by Sofia Craveiro

We had the chance to talk with Eduarda Abbondanza.
That talk was absolutely inspiring. There are no words to describe the power, truth and pureness of the thoughts she transmitted.

Thoughts like: “Changes are happening. We are just too numb to be aware of them” or “It’s not the tools that make things happen. It’s the people”, “It seems like the whole world fell asleep” these quotes are priceless lessons about the way we face life.

We spoke about fashion, designers, politics, democracy, culture and lack of knowledge and the way all those things are connected and influence every aspect of life.
The importance of culture and education to gain freedom of thought was more that clear. In fashion and in life. As Humans we can do better. We should do better.
The following text in an attempt to transmit a bit of the effortless strength we saw in that room…

Portrait by Rui Palma ®

Portrait by Rui Palma ®

Eduarda Abbondanza:

I’ve always faced fashion as something that requires experience.
I did an internship with Ana Salazar because she was the only fashion structure in Portugal. I wanted to understand her way of working. She organized things by season and handled with international suppliers and buyers. My interest was to learn everything I could with her because I knew I needed to gain business expertise. You can’t decide your creative direction if you don’t understand how the process work. That’s why I did that internship.

With Moda Lisboa the plan was to have a structure to show the work made for my brand – the one I had with Mário Matos Ribeiro.

Moda Lisboa is not a management structure. It’s much more than that! Moda Lisboa has a huge creative potential. And it is, in fact, a design project. It is thought with a concept that involves research, that leads to a moodboard…

My brand eventually was left behind because I never liked the atelier work anyway. It was very violent for me. I wanted to do fashion without having to show myself. And everything I did had to pass by me or Mário. One day at Príncipe Real I passed by a woman wearing a white shirt and jacket designed by me. She could have worn any white shirt she wanted but she wore mine, without knowing who I was. At that moment I realized that’s what fashion is all about: the piece, not me. I loved that. It made me had that “click”: “this is fashion!”. It’s not about me, it’s just about my work.

We were utopic in this way. I was utopic.
Of course this happened in the 90’s. Those were extraordinary years.

I was just watching some documentaries the other day and really thought about what an important time for fashion that was, due to a great freedom for culture and arts. All art needs freedom. Prohibition doesn’t go with creation. “Forbidden” is a word that doesn’t match with art. It doesn’t.

Of course there are segments that need to be protected (like the children for example) but in general, the people need to be free to choose. Choosing to see, to go, to like, to buy, to live…there’s no other way to appreciate things. But it always depends of course. We cannot analyze Instagram, for example, and think that everyone uses it the same way.

At the end of the day people have all kinds of tools in their hands. Those can be used in the right or the wrong way.
For instance, democracy – which for me it’s the only possible political regime – I value democracy a lot but it needs to be taken care of. It only works if you live in a society with culture and education. With the economic crisis, countries started doing cuts exactly in those sectors and that leads to a lack of judgment by the citizens and then democracy doesn’t work properly. And future generations are threatened. People just criticize and react negatively to everything without being up to date. In a democracy people have the right to choose. The important thing is to choose wisely, and a wise choice can only be done if people are informed and most of all capable of being critical with information they receive. It’s important to build a responsible opinion and not just follow the flock. Otherwise democracy is under threat. 

I think the digital subject is a lazy one. It seems the whole world fell asleep. We are numb. We don’t know anything anymore, we can’t remember a thing. History and culture are connected with the past, with the ability to remember things. Before, I memorized the telephone numbers of all my friends. Now I don’t even know my daughter’s and maybe without sleep I won’t even recall my own!

Anything you need to know you search online. You don’t have to memorize anything anymore, so we just don’t train our brains.

People have information, that’s a fact but you also need to have culture to access the right information. To know what to look for. If your dimension is small, if you don’t have any culture, you’ll be searching for what makes sense in that small dimension, because you don’t have the capacity to go further. It’s not the tools that make things happen, it’s the people. The human being is the center of everything. The fact that everyone has the same devices doesn’t mean everyone will do the same things with them and react the same way.

We can’t let our brains become numb!

What worries me the most is the possibility of democracy losing its efficiency. Why? Because I was born analogic in a dictatorship and when we gained freedom we were already entering the digital era. To go backwards would be just…no. I’m sorry, no.

Changes are happening. We are just too numb to be aware of them. I realized Trump would win the elections the minute I saw people against Obama. That really affected me.

If you don’t have the ability to analyze and think about what you see and read, you just go with the flow and never really understand things properly. This is the main issue, I think.

People need to have more culture and thought in order to be free to evaluate. That is purely related with democracy/freedom and with the reasons why we created ModaLisboa. In the past, Portuguese fashion designers would have to emigrate to work in fashion. We wanted them to have the same opportunities as other European citizens, but they needed to learn first. So, the first editions really functioned like a masterclass for the ones who wanted and had the skills to work in fashion. We worked to give them freedom.

Now the times have changed. We went through many different phases.

Sometimes we didn’t understand clearly the creative vision of the designers. But I don’t think I have to do everything and always tell people what I think. I just need to build a structure that allows them to learn for themselves. The market will respond.

In Sangue Novo (New Blood), for example, we only choose accordingly with the quality of the candidates we have. There are eight spots but if there are nine good candidates we can turn it around. The same thing happens if we only have five good ones. We are not going to select more people just to make a number. We only work with those who are worth for. Never let external pressures of any kind affect our working base. We work based in talent. And that is utopic, very utopic. We search for merit, no matter where it comes from or whom it’s related with. We had many problems in the past because of our way of working but it’s the way of work we believe in. We look for greatness, only that.

So we work to give freedom to that greatness.”

Thank you Eduarda Abbondanza.

WAM Journal - INTERVIEW with Luis Carvalho

by Mafalda Neto
10 Questions to the Fashion Designer Luis Carvalho

Photo by Kid Richards


1 – Let’s start from the initial stages of your career.

   I was 15 when I decided that I wanted to study Fashion, after a lot of going back and forth between fashion and architecture. When I had to make the decision Fashion won, so I took a professional course in Guimarães. Then I went to college in Castelo Branco to study in Escola Superior de Artes Aplicadas where I took a 4 year degree in Fashion Design and Textile. I then came to Lisbon to intern with Filipe Faísca for 8 months. Working in his atelier was a wonderful experience because I see him as a reference. Then I worked with Ricardo Preto as an assistant which was different but just as enriching because he was more focused on styling. I was with him for six months and then I went to work in a Miguel Vieira’s store temporarily just until I got another job.I then moved and I was back in the north of the country and started to work at Salsa Jeans, as a designer. I stayed there for two and a half years and it was a completely different experience but also a crucial one. Working with the industry, with suppliers, deadlines, clients was a solid base for what I’m doing today. In 2013 I decided to create the brand Luis Carvalho. I did a capsule collection so people would understand what my brand was and the brand’s image. I contacted Lisboa Fashion Week to see the possibility of entering into the LAB. I had a few meetings and it wasn’t easy. Everyone thinks it’s just a matter of knowing the right people. It isn’t. I had to work hard and defend my work so they would believe in me and understand that I wanted to work in Fashion, not just for a year or two but for good. They believed in me since October 2013 and I’ve been presenting in Lisboa Fashion Week since then.


2 - Was it always your dream to be a stylist? Was Fashion a passion since you were a kid?

   My mother owns a Textile Company so I grew up surrounded by fashion. I don’t know if that ended up having an influence on my choices. But I really liked architecture too. I remember being little and drawing blueprints of houses and thinking about how I would organize spaces. I also liked the fashion world a lot and I used to watch my mother and my sister and I played with pieces of fabric and that’s when I started to realize I was really into fashion.


3 -  What excites you the most about your work right now?

   Right now is creating new collections. I think that’s always so challenging because I always try to beat what I did before. I think what I enjoy the most is seeing someone wearing my clothes.

4 – How does your creative process work? By intuition?

   Sometimes is hard to get started but when I do it, it all comes out naturally. Usually I think about something that I want to do. Some detail I saw that I want to work around or some image that I recorded that inspires me. And from that I start to build up the concept and to see materials. Some other times I see some material I really like and build the story around it. Nature can be very inspiring. Also before starting to work on new stuff I always watch my previous shows to see what worked and what I didn’t do so well so I can always do better.

5 - Do you think travelling and getting to know other cultures is important for your professional and creative development?

   Travelling is super important. Whenever I can I’m travelling! I’ll actually be in Thailand in a mix of work and leisure and I’m sure that I’ll be very inspired to do something in the future. Not this next campaign - which is already being prepared and finalised - but for something in the future. It’s very important to travel and to meet new people because it broadens our minds and even for our creative process it can be very good to go through the experience of travelling.


6 - The collection you presented in Lisboa Fashion Week Spring Summer 2018 was titled Eagle Eye. What are the main characteristics you stand out in your collection?

   Maybe the textures and the precise and detailed work on the fabrics. Also the colour range using pastel colours, very soft. And I like to build the collection creating an harmony of colours to be pleasing for the people that are watching the show. 

7 - With your recognized talent we need to address your internationalization as a designer and as a brand. Do you see as essential to show your collections in the big Fashion Centers?

   Totally. I think it’s a goal and I’m working on that. Analysing the best strategy and if it’s better to have my own showroom or to give it up to have it abroad. But that implies other investments. So everything will have to be very well planned. I’d rather have a showroom if that brings me sales because that’s the most important thing for a brand to grow. After that comes everything else. I already had some proposals to do a show in Paris, New York and Milan but that would imply other things and I don’t want to be just another designer. I rather wait for the right moment and do things at my own pace, and maybe the showroom is more important for the brand for it to be more independent and more stable financially.


8 - If you got a job offer to be a designer for a big international Fashion House would you take on the challenge or do you want to be exclusively linked to your own brand Luis Carvalho?

   I think I’d say yes. Any designer that has a proposal like that would say yes. It wouldn’t necessarily mean the end of my brand. I could take some time off or work on both simultaneously. Although it would be very complicated but I think yes, for sure. It’s not my final goal to be a designer for a consecrated brand but if an opportunity like that steps up I will definitely consider it. But I am focus on my brand and if I’m working on it it’s because I believe in my project. 


9 - What are the goals you still aim to achieve?

   The brand’s becoming international and to stick around for many, many years.


10 - Generally what’s your vision about fashion in Portugal?

   I think we have a lot of potential but I think sometimes people don’t see this as a business. I notice that in the younger generations they forget this is a business. It’s not just go there every six months and present a collection just because it’s cool. In the beginning I felt that I did two presentations and thought ‘this is always going to be like this and we’re not moving forward’. Now, I want to sell more. I want to reach other audiences. I need to have more goals. And I think the younger people here don’t think like that and all they want is to be famous. But then I see others who do the effort and are always trying to get out because Portugal does not have a market big enough for all of us. It’s very hard to thrive depending only on the Portuguese market. I feel that in the stores where I sell my clothes people buy them, but if they had something by Gucci, they would buy Gucci instead. That’s hard on us. Because more often it's foreigners that give us credit and bet on Portuguese brands.


All the pictures in this article by Kid Richards.


by Raquel Cássio

At the Lisboa Fashion Week SS18 the top model Maria Borges made history by opening and closing the Filipe Faísca’s show and leaving the audience astonished with her iconic walking. WAM Magazine sat for a moment with Maria to find out more about her work, thoughts and goals.



Did you always dream of being a model?

I dreamed of being a model since I was fourteen/fifteen.

What thrills you most about your work?

To be able to continue working in the fashion field, being in campaigns, magazine covers, building friendships that will always last and taking care of my family.

What was your biggest professional challenge so far and what are the goals you still expect to reach?

I’m so happy about all the projects I conquered and that I never thought I would do. What I want to do now is keep working, achieve more contracts besides the one with L’Óreal and launch my charity foundation.

Who is the icon in the fashion world you most admire?

I admire all the supermodels, especially the black models because they opened doors for the fashion world. One of them is Naomi Campbell. I had the pleasure of working with her several times and I’m really happy because she supports me as well.

sony 2-110.jpg
sony 2-111.jpg


What is your thought the moment before you start walking on a catwalk?

I always think this is the moment I was expecting and this is the moment for me to shine and give my best.

What is the oddest photoshoot you would like to pose for?

[Laughs] I think all the photoshoots I posed for I had to impersonate a character, so I’m used to that. Who knows I really enjoy challenges. By being a model I’m in the artistic world, so I can always expect a bit of everything.

What is the feeling of being the new cover of Vogue Portugal and of being again at Lisboa Fashion Week?

I feel so happy and proud because Portugal has been supporting my career since the beginning, when I started my international career. To come back to Portugal every year is a blessing since I already have friends and family here. And about Lisboa Fashion Week it is always a pleasure to be here.


All the pictures in this article by Kid Richards.

15th July 1997 – The Day Gianni Died

by Mafalda Neto


20 years ago one of the most acclaimed fashion designers in the world was shot and killed while he was returning to his South Beach home in Miami, Florida after his morning walk.

Gianni Versace with Kate Moss/ Patrick Demarchelier

Gianni Versace with Kate Moss/ Patrick Demarchelier

Gianni Versace was 50 years old and left an unaccountable legacy as well as an empire worth more than 800 million dollars.

Versace was born in 1946 in Reggio Calabria, Italy. He moved to Milan in 1972, where he worked as a freelancer designer until he opened his first boutique in Milan's via della Spiga in 1978. Within 10 years he became one of the most creative, genious and successful fashion designers at a global scale.


Throughout his career Versace designed stage costumes for worldwide celebrities like Elton John, Madonna, Eric Clapton, Diana Princess of Wales, Sting, Duran Duran, Cher or David Bowie and worked with some of the most memorable super models like Christy Turlington, Naomi Campbell, Linda Evangelista or Kate Moss. He was one of the first designers to link fashion to the music world.

In 1989 Gianni Versace introduced Versus as the first diffusion lines by the house, a gift by the founder to his sister Donatella Versace. Versus was known for its distinctive rock-chic look that Donatella favoured. Versus grew to include menswear, fragrances, and its own (sub) diffusion line, Versus Sport, headed by Versace's life partner, Antonio D'Amico. During 2004, when the company was facing a downturn in profits, Versus was reduced to a limited collection of accessories, eventually being shut down with the final show, the menswear Spring/Summer 2005.

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Twenty years later, his name still has an enormous power in the fashion industry and his life and death is the inspiration for music lyrics, movies and tv shows and the motivations for his assassination still remains a mystery.

Gianni Versace with Shalom Harlow, Linda Evangelista, Noami Campbell, Carla Bruni, Veronica Webb, Karen Mulder, Stephanie Seymour & Christy Turlington at a backstage of his fashion show

Gianni Versace with Shalom Harlow, Linda Evangelista, Noami Campbell, Carla Bruni, Veronica Webb, Karen Mulder, Stephanie Seymour & Christy Turlington at a backstage of his fashion show


                                                                 by Rehana Nurali

You’ve seen him taking the lead of Vogue Portugal for the past 15 years but who is in fact Paulo Macedo? Take a look at WAM’s latest interview and find out.


What did you want to be when you were a kid?

I remember I wanted to be an archaeologist. I think that was due to my fascination with Egypt. I asked my parents more about it and they told me that there were still excavations, sphinxes and pyramids so I just became obsessed with it. I knew everything about Egypt on the tip of my tongue and I also remember that I was like 7 years old and all the other kids at school were playing football while I was reading the Tutankamon’s book. 

After came Greece and then Rome and the main things that attracted me to that were the clothes and the images. I studied a lot. I saw many movies and their wardrobes and I was wowed with all of it. Then one day in my grandmother’s house I found fashion magazines and I started to find it interesting but not because of the clothes. I don’t remember the clothes. I was attracted to the photos, to the colors combination, to the stories and to taking that to the extreme. 


Has fashion always been a passion?

Yes, I decided I wanted to work in fashion but at the time I wasn’t sure about what I wanted to do exactly. I did a fashion design course but I soon realized I wasn’t good enough for it because that was creativity at a different level. I’m creative but in other ways. If you want to be a designer you need to be a genius like Marques Almeida or Felipe Oliveira Baptista. You need to be one step ahead and I wasn’t. However that happened in the late 80s, early 90s where you didn’t have many job options in fashion. What I knew is that I liked to grab the past and throw it to the future. 

After I finished my course I started to work as a model and let me tell you that I learned much more working as a model than while I was in the fashion design course. When I was working as a model I found out that there was a job in magazines where someone said “this is how the story is” and so I realized that was me. I used to call myself a fashion producer but that wasn’t the right term because the fashion producer is another person. That’s how I started. 


How does your creative process work? Is it intuitive or does it involve something more complex?

In the way I work and in the way everyone else works there are things that are intuitive and there are others that are really well thought out. The foundation must be the moodboard, the story, but I only learned that later. However, when you’re making a story for a magazine you need to think about the trend you’re working on and imagine the characters in order to know how each character would behave and what they would like to wear or not. You can think for instance of an Italian movie from the 60s but you should bring it to the present and understand how the character is so you know for example which shoes that character would never wear. After you have this moodboard everything else is just details but obviously there are always things you need to improvise because of things like logistics. 


Is it essential for you to travel and to know the world?

Yes, but I like to travel for leisure. Also the work trips I made were inspiring but most of all they were really helpful for me to realize that sometimes you just have to make decisions.


What excites you most about your job?

The people. There is no Chanel dress that can replace that. It helps of course to make a story but people are the main thing. The creative process is also one of the best things and the worst is the ending because people are usually just really tired. There is also a rush today to get things done. I don’t mind because I’m fast but sometimes the creative process implies that you need to be in front of a computer just doing research and things can pop up like “Ok so Giotto, the painter”, immediately after that other idea can surface until you get to the actual moodboard. But in Portugal that is not seen as work. You can’t just put someone against a wall in a Gucci dress and pretend that that is Vogue Italia because that has already been made. 

I think one of the problems these days is that we get a lot of fast references made in a very recent past and that can be really dangerous because I think that the work of the fashion editor, of the creative director or whoever must be fresh new even if it’s tacky at the time. 

I’m absolutely sure that when Alessandro Michele started to make his collections for Gucci it was a slap in everyone's faces because it was all cheesy but the truth is that he has revolutionized fashion in a way. 


So far what have been the biggest challenges you have overcome at a professional level?

Definitely Vogue because at the beginning to have a Vogue magazine in Portugal in 2002 when there was no fashion and no clothes it was kind of crazy but at the same time thank God that happened because we were completely naive. At first after our first productions in Paris they used to ask me “Who is the booking’s editor? Who should I call?” and I said “Me.” and they answered “But you are the fashion director” so Vogue abroad is such a big machine that at the time for us to be involved in all that is quite exasperating actually. 

There were times when I was alone at the hotel in Paris with packages of clothes and honestly I just felt like crying because there is so much pressure. Everything can happen, castings being canceled, we being in the middle of some show and someone telling us we need to return the clothes in 2 hours, me in the room without anything to shoot. It was insane. The first times were hard because I needed to figure out on my own how things should be done. I couldn’t ask anyone. There were humiliating situations of photographers telling me on a sarcastic way “Me? Working at Vogue Portugal? That would be funny” and on the other hand there were people who were really nice. 

I’m telling this for the first time but at the beginning when I was in Paris there was even a day when I was thinking I don’t have money to do anything. Everyone is with vans and drivers doing things and I was by myself with only one assistant who vaguely helped me. So one day I went to Galliano’s showroom and it was so far and I was so tired that after that I just sat down on a bench in a garden and I stood there for like an hour. I only moved after my phone rang. The first 2 years were so overwhelming and it was for sure my biggest challenge but I also learned a lot so it was also really good. Every member of the team worked at the highest level and their eyes were all towards me. At first I didn’t do things because I was afraid. But then I realized that I just needed to follow my instinct in order for it to work and from the moment you have directions they start to respect you. They might not even like what you’re doing but they’ll say let’s go in that direction. Ultimately, my biggest professional challenge was Vogue, without a doubt.  


How do you describe these 15 years leading Vogue and contributing so much to fashion in Portugal?

It’s been 15 years but the truth is it seems like everything happened yesterday. It was great but it is also hard when you want to do things but don’t have enough money to do it. Despite that, in general, it was really fun and I had moments that were truly amazing. I think that specially in this area work needs to be fun. I guess what’s happening now for me and my team is a well-deserved vacation because something that I can say and with pride is that me and my team have been pioneers and we have paved the way for everyone and everything that will come next. 


What production did you like to do the most?

I’m not sure but the first one I did obviously because besides being my first production it was also with one of my favorite photographers of all times - Javier Vallhonrat. He is just great and I felt so overwhelmed. It was really special. We were in a forest in Paris. The theme was all white and the area was all illuminated and I remember thinking that "this is Vogue" and it’s another level with thousands of people being a part of it. It was unbelievable. Nowadays it’s not like that anymore. Maybe it might still be with some photography genius but not in general. Before we used to do productions in 2 or 3 days and now we mostly do it in one day. Also I actually don’t know if I would have the patience to do it in 2 days because now times have changed and 15 years ago it was all with polaroids, we didn’t have the digital technology we have now. The first years at Vogue just had that taste of a freshly baked cake out of the oven and so it was really memorable. 


With who would you like to work and still haven’t had a chance?

With so many people. I really like new photographers because I enjoy getting a hold of that fresh side they have and that naivety that thank God I also maintained. So more than working with institutions what I like the most is working with people who still have that almost teenage background. To work in fashion and to do new things, otherwise it’s not interesting. 


Which are the icons you most admire?

This is a cliché but in fact I have to say women. Diana Vreeland had a big role in revolutionizing things. She set the bar really high, she made fashion a fantasy and she made it fun. People are not aware of this but the structure of Vogue as we know it today was thanks to her. She created that. She created stories, she used to go to the desert to do a production and things like that. 

I bought a book called Visionaire that was out once a year and it was really interesting because it showed internal letters in the 60s or 70s before emails existed. In that internal mail you could see letters she used to send to other people from Vogue saying “Why aren’t there freckles in this edition? I want it to be freckles.”, “I see a lot of girls wearing torn pants so why don’t you add that?” “I’m tired of pearl necklaces, we can’t use that. Do you think you’re working for your grandmother?”. And this is having a director because she was giving directions like that in the 60s. 

My favorite photographer ever was Guy Bourdin because considering the era it was he completely revolutionized things. Today I think that there are good photographers but I think Terry Richardson is the only one with guts to truly do something different. Besides that you look at his work and you can see without a doubt that it is in fact his work. We can even think that the guy has a kind of perverted point of view but what’s the problem? Because then you see a lot of work from photographers like Mert & Marcus that are amazing but at a certain point it can be confused with Steven Klein’s work for example. With Terry Richardson that doesn’t happen. 

In terms of models I like the older women and the ones that are not really on top of the top list but are still there like Guinevere and Malgosia that I was actually lucky to cast.


You talked about Terry Richardson and he has the simplest line so is there a style line that you like the most?

No, modesty aside, I’m very good at mixing things. In any shooting if I don’t have all the clothes that I need I’m really good at arranging things but that’s a crutch. Now I prefer other kinds of things and looking for challenges because I don’t have a style. I like everything as long as it pleases me. For example I like Versace, I like Comme des Garçons, I like everything that is good basically. 


In general what is your view of fashion in Portugal?

I think that besides rare exceptions we are fools and we still have a lot to learn. We have a lot of preconceptions and there will only be fashion itself when we stop having those. And I’m talking about preconceptions related to everything, including the way people dress. I think that a fat woman in a leopard jumpsuit and high heels can be really inspiring. I think the absence of taste is the worst thing, bad taste is extraordinary. Nowadays I look and I see charisma and power in the suburbs, in the skaters, the graffiters. Much more than in the centre of Lisbon because there you see Gucci, Prada but there is no story behind it. It's just walking clothes and that is boring. 


Professionally what do you feel you still need to accomplish?

So many things! I would love to do movies, to create an online magazine… I think that would be nice because I’m addicted to Dazed and obviously that is done but we here have a thing that is our Portuguese essence. Portugal is an amazing country and with an incredible potential so I think it should be an international magazine but with the Portuguese spirit. There is a wicked side in all of us but we never talk about it so it would have to be something to the world but with our identity, an identity we haven’t found yet. 


Given that you really like Dazed and that it has a completely different line didn’t you feel a lack of freedom at Vogue?

Totally. Every day. I remember the idea I had of Vogue that in 1945 there was a woman named Lee Miller who was a model, editor and photographer and she did the fashion part on the English or French Vogue. She did impressive and beautiful but shocking photos of Auschwitz. Vogue was a magazine that mixed fashion with culture and with images that weren’t pretty. They were powerful and they made history. 

Nowadays you have models like Gigi Hadid, Bella Hadid, Kendal Jenner. I think it’s a shame to go that way but this is just my personal taste. Obviously when you are working with a client like Vogue as much as you want to change things there is always a limit and I have to respect that because I’m not the magazine’s owner. So you need to be aware of the client for who you work and the freedom they give you. If you take risks the public might not like it at first if they see something different but if it’s just the same thing over and over again you’ll just toss the magazine in 2 seconds and never look at it again. There needs to be that surprise factor but not to shock. And that’s the hardest part – to make something that is surprising without shocking people.


by Rehana Nurali

Nowadays technology is becoming essential to every business and the fashion business is no exception.

As brands find new ways to innovate, new ideas surface like Farfetch’s new concept – Store of The Future. The online Portuguese plataform wants to open its first physical store this autumn in London with a concept that will value the consumer’s experience at its maximum.

The launch of this new concept will give Farfecth’s clients a personalized shopping experience as it’ll have an universal login that recognizes the clients as soon as they walk in the store, a digital mirror that allows them to access their wish lists, a fitting room with photo booths, along with many other high tech services.

Having in consideration that digital services have a big role in influencing consumers behavior, Amazon also launched a new device called Echo Look.

This device, with the help of Alexa, Amazon’s famous personal assistant, allows its users to look their best by seeing their looks in every angle, building a personal lookbook and also presenting new brands and styles based on their lookbook choices.

Echo Look also has a service called Style Check that helps its users decide which look suits them the best.

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Ultimately, companies want to innovate by connecting consumers to their products in a way it was never seen before and one of the ways to do it is without a doubt to bet on high tech services.


by Rehana Nurali

Coachella Valley is mostly known for its music event. However until April 30 it will feature art installations from 16 different artists. The pieces are spread across an area of over 45 miles and each piece was made to transmit a different experience. 

Mirage by Doug Aitken | Location: Desert Palisades | 33°50'59.6"N 116°33'57.5"W

Mirage by Doug Aitken | Location: Desert Palisades | 33°50'59.6"N 116°33'57.5"W

Desert X intends to bring awareness to various  issues such as climate change, tribal culture, immigration and others. 

1 - One I Call by Sherin Guirguis | Location: Whitewater Preserve |  33°59'24.00"N 116°39'22.02"W   2 - Curves and Zig Zags by Claudia Comte | Location: Homme-Adams Park |  33°42'23.9"N 116°23'55.5"W                                                                            

1 - One I Call by Sherin Guirguis | Location: Whitewater Preserve | 33°59'24.00"N 116°39'22.02"W

2 - Curves and Zig Zags by Claudia Comte | Location: Homme-Adams Park | 33°42'23.9"N 116°23'55.5"W

3 - The Circle of Land and Sky by Phillip K Smith III | Location: Frank Sinatra Dr & Portola Ave, Palm Desert | 33°46'33.3"N 116°22'07.3"W


For more information about this first edition of Desert X you can visit the official website:


by Rehana Nurali

WAM Magazine is all about presenting the best quality in everything we do that’s why we teamed up with Embassy - Niche Perfumery to give an exclusive and unique touch to our WAM Covers. Ricardo Claudino is the person responsible for this store located in Lisbon and for bringing this new concept of niche perfumery to Portugal. WAM Magazine talked to him to know more about how this project was created and about his plans for the future. Take a look. 

Embassy - Niche Perfumery Store in Lisbon - Rua Rodrigues Sampaio 89

Embassy - Niche Perfumery Store in Lisbon - Rua Rodrigues Sampaio 89

We know that you’ve already worked as a model, nationally and internationally. So how did the transition to the world of perfumery happen?

This passion was born precisely when I was working as a model because I used to travel a lot and when I had free time one of my favorite hobbies was to visit different perfumeries from each city, especially Milan. At that time I had no deep knowledge about perfumes so the most important thing was just to try new scents and new olfactory sensations.


What distinguishes Embassy from other perfumeries in Portugal?

Embassy is a place where you can actually talk about perfumes and where the highlight are the niche perfumes, the ones that you can’t easily find elsewhere. At Embassy you’ll feel comfortable in a cozy environment but at the same time you’ll also have a selection of the most exclusive brands and projects of independent perfumers.


How do you choose the perfumes you have for sale? Do you travel to the countries where they are made?

Embassy’s portfolio was designed to contain a little bit of everything, from the delicacy of the orange blossom to the wonderful natural oud scent. Nowadays with the internet we are able to reach every brand without having to travel. However quality is the most important feature for us so we always travel to the ateliers where the perfumes are made so we can get to know more about each brand’s DNA.


Which are the main brands people can find at Embassy?

People can find really important brands in terms of niche like Heeley, Andy Tauer, Stéphane Humbert Lucas, Laurent Mazzone, Floris, Pure Distance or Hervé Gambs.


What is the minimum and maximum price of a perfume at Embassy?

As the name itself indicates, Embassy is a space open to all perfume lovers since perfume is the most affordable luxury good of all. Therefore each person will be able to find a perfume suitable for their budget.


What do you like most about your job?

What I like the most in this area of niche perfumery is the mind travelling power perfumes have. Either it’s travelling to the past because scent has this power to connect us to memories or just travel through our own imagination.


What do you like the least?

What I like the least is to feel that in a country as developed as Portugal, Portuguese people haven’t discovered yet that niche perfumery is an experience that everyone should have. One thing is certain, once a person has their first experience this becomes a one-way trip because the stories and the quality felt in niche perfumery won’t allow them to try anything else.


What are your prospects for the future?

I believe that future perfumeries will be like Embassy. Spaces with a direct and close contact with the clients, who know their preferences, which perfume is best to use at any given time and who have a deep knowledge about each perfume’s component. We are moving towards a future in which exclusivity and authenticity are increasingly important.