Mockery, irreverence, and an underground spirit defined Alexandre Herchcovitch’s latest collection, presented at São Paulo Fashion Week N59. Breaking with initial expectations, the designer chose Blue Space — the iconic São Paulo nightclub — to set the scene for the Herchcovitch;Alexandre show.
Founded in 1996, Blue Space has established itself as one of São Paulo’s main venues for drag queen performances, becoming a must-visit spot for the LGBTQIA+ community. On an unexpected Monday (April 7th), the nightclub was transformed into a vibrant runway.
The set featured a structure about one meter high, extending from the main stage across the dance floor. There were no chairs or assigned seats: the audience, which included notable guests like Costanza Pascolato, Adriane Galisteu, Urias, Valentina Herszage, and Marcia Pantera, stood on either side of the room.
Under ultraviolet lighting, the work of Hector Albertazzi — who created jewelry encrusted with Swarovski crystals — sparkled brilliantly, with the same crystals also applied to the embroidered garments. The collection came to life in intense fluorescent tones, which revealed even greater visual impact under the black lights.
The show was organized into thematic blocks: first, a series of looks inspired by rugby shirts, featuring exaggerated proportions and silhouettes reminiscent of the geometric shapes of the 1960s, modernized with voluminous sleeves. Next came suits and coats with a 1970s flair, many adorned with plaid prints and fuzzy textures, along with striped pieces that evoked the spirit of the ’60s.
As the show progressed, a rave-like atmosphere took over: the classical music that opened the event gave way to frenetic electronic beats, energizing the models’ performances. The use of over 81,000 Swarovski crystals — some fluorescent — amplified the theatricality of the presentation.
The collection moved between the sports universe and historical references, with highlights including fluorescent lingerie under transparent dresses and flowing gowns decorated with neon details. Bold cutouts, such as strategically placed openings just below the buttocks, made strong statements. The grand finale featured Amazonian latex dresses molded into structures evoking the hoop skirts of the 18th century — a true meeting of technical excellence and aesthetic provocation.
Among the materials used, standout choices included corduroy velvet, leather, rubberized fabrics, structured satin, and lighter options, especially for the romantic dresses that closed the show. Herchcovitch’s iconic plaid pattern appeared in new interpretations, reaffirming his creative identity.
Pieces such as rubberized black dresses, neon parkas in various finishes, and structured floral creations caught the eye and are already emerging as coveted items on the fashion circuit. One of the most memorable moments of the night was the participation of model Carol Ribeiro, who added even more brilliance to a presentation that will be remembered as a true celebration of Alexandre Herchcovitch’s irreverent and avant-garde fashion.
