia, aumentou a ansiedade financeira que, por sua vez, está acelerando este movimento de consumo consciente à medida que os consumidores estão agora pensando não apenas no valor monetário como também na longevidade do que compram.

2. e como vocês entendem a relação do upcycling com a moda nos próximos anos?

M.S.: Hoje, segundo a ONU, a indústria da moda é responsável por mais emissão de carbono do que o transporte aéreo e marítimo juntos. Somado a isso, há a escassez de recursos, que afeta tanto as práticas quanto os produtos, e o upcycling, isto é, a tradição de reparar e reutilizar se torna naturalmente parte do estilo de vida dos consumidores.

Do lado das marcas, existe o desafio de caminhar além do marketing para não cair no g reenwashing. É preciso cada vez mais pensar em reduzir o desperdício, facilitar a reciclagem, reparar, reutilizar e reaproveitar. Para a moda, priorizar o ciclo de vida do produto é o futuro. Aqui no Brasil já se tem marcas de upcycling como a Ventana, que trabalha resgatando peças e reutilizando sobras de tecidos.

3. como essa tendência impacta na economia?

M.S.: Embora o conceito de valor esteja tradicionalmente centrado no custo de um produto, o significado a partir de agora passa a ser "se vale a pena". Portanto, os produtos capazes de manter as pessoas saudáveis e seguras terão um valor maior e atrairão mais o público, mesmo quem foi ou é financeiramente impactado. Veremos cada vez mais novos tipos de negócios focados em upcycling, slow fashion, locação e revenda, pois essas estratégias também permitem aos varejistas ter uma nova fonte de receita e desenvolver uma relação de fidelidade com o público.

4. é possível dizer que o consumidor do futuro vai preferir comprar em marcas mais sustentáveis, de upcycling ou não? por quê?

M.S.: Os consumidores estão economizando mais e gastando menos porque têm receio do futuro. E estão avaliando o tipo de produto que compram e como compram, pensando no custo-benefício em vários níveis. Sem dúvida, as prioridades estão mudando e com isso, a qualidade e os níveis de consumo são fatores cada vez mais problemáticos. Surgem perguntas que reavaliam a forma de comprar: o produto vai durar? É sustentável? É único? Como eu me sinto em relação a ele?

Além disso, considerando que cerca de 30% de todas as roupas produzidas no mundo nunca são vendidas, a filosofia do "compre menos e melhor" vem silenciosamente ganhando força como uma resposta ao fast fashion. Aliás, comprar menos e melhor é uma tendência que prevíamos na WGSN quando falamos sobre "o fim do excesso", onde a quantidade dá lugar a uma melhor qualidade, melhor funcionalidade e melhor design.

_ criando coleções com juju lattuca

Juju Lattuca chama atenção à primeira vista no Instagram. Sua criatividade grita através dos posts na rede social. Formada em design, hoje ela atua com planejamento criativo de marca e no desenvolvimento de produtos. "Minha relação com upcycling vem de muitos anos. Eu sempre curti reutilizar e ressignificar objetos", relembra, "meu primeiro projeto foi desenvolver adereços ressignificando materiais diversos (fósforos, parafusos, entre outros itens) para uma personagem de uma novela da Globo."

Desde então, não parou. "Comecei a tentar conectar o upcycling de uma maneira mais responsável quando me dei conta dos estoques parados que as marcas tinham", diz, "Acho que todo mundo (ou, pelo menos, é o que eu espero!) tem esse estalo alguma hora."

Foto: Juju Lattuca por Kenny Hsu (Reprodução/Instagram)

Os meus projetos seguem duas linhas: uma de ressignificar objetos (que nem sempre tem uma pegada sustentável) e outra de reutilizar materiais diversos, com propósito de gerar um impacto sustentável maior.

Abaixo, reunimos alguns dos trabalhos mais icônicos da Juju para você conhecer e ver o upcycling na prática. A designer já criou uma coleção a partir do plástico bolha, que virou capa de chuva para a Plástico Bolha Store (Booolhas). Também esteve à frente de uma colaboração com a Farm, onde iscas de pesca se tornaram brincos charmosos, e com a Zerezes, criando uma coleção de óculos feita a partir da reciclagem de canudinhos plásticos.

Foto: Colaborações Juju Lattuca (Reprodução)

Em outra ocasião, Juju transformou plástico descartado em botões de camisa para a Bapho Brasil, e também desenvolveu bucket hats a partir de sacos de feira para a marca infantil, Fábula. "Meu processo criativo sempre tem como propósito trabalhar com coisas que nem sempre damos tanto valor ou atenção", explica, "meu maior desafio é entrar em várias marcas e instigar esse movimento: olhar pro simples e transformar em algo de desejo."

Foto: Colaborações Juju Lattuca (Reprodução)

Sua mais recente colab foi com a marca carioca Sri Clothing. Nesse caso, Juju usou sobras de tecidos para desenvolver uma coleção incrível e brilhante, no sentido literal da palavra, pois as peças vêm carregadas de paetês. "Nessa última coleção, basicamente usamos retalhos de coleções antigas, ou seja, que todo mundo já tinha visto", conta, "e também trabalhamos com alguns retalhos de estampas que ainda a marca vai lançar. A partir disso, fizemos a técnica de patchwork e o resultado ficou super interessante. O retorno foi mega positivo!"

Foto: Juju Lattuca para Sri Clothing (Reprodução/Instagram)

_ marcas focadas em upcycling

A Ventana é referência quando você busca saber mais sobre o que é upcycling no Brasil. De Santa Catarina para o mundo, a marca vende pela sua própria plataforma online e já conta com mais de 22 mil seguidores no Instagram.

A carioca Think Blue é outra marca especializada em reaproveitamento de matéria-prima e existe desde 2015. Apesar de criar com diferentes tipos de tecidos, seu foco é transformar peças em jeans por conta da durabilidade e resistência do material, aumentando ainda mais a vida útil da peça.

A Brocki é outra marca que vem se destacando na moda brasileira com criações que variam entre técnicas de patchwork e o rework. As vendas são feitas diretamente pelo Instagram.

Por fim, mas não menos importante e também apostando em vendas direta pelo Instagram, a Futuree. A marca existe desde 2018, aposta no reuso criativo de peças garimpadas em brechós e tem envio para todo o Brasil.

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O que é upcycling na moda e quais marcas se destacam nesse meio " STEAL THE LOOK

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Você provavelmente já ouviu falar sobre, mas talvez ainda se pergunte: o que é upcycling? Hoje respondemos a essa pergunta com uma investigação sobre o assunto, cada vez mais em pauta na indústria da moda.

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ATENÇÃO: após a confirmação de pagamento são necessários de 3 a 5 dias úteis para condicionamento e expedição do pedido, e o prazo de entrega da transportadora começa a contar a partir dessa data.

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A Coleção Urbânica respira o encontro da natureza com o essencial de nossos sentidos. Pensamentos, ruídos e texturas imersos na quietude. Malha biodegradável é utilizada em modelagens amplas com movimento e leveza. Shapes ajustados ganham estrutura com a malha dupla face.

Um mix onde o conforto se destaca em peças como o macacão, pantacourt e tee, a praticidade com vestido dupla face e a funcionalidade em tops e shorts esportivos. Contemplar a natureza, ressignificar o tempo e o espaço. Transformação natural que flui, filtra e inspira a mente.

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A Coleção Urbânica respira o encontro da natureza com o essencial de nossos sentidos. Pensamentos, ruídos e texturas imersos na quietude. Malha biodegradável é utilizada em modelagens amplas com movimento e leveza. Shapes ajustados ganham estrutura com a malha dupla face.

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Reptilia | Moda com Design e Sustentabilidade

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Um projeto de moda, design e sustentabilidade que foca em criações únicas, utilizando materiais especiais, acabamentos artesanais e tecidos tecnológicos. Isso é Reptilia!

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moda #roupas #aloof #aloofcl #aloofclothing #modaunissex #roupaunissex #ecommerce #lojaonline #lojadamoda #store

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The non-binary pride flag was created in 2014 by Kye Rowan. 

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The non-binary pride flag was created in 2014 by Kye Rowan. 

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YELLOW represents people whose gender exists outside the binary, PURPLE represents those whose gender is a mixture of – or between – male and female, BLACK represents people who have no gender, and WHITE represents those who embrace many or all genders.

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Calça

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Moodboard A1 (26/08)
- 5 croquis das famílias

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Gen Z
Tiktok

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Al. Julia da Costa, 102 - São Francisco - Casa 102 E-mail: kamilaolstan@gmail.com Whatsapp: 41 99256.5934

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Produzimos mais de 20 tipos de fios, e infinitos tingimentos vegetais, centenas de tecidos e produtos para decoração.

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Marca não binária