It is not new that fashion goes far beyond clothes and, yes, about genuine experiences

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Tete Oshima runs the one-woman brand, full of <a href="https://www.revistalofficiel.com.br/moda/acento-feminino">memorable references</a> from a universe of its own.

Certain people have a very private compass for navigating through troubled times. The magnetic figure of Theodora Oshima is one of them. Amidst the lockdowns that put the fashion market on hold over the <a href="https://www.revistalofficiel.com.br/cultura/desmatamento-na-amazonia">last few months</a> , she found herself launching a brand that carries, in addition to its name, many of its internal reunion processes.

A young designer, Tete had powerful godmothers in this beginning of her career: from her mother, who supported her dream of going to college in fashion, to stylist Hel&ocirc; Rocha, with whom she worked for five years after graduating. Singer Linker, the first to order and wear some of her looks in costumes, gave the label the breath of love that needed to exist, in the beginning of 2020.

&ldquo;I started there and never stopped. Soon after, there was the pandemic and that feeling of zero perspective and a lot of general fear. But I am of the opinion that we cannot stand still, so I rescued all the desires I had, a long research process that I had already been developing, and I launched my first collection in September&rdquo;, recalls the stylist. Produced 100% in a remote format, the clothes reflected much of the wardrobe wishes of the isolated creator in quarantine &ndash; who also acted as a fitting model and from the photos themselves. At the same time, they reflect a way of bringing to the world a connection with their identity facets, from the process of gender transition to a dive in connection with Japanese culture, due to family roots.

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With its one-woman-only brand, Tete talks a lot about working fashion the way he believes and that makes sense for this period. So much so that the clothes are made on demand, with possible adjustments to the clients&#39; measurements, within a viable format for today&#39;s times. &ldquo;I&#39;m a bit of a dreamer, but the brand was born at a time when I had already learned to have my feet on the ground. The first collection was a big &#39;putting out&#39; of what I wanted to do&rdquo;, which translates into a mix of ample forms with the sexy-fashionist of the elastex ruffles in neutral tones (with the exception of red, its color -fetish).

The new phase, which she will be exhibiting in the next virtual edition of Casa de Criadores, already promises a post-intensity maturing of reactions for the debut on social networks &ndash; the mood will be of sunnier colors, embroidery and silhouettes close to the body. &ldquo;It&#39;s a challenge to adapt what I want to do, filter out the interests, but continue to insert my identity in a way that creates desire in people.&rdquo;

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From collective movements, Vicenta Perrotta reverberates new spaces of defense for transvestite bodies within fashion.

There&#39;s an impulse for change in the air, have you noticed? With all the discussion about respect and space for non-binary genres, the culture industry embraced with force (and force) the existence of manifestations that were left aside from society. From singers like Urias and Linn da Quebrada to models, actresses and representatives in the political field, they gained evidence by acting as a large group that protects itself. In the fashion industry, this course is no different.

One of the main powers in this scenario, Vicenta Perrotta maintains herself as a channeler of creative strengths that are not part of what the world formalized as &ldquo;standard&rdquo; &ndash; and uses her textile art work to fight against normativity. &ldquo;It&#39;s a process that has been organized for a long time. Transsexuals and transvestites were never part of the workforce, placed outside capitalism. So, the union shifts our energy to build this common support and claim our spaces&quot;, reflects the creator, 
which has maintained Ateli&ecirc; TRANSmoras for eight years, within an occupation in the student residences of the University of Campinas.

Vicenta&#39;s research opened paths for what she proposes as new imagery opportunities: &ldquo;We build a garment for this body, which is transmuted because it appropriated so much information it receives&rdquo;. Its dynamics come from exactly what the consumer society discards: the excess of clothes that, redone and sewn, invent new silhouettes. &ldquo;Our bodies are seen as garbage, but we see political power in garbage. It is a movement to go against the industry, which wants to hold all power. We broke this fashion cycle to build new possibilities, using self-sustainable processes with this industrial waste.&rdquo; With an almost anarchist thought, the artist&#39;s textile transmutation is not just in her hands. On the contrary: acting with an open source creative thinking, she wants to make a deeper impact within the community, which spreads because of the shop window she managed to build, infiltrating spheres of the fashion market, such as the Casa de Criadores. &ldquo;This outfit brings an annoyance and produces a wave of reactions from people who are shopping, parading or watching. This makes them see new possibilities. The idea has always been to train more transvestite people to increase this cycle&rdquo;, he explains. As a result, her parades have become large group constructions, as well as the various sewing and creation workshops she carries out. Result? A series of new characters convey the idea and form collectives across the country, reaffirming this free and detached construction of cisgender society.

&ldquo;Every person who makes a piece has a unique experience. This puts the transvestite in another cycle, in addition to the fate that has always been imposed, prostitution, the street and hunger. It starts working in this unalienated field, makes money circulate among us and reviews our consumer strength. We displace technologies to create a possible world to live with dignity and defend ourselves from what is bad for us&rdquo;, he says, treating fashion as a frenzy for political expression but also as a path of knowledge and, notably, of combating transphobia. &ldquo;Violence has always crossed us. But we have our culture, we create our celebrities, people we use as role models. Our talent is our crossing point.&rdquo;

Building Identities: Fashion beyond Clothing

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