The designs of De Carvalho emerged from his exploration of museums, fine art, and his own self-discovery. 

The collection by Brian De Carvalho was heavily influenced by his fascination with 18th-century fashion. Carvalho’s interest in macabre influences and styles aids in a collection that explores the various torture methods used in this eclectic period. A classic 18th-century silhouette is always what Carvalho uses, but always with a darker twist- using moments from history such as the Ripper Murders but also drawing inspiration from his own personal life. His designs are walking artworks that play with elements of darkness and despair. 

Struggles for emancipation are a theme prevalent within Carvalho’s collection. In each silhouette, the juxtaposition of freedom and being trapped is omnipresent. Starting with his desired silhouettes, the designer looked into corsets and how restrictive they can be, as well as the lengths women went to look beautiful. Carvalho saw the resemblance between the oppression of women in the 1800s and what queer people go through nowadays. Each garment is carefully made to appear delicate yet imposing, with each piece having to overcome some form of restriction: of course with that in mind, the collection is based entirely on a “false sense of freedom”. 

From an instrument of constriction for the body and representation of minority status for the female gender; to a celebration of the wearer’s figure: In what ways does your new collection reinterpret traditional corsetry?

My pieces have always been about extremes, whether it be extreme silhouette to extreme discomfort. The corset/stay was meant to be a shaping product/piece—an item of clothing to give off the desired silhouette for women back in the 1800s onwards.

Obviously, as society evolves past these beauty ideals and necessities, my pieces serve to create wearable dramatic art! Having elongated horns sticking out the front/top to frame the face or being made from materials that we wouldn’t dare hide or cover up. It’s about being strong, visible, and proud.

The 18th century birthed the neo-classicism movement. Do any of your pieces draw inspiration from this movement? 

I think all of my pieces, in general, have very classical inspiration behind them; I tend to mostly pull either from the 1800s or the 1950’s tiny, cinched waists as opposed to massive, large skirts. I find myself toying with the gentleness of “femininity” and the brutalism of “masculinity”.

I love that your collection relates historical themes to modern-day queer issues, can you elaborate on this

The entire collection is based on a false sense of freedom which I believe, we all in one way or another can relate to, you can obviously see that I took one of my favourite childhood movies (The Matrix Series) as a way to display that, this idea that we are able to be who we are and that we are free to make our own choices, but actually, we have many constraints working against us, whether it be a large draping skirt that allows you to run freely or a cinched corset that restricts your breathing let alone allow any movement to be made.

Of course, Here in London we may not notice it as much, or see it as much but there are thousands of people who aren’t permitted to live their true authentic selves, whether it be our Trans brothers and sisters or anyone else who falls within the spectrum.

We have all heard about the challenges women have faced over the decades but only now are we starting to hear the faint cry of the struggles the queer community face and have faced show up in mainstream media.

What is your brand philosophy?

Our Brand Philosophy is “By Any Means Necessary” and what that means is that we will make a mark no matter what and we will push this message as much as we can, we don’t create these elaborate excessive garments simply because we want to (even though it is very fun) but we do it because attention needs to be brought to these people and their messages. We want to be seen; we want to be heard … like everyone does.

Your garments honour both female and male silhouettes. How would you describe the relationship between the body and your designs? 

I find my pieces are either in constant battle with the human form or beautifully synchronised with it, my garments either repel the human form almost to shape the body into becoming otherworldly, or it caresses the human form to display it, it its most organic form. And I believe we need both. To accept what we are but also explore what we could become.

Can you explain how your reflective hi-vis corset works? Or what materials are involved in making this piece? 

Hhahah the Reflective Serena Corset was a fun idea I randomly had! I was trying to piece together this random string of ideas I had one night, and I was extremely focused on “being seen/visible” but I didn’t want to work on massive silhouettes that would take up the whole room.

Instead, I thought, if I was in a dark room full of people how would I Shine my light elegantly, discreetly calling the attention of everyone around.

Immediately I thought of the nightlife where queer bodies and the outcast are left to roam and shine-free, Then the Reflective Hi-Vis Serena Corset was born. 

However, I guess it’s quite comical that I used a fabric that most fascist/homophobic men (construction workers usually) wear to adorn queer bodies.

I always somehow end up highlighting the opposing forces.

There’s often a sculpture-like approach to your garments; what’s your creative process like?

Ohhh yes! 100%, I have a fine art background- so I wasn’t really taught how to think like a fashion designer, I spent 3 years in university trying to justify that what I was doing was a form of art, and I found myself referencing sculpture a lot.

A lot of the time I think about the shape of the piece before I truly make any further decisions on it. I think about how I want it to sit on the body, how much space I’m wanting to take up, and how it’ll make the person feel, power is always at the heart of what we do.

You mentioned that the juxtaposition between freedom and being trapped is a theme within your new collection, is there a piece that best displays this contrast? 

I think the pieces that easily display this is the Trinity Dress and the Esmeralda Dress, both have my signature corseted bodices (with a new little twist) but then have these exuberant skirts that allow complete freedom of movement, The Trinity however is still extremely heavy so, in theory, you have the space to be free, but you need to find the strength to truly move and become free.

The Esmeralda is completely lightweight and airy, the true emotion of what it means to own who you are and move freely within the space you’ve created for yourself.

Last question, what’s next for Brian De Carvalho?

Well, it’s hard to say, this is the very first time we have ever been able to release or even make a collection, we have always been a one-off/ custom business so it’s very exciting that we are able to grow in this way. I hope this collection allows people to see that we are trying to elevate what we do and truly become the brand we want to be.

Words by Chanelle Jassim

^{Header image courtesy of Brian De Carvalho}

The post Interview with Brian De Carvalho: Capturing the Movement Within the Constrained appeared first on Voir Fashion.

While the term influencer has been around since the late 1600’s, our contemporary use of the word only came into the dictionary in 2016 as social media marketing began to sky rocket.

It is particularly since the birth of the modern influencer that ‘Instagram Makeup’ has become the driving force of sales within this overcrowded industry. Since YouTube began in 2005 and Instagram in 2010, makeup artists and creators have been using the platforms to teach and showcase their talent, providing the average cosmetics enthusiast with a greater knowledge of makeup artistry without professional training.

Similarly, drag has been a part of pop culture since the 80’s and 90’s, with RuPaul carrying the torch. His appearance in music videos, #1 on the Billboard Club/Dance playlist, and worldwide international influence, named him in the annual Time 100 list of the most influential people in the world in 2017. But it was his contest show, RuPaul’s Drag Race, which began in 2009, that without a doubt paved the way for the abundance of drag influence in modern popular culture over the last 10 years. It remains one of Netflix’s most popular shows, and has earned two International spins offs in the last couple of years: Drag Race Vietnam and RuPaul’s Drag Race UK.

RuPaul for M.A.C’s Viva Glam in 1994 & Winnie Harlow for M.A.C’s Viva Glam in 2019

Drag and the beauty industry have always had an entwined relationship, as RuPaul was the first face of M.A.C’s Viva Glam collection of lipsticks in 1994; raising money and awareness for HIV/AIDS at a time when the pandemic was dramatically affecting fashion communities and the wider world. This iconic campaign was recreated by Winnie Harlow for another Viva Glam collection this year in celebration of its 25-year anniversary. Ex-Drag Race alumni such as Miss Fame, Trixie Mattel, Detox and Kim Chi to name a few, have also either released their own makeup brands, or collaborated with existing brands for their own collections.

For a while, drag has infiltrated itself into our makeup bags, in more ways than one.

Many of our makeup techniques have come directly from the craft in both name and method. Contouring, which was originally used by queens to make their typically masculine features to look more effeminate (ie. creating a smaller jaw and nose), or to imitate celebrities, is now a fundamental element of our everyday routines. Similarly, highlighting and baking have been drag coined terms since the 80’s/90’s – passed on by word of mouth or taught by ‘drag mothers’ and veterans.

For most, the contouring we know and have come to love was undeniably popularised and introduced by the Kardashian clan circa 2012, after a picture of Kim in unblended contour went viral and was replicated all over the internet. As ex-Kardashian makeup artist Joyce Bonelli told Vice– “Its transformational makeup… I’ve taken notes on drag anything and everything… Its where I first saw transformational makeup.”

This ‘transformational makeup’ is most commonly termed as ‘Instagram Makeup’ – a makeup trend aiming to give the illusion of a real-life filter and Facetune. Tutorials made by the most popular YouTube and Instagram influencers such as Nikkie Tutorials, Jeffree Star, and Nikita Dragun, more often than not use a full coverage base, with colour correcting, full contour, eyelashes and just about anything else you can imagine – it’s all pioneered by drag.

Controversially, YouTuber and makeup artist Wayne Goss stated back in 2015 on his channel, that he believes the image of Instagram makeup is damaging, as by using drag techniques without diluting them down for everyday wear it is creating an unrealistic image of ‘real’ makeup:

“The purpose of these drag queen techniques is to transform a male into a heightened female. When girls who already have female faces and feminine facial features apply the same techniques, it can actually have the opposite effect on them and make them look masculine… Yes, it will photograph amazingly well but it looks heavy.”

Another issue that is occuring with growing popularity of Instagram makeup is its impact on those who use social media the most. It is abundantly clear that influencers are largely ‘influencing’ the young. On average, 63% of 13-14 yr old and 78% of 16-18 yr old American teenagers used Instagram in April last year, and 60% of all Instagram users aged are between 18 – 24.

Increasingly we are seeing young women and men in their tweens and teens in full coverage makeup looks, replicating the look of these ever-growing young influencers such as James Charles. Instagram makeup is blurring the line between expressing creativity with cosmetics (much like drag), and what is a just standard makeup look.

Not only is there now even more stress on the expectation to look a certain way than just five years ago, the increasing cost of having all the right makeup products is an added stress too.

One of the fundamental issues surrounding drag queens and the beauty industry however, is the lack of recognition they get for their influence. It’s important to recognise them as pioneers of the industry. Children are struggling to this day due to bullying or abuse over their sexuality, and the worryingly recent mass murder of many LGBTQ people at Pulse Nightclub in Florida (which showcased Drag acts) in 2016, proves it is vital more than ever to recognise and support those who often go unsupported. Giving due credit and recognition to those who have helped to build the beauty industry to become a multi-billion-dollar one that it is today, is certainly a step in the right direction.

Artwork by Sasha Green

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The post Drag Queens: Pioneers of the Beauty Industry. appeared first on Voir Fashion.