NO.

THE

Origins
ISSUE

THE

Origins
ISSUE

NO. 1

EDITOR-IN-CHIEF / CREATIVE DIRECTOR

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ART DIRECTOR

SUBMISSIONS

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FEATURES EDITOR
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LUNETA Magazine is completely

submissions.

open

to

FASHION EDITOR
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PHOTO EDITOR

If you are an illustrator, a photographer, a stylist, a

writer, a painter or a creative of any kind, send us
your work.

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WRITERS
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We love seeing new points of view and new forms

of beauty hailing from all corners of the world, and
our mission is to show your creations to our readers.

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Send us your work, along with name, age, profession,

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LUNETA is a new way of looking at the world.
We want to see yours.

INDEX
INSIDE & OUTSIDE
THE CASTLE ON THE HILL - ARTICLE - 11
CASA DE PASTO - EDITORIAL - 31
NEW BLOOD - ARTICLE - 45

STYLE
COMING CLEAN - EDITORIAL - 71
LILIA LITKOVSKAYA - INTERVIEW - 89
ORGANISM// - EDITORIAL - 95

ART
CATARINA JOO - PORTFOLIO / Q&A - 119
DANIELA VIOSO - PORTFOLIO / Q&A - 131
THE ART DIGEST - 143

&

INSIDE
OUTSIDE

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THE CASTLE
ON THE

HILL

AN ANALOG P HOTO S TO RY
by I N ES VE I G A P E NA

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The City of Seven Hills, The Queen of the Sea, safe harbour from
the Phoenician Allis Ubbo. A jewel nestled between the river, the sea and
the mountains, Lisbon is one of the oldest cities in the world and the oldest

in Western Europe. A long-standing independent country (the kingdoms

independence from Spain was signed in 1143 and later recognised by Pope
Alexander III in 1179) Portugal has had time to develop a large roster of

very strong traditions which have been influenced by the different cultures
of its several occupying cultures. From gastronomy to architecture, passing

through ancient proverbs, religious beliefs and craftsmanship, these

traditions vary greatly from region to region - Algarve, the southernmost

part, due to its proximity to North Africa and longer Moorish occupation,

not only still carries an Arabic name but its buildings are a mix of Visigoth
medieval castles and Islamic square-shaped white houses with Moorish
mouldings.

As the capital of a country built so strongly on independence, history

and a good deal of national pride, Lisbon carries the weight of being

the centre of everything. It was from Lisbon that Vasco da Gamas ship

sailed, heading to India, and in the 16th century the Praa do Comrcio
(commerce square) was the European trading hub between Africa, India,
the Far East and Brazil. Despite a strong national identity, Lisbon was

then and still is recognised as a thoroughly global city, now ships of

spices having been replaced by hundreds of airplanes coming and going

every day. For a country that relies heavily on tourism, it is of utmost
importance that Lisbon remains an ever-growing cultural and economical
hub without ever letting go of its roots.

The great beauty of the city is in its duality. There is a constant dialogue
between old and new that goes beyond mere acceptance - its respect.

Younger generations take pride on their nationality, they know their

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country well and are happy to showcase and appreciate Portuguese

traditions. Lisbon is an international city in its incessant communication

with and openness to the rest of the world, which stimulates an openminded attitude in its people both young and old. Foreigners are welcome

with open arms in a city where even an elderly fishmonger speaks perfect
English and anyone is willing to offer a lost traveller a sofa to sleep on or a

free meal; but they will not lose an opportunity to emphasise how that fish
was caught that morning right off the coast, how they will cook you the

best food you have ever tasted or how you should not leave without going

up to the Castelo de So Jorge or tasting a pastel de nata (a traditional

egg-custard pie) bought at the original factory in the Belm area. People
are updated on technology and world news, they know Hollywood

actresses and renowned contemporary artists, but their heart overflows

with national pride, regardless of age, and that not only strengthens the

country but gives the capital a very characteristic welcoming appeal,

stimulates curiosity from outsiders and pushes younger generations to not
only stay in Lisbon, but to make an effort to improve it.

It is this dialogue between old and new, tradition and innovation that makes
Lisbon such a thoroughly enchanting place. There is always something
completely new happening somewhere in the city, but whatever it is, its

roots lie somewhere in good old-fashioned tradition. Bright young minds

are opening their own businesses everywhere in the city and very few of
them flop. Chefs under forty years of age open their dream restaurants

where the food isnt molecular or nouveau cuisine, but reinvented

and slightly more elegant versions of what grandma used to cook for
Sunday lunch, relying heavily on family recipes and national produce

to come up with new, mouth-watering menus that are almost a tribute

to pure traditional Portuguese gastronomy. Fashion school graduates put
together clothing collections focusing on fibres easily acquired nationally,

such as wool and linen, and textile techniques inherited from family (in

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line with the famous hand-embroidered Arraiolos rugs originating from

the homonymous town) with innovative designs influenced by modern

trends, often reinterpreting folkloric garb into a wearable everyday piece.

Even contemporary artists incorporate traditional anecdotal elements into

paintings, illustrations, sculptures and even architecture.

Its a particular kind of beauty that overflows with history, not

overwhelmingly ancient but put on show, reinterpreted, respected,

honoured. The old parts of town, such as Alfama, are pointed at as mustsee places where ladies sit outside their houses knitting and a tourist isnt

distinguished from a native. The downtown area of the Baixa-Chiado and

Prncipe Real are booming with antique palaces that have been bought,
polished, architecturally left alone but internally transformed into places

of commerce and dining showcasing the best of young national talents

of every kind. Tradition is beloved and accepted, considered inspiration

and something indisputably important. History and folklore are never
ignored or cast aside in favour of innovation and globalisation - in fact,
innovation is achieved often through new ways of looking at Portuguese

tradition, whereas it be in food or fashion. At the end of the day, despite

teenagers listening to the newest pop hit hailing from the United States,
no one refuses to spend a fun night out eating grilled sardines during the

commonly called Santos, a June week dedicated to the saints considered

most important in Portugal, and even someone born and raised in Lisbon
will go up to the castle just to enjoy the view of their ancient city, everchanging, ever-growing, yet, at heart, always enchantingly the same.

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IM BETTER NOW THANK YOU

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EDITO RIA L

It feels and looks like home. One of Lisbons most relevant

young chefs opened his rest aurant in the Cais do Sodr area
and now serves his delicious meal s in a meticulously decorated
place, where every seemingly random item has a reason and
every mismatched group of colourful objects tells a story.

Casa de

PA S T O

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A D I A LOG U E ON TR A D I TI ON W I T H CH E F

Diogo Noronha

IMAGE & TEXT BY INES VEIGA PENA

What is the history behind this restaurant? What is the Portuguese tradition
of the casa de pasto (eating house) and why this choice of inspiration?
Historically, casa de pasto was the name given to establishments where food
was served, accompanied by wine, at the end of the 19th century in Portugal.
Like the bodega in Spain and the locanda in Italy. The word restaurant comes
from France and only start being used a couple of years later throughout the rest
of Europe. At this time there was a great transformation in customs and habits
of people in Lisbon, where there was the presence of a more financially secure
bourgeoisie. People started leaving the house more, preferring to dine out but
always in a home-like environment. A gastronomy typical of Lisbon begins to
emerge, the more bohemian side of the city develops. Artists, politicians, writers
and others live through the city, the casas de pasto and other establishments
and consume all kinds of food and drink.
We wanted to bring back a bit of that historical legacy in an equally historical
area where much of that transformation took place. Very close to the Mercado da
Ribeira, Lisbons main provider of goods at the time. We tried to recreate an era
and a little bit of the environment, while still carrying the experience through to
today. We created a gastronomical proposal with very deep Portuguese roots,
Lisbon in particular, while using cooking techniques and an aesthetic that is
more modern.

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What was the space like before you took ownership?

The group already owned the property before we opened the restaurant. Some
structural modifications were done, namely in more technical areas like the
kitchen. We tried our best, however, to keep the space in harmony, in order
to be able marry its dynamic with the era of the building and a warmer, more
homey environment, obviously without jeopardising the functionality of the
space as a restaurant. For many years, this space was home to brokerage offices
for the Lisbon harbour.

What was the process of decorating like? Where did you

find such particular pieces and why did you choose them?
The decorating process was very much about creating a concept and then
following that line of thought in a very spontaneous and natural way. Also, to meet
the requirements of a restaurant. Acquiring the key pieces for the space some
from collections, others were researched and bought during the development
of the project and others right at the end to close the cycle. Some of those
items already belonged to the group, the remaining ones were the result of
a research and hard work of the team that develops the groups projects. The
entire choosing of the pieces was based on this dynamic of recreating a bygone
era while staying grounded in the present.

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NEW BLOOD
In 1755, the destruction caused by a great
earthquake lead to the reconstruction of the Baixa
area, the so-called downtown of Lisbon, which
leads up to the equally-affected Prncipe Real
neighbourhood. Graced by romantic palaces and
houses built around the early 1800s, this spot,
known for its garden which boasts one of the most
beautiful views of the city, is now a buzzing centre
of commerce, home to several new stores and
restaurants based on the concept of reimagining
Lisbon, honouring the ornate, ancient palaces
yet showcasing the best of young new brands,
designers and chefs. Welcome to Prncipe Real.

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ESPAO-B
Jos Lus Barbosa and Leonor Barata were the first to think up of ways to
reinvent a somewhat forgotten neighbourhood, becoming the pioneers
and almost precursors of the movement to reimagine the Prncipe Real area,
opening Arquitectnica in 1991. Part of a small family of three spaces (with B.
So Mamede and B. Bazaar), Espao-B is a very unique retail space in Lisbon,
being one of the very few true concept stores in Portugal.
Barbosas background in fashion, having worked as a designer from 1975
to 1995, brought a fresh new perspective to a capital where the notion
of luxury goods is limited to bigger name brands, such as Louis Vuitton,
Prada, Herms, Cartier, Burberry, etc, whose flagship stores are all located
in the same area of the city. At Espao-B, the selection goes in a completely
different direction - in fact, the founding of the store in 2010 came exactly
with this purpose, when the Barbosa duo realised that Lisbon did not have a
multi-brand retailer that focused on non-mainstream brands.
The city needed a store that could offer something different than what was
already there.

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The list of brands goes through Comme des Garons (including fragrances
and Play by CDG), Sophie DHoore, Hannes Roether, Fred Perry, Tashia
London, Carole Fakiel, Messagerie, Linda Farrow, Miller Harris, Assouline,
Hache, DEffect, Neil Barret, Kris van Assche, Faliero Sarti, Perrin Grevi,
Mackintosh, Isaac Reina, Traits, Paolo Pecora Theres also jewellery by
Portuguese designer Valentim Quaresma, and the store often updates their
offer of cult products as the owners do their research, both online and by
visiting other boutiques abroad, in order to stay as updated as possible.
The space itself is, aesthetically, as in line with the products as possible and
mirrors luxury concept stores such as 10 Corso Como in Milan and Colette
in Paris. With the exterior being the original faade of a 19th century palace,
the all-white interior with tall ceilings and clean, uncluttered corridors creates
an environment of pleasant contrasts. The entrance sets the mood and sends
a message, with avant-garde jewellery on display and Comme des Garons
perfumes set neatly on a table. A carefully curated collection of art, fashion,
design and photography books line the back wall, a reminder of the famous

bookstore of Somerset House in London.

Inside, clothing is not organised in the usual by-the-book scheme of brands
or groups of colours. Instead, it feels like a closet, with scarves and necklaces
often hanging with a certain dress or shirt creating the illusion of a personalised
look. Labels are mixed and matched, shoes are left under dresses or trousers
as suggestions. The environment is welcoming, peaceful - it certainly isnt an
ordinary boutique - and particularly warm for a high-end retailer. The decor
only adds to that homey feeling, yet remains very minimal, monochrome and
geometric, in line with the architecture; a massive fitting room hides behind
a gigantic mirror facing two black chairs and a coffee table where a selection
of accessories is always on rotation.
Since its founding, the store has seen a lot of success, partially due to the
boom of the neighbourhood but mostly due to its particular offer of brands.
In a city that is still expanding, those looking for more niche luxury products
tend to go straight to Espao-B, which has created a network of faithful
customers who see themselves in the concept and the offer of the store.

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EMBAIXADA
Housed in a Moorish-design palace built in 1857 by Ribeiro da Cunha, a
wealthy businessman who made his fortune in Brazil, Embaixada is anything
but outdated. The space, which takes up the entire two floors of the building,
is somewhere between a super concept store and a shopping centre. In fact,
it is commonly called an indoor market by local customers, who see in this
space the same soul and energy that was so characteristic of the many old
open markets in Lisbon, such as the Mercado da Ribeira and the Mercado do
Rato. Except people dont go there for fresh fruit and vegetables.
Eastbanc, the company that owns this and many other spaces in the Prncipe
Real neighbourhood describes it simply and concisely as a lifestyle project,
and its nothing short of it. Walking up the antique stone steps, facing the
large mirrors and painting that frame the carpeted staircases, there is an
instant feeling of luxury and romance that is softened by the lack of closed
doors, security alarms or leering staff. In fact, just like an open market in
the old days, you walk freely between clothing shops and organic cosmetics
stores, passing through the Le Jardim bar and restaurant, which catches the
sunlight right at the centre of the cloister. There are no closed doors and no
pre-established paths - you visit and live the space the way you want to.

TEMPORARY BRAND

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One would think the downside would be the limited offer, but its actually
the other way around. One of the strong points of Embaixada is the range of
products, brands and types of stores which you can easily walk in and out of.
There is Organii Beb, which sells organic products for babies, a sister store
of two other Organii spaces within the building - one offering cosmetics for
purchase, the other reserved for treatments on the spot. Theres Argentine
footwear of Paez, items made from recycled and natural materials at Sal
and the incredibly stylish Linkstore which focuses on menswear.
For home and interior design there is Intemporal and Boa Safra, and
Temporary Brand focuses on a ridiculously wide array of products, going
from fashion to music, lifestyle, books and even housing temporary exhibitions.
Its also one of the few places in Lisbon where you can buy Lomography
items, like cameras and film, outside the actual Lomographic Embassy. Via
Records has everything for the music lover who is either curious about
Portuguese tradition or a proud local, selling everything national from cult
music to filigree products.

LINKSTORE

The greatest presence however is womenswear. Amlie au Thtre, which

has another individual store in the Prncipe Real area, sells whimsical costume
jewellery and clothing while offering personal image consultations. Pavo,
which boasts a beautiful stained-glass window featuring its namesake (a
glorious blue peacock), also sells clothing and accessories, as well as O
da Joana. Mythical Portuguese fashion designer duo Storytailors have an
incredibly welcoming retail space on the second floor, being a half hour walk
away from their atelier, and Urze focuses on fashion and decor products
described as Portuguese mountain lifestyle, items made from nationally
produced linen and wool (the offer changes depending on the season) and
designed by both native and international designers.
The environment is unlike anything that can be experienced in a shop. The
openness of the space makes you feel completely at home and at ease, some
shopkeepers even suggesting you try their pieces on in the shop next door
(their changing room is a lot bigger, you know) and bring them back when
youre done. Every brand is allowed to decorate their own space according
to their identity and staff is always willing to provide you with information,
anecdotes, allow you to take photographs and even suggest that if a dress
doesnt fit properly, they can have it altered (thank you, Storytailors).
Beloved by both enthusiastic tourists and resident shoppers, Embaixada is
a breath of fresh air and the first great boost of the Prncipe Real revitalising
project.

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URZE

LE JARDIM RESTAURANT

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URZE

TEMPORARY BRAND
TEMPORARY BRAND

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STORYTAILORS

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ENTRE TANTO
The second of Eastbancs indoor market (concept store meets shopping
centre meets fashion bazaar) opened just a couple of doors down, but quite
a few years later. Described by the company as a trendy and relaxed space
for shopping, it is much more than just that.
While Embaixada takes more established national brands in its roster - such as
Storytailers and Amlie au Thtre - Entre Tanto focuses a lot more on rising
brands, young talents. It not only looks to rejuvenate the neighbourhood but
to launch promising new designers. The space is in constant expansion, and
if Embaixada allowed you to pass through open doors, Entre Tanto doesnt
even have them. The building, instead of small interconnected rooms, is
divided in a series of very large open spaces which are shared by several
brands with no dividing walls. You simply know where you are when the wall
and carpet changes colour.
There are two choices of entrances, but the main one provides you with a little
canvas tote and leaves you right in front of Liquid, a juice and smoothie bar
which has an extensive all-natural menu of drinks that are prepared right in
front of you - strongly recommended is the cocoa and chilli shot, sweet and
creamy with no added milk and a punch of spice to get you going.

ETNIKSPRING

LIQUID - JUICE & SMOOTHIE BAR

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The very chic Fora Sunglasses shares a room with colourful and feminine
brand Alperce, where tops and dresses fly off the rack since they are limited
in production, and with Papua, the first ever swimwear brand completely
made and designed in Portugal. Still within the same room but separated
by a single step is HLC jewellery, with gold-plated dainty necklaces and
midi rings on display, Bellpierre cosmetics, an internationally-renowned
brand with no other selling point in the country, and the bold and vibrant
shoe colours which makes comfortable slippers in hundreds of colours and
prints, all on display on the corridor wall.
Upstairs, EtnikSpring and India That Wears You share a single retail space
covered in fun prints and pure silk, handmade bags hanging on the wall for
purchase - but if you happen to buy anything at all your items are slipped
into an boho-chic silk tote of your choice. Waterflower and Size take up
the very large adjacent room, divided only by two different styles of decor,
and while they share a changing room the clothing is completely different:
loose tunics and scarves on one side, jersey dresses and sequined details on
the other. Right behind it is one of several childrens fashion brands, Mam
d Licena, but the most interesting one in the category is Antimilk which
sells garments for the more rebellious child who doesnt want to be dressed
by their parents.

ETNIKSPRING

Egg is a treat for the eyes, selling statement pieces for the home, from
decor items to furniture. The funny little Change space sells casual footwear
which is customisable with velcro straps that can be interchanged; Saccus
has gorgeous, unisex handmade leather bags on display but the best part
is, of course, food. If Embaixada has the elegant Le Jardim restaurant, Entre
Tanto has Cartuchos do Prncipe. Taking its name from a traditional sweet
treat that is even incorporated in the logo, the little caf is nestled in the
courtyard of the palace and is visible from every internal window that you
might pass during your shopping trip, making your mouth water until you
cant not take a seat. A series of conventual sweets - traditional recipes made
with sugar and egg jam - is always available and everything is quite delicious,
but their strength is in the homemade iced tea (apple and cinnamon) and
their homonymous dessert.

SIZE / WATER FLOWER

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EGG

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SHOE COLOURS

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CARTUCHOS DO PRINCIPE

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STYLE

STYL E

EDITO RIA L

COMING

CLEAN

P h ot og r a p h y

Man uela Iodic e
St y l i n g

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Federic o B arrazzo

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IN T ERVIEW
Do you feel like your design ethos relates to any particular subculture, art

A CONVERSATION WITH

movement, music genre or state of being, or is it deeply personal? How much of

LILIA
LITKOVSKAYA
A brilliant mind with an ethereally forward-thinking sense of style, Lilia
Litkovskaya is one of the top young talents on the rise. Having launched her
label in as early as 2009, she already has several awards on her belt. Clothing
not for an imaginary ideal but for the real women, the romantic urban
warriors of today and tomorrow, LITKOVSKAYA is the brand to watch,
overflowing with a quietly fierce and timelessly appealing sense of design.

you is present in the Litkovskaya collections?

Its a big melting pot of ideas, references, associations and experiences. Im very
interested in and intrigued by the early 20th century art, by the 60s music and by the
90s urban subcultures. These are the topics that are always present in my work. I
like how every collection is an opportunity to rethink and readjust something youve
probably worked with before, to find new accents, new colors and tonality in things
that seem to be familiar. But when you design clothes, you also take into account
the needs and the desires of the world, of real women and how they react to what is
happening now. So it is always a very modern conversation. And a very private one.

by Ines Veiga Pena

Recently there has been a bit of a spotlight on young creative minds coming from
Russia and Ukraine, much more so than before. What are your thoughts on this,
You have a very pure yet edgy aesthetic but was it always this way? Who is, to you,

and how do you relate to your contemporaries?

the Litkvoskaya woman and how has she changed since 2006?
We have been very lucky to be born in such circumstances, in the time and
Purity with an edge, thats how I would like to think of my designs and its definitely
what I try to achieve in my work. But this hasnt been like that and I can say that
were still on our way, making ideas clearer and sharper. Its an intuitive process
after all and there is no final destination there. It just feels organic to me. This woman
youre asking about, a woman I have in mind, shes obviously very special. Theres
not one list of adjectives I would put her in - shes quite unique. But as time goes,
shes evolved. She is more grown-up, more grounded, more experienced and wise.

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place that gave us the background we have. Our heritage, both cultural and
historical, is very special. I would say the lack of everything, the devastation
that we had to face and to live through, it made us react to the reality in a very
special way. Its a different way of thinking because in order to survive and
be creative you had to find a way to stand out and to stand for what you really
believed in. In a way, we had to fight for our right to be who we were or who
we wanted to be. And this experience I find invaluable. As for contemporaries,
we are happy for their achievements and success. There is no competition.

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IN T ERVIEW

You recently launched the Litkovskaya Pleasure line, of silky garments for comfort
and freedom of movement at home. What influenced you to make this decision
and how do you think it connects with your main line? Will they be completely
separate, or will collections weigh on each other?

Our Pleasure line is completely separate from our main line. The idea for this
collection was born out of desire to compliment female nature, femininity and
fragility of female body. I was thinking about this very particular moment when
a woman wants to stay on her own, to keep a moment only for herself. Everyone
experiences this kind of moments and knows the intimacy, the emotionality, the sense
of reservation it is filled with. And I thought, thats the moment when a woman is
very true to herself, when she is stripped off of all the social and cultural conventions
we project on her. But then, shes still wearing clothes, a very certain type of clothes
and she manifests herself through it. I wanted to make her manifesto look beautiful.

What was it like presenting your Spring/Summer 2014 collection at the prestigious
Saatchi Gallery? What are your thoughts on the permanent dialogue between the
fashion world of today and more traditional forms of art?

Showing at Saatchi was an amazing experience. Its a place where everything,

even the walls have their own vibration and vitality, it is very inspiring.
Showing in the art space made me think of something I keep coming back to. I
SPRING 2013 CAMPAIGN

was just thinking about it when I say this Jean Arp sculpture. I thought, could
fashion inspire artists the way art inspired fashion designers? And I have to
say the answer is no. As much as fashion is about social commentary and
beauty, it doesnt have the same power true art has. Which doesnt diminish
fashion per se, its just that these two worlds live and operate differently.

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IN T ERVIEW

Who is, to you, the ultimate female icon, the perfect woman in terms of style
and mindset? Is there someone, living or dead, that you turn to more often when
coming up with creations?
Every decade has dozens of such names, names of brilliant women that shift our world,
trigger change and inspire us. They constantly fascinate me and I always have a silent
dialogue with them. It would be extremely hard for me to name someone particular.
But I can say that every collection I create is inspired by one of them and one can sense it
in a subtext of the collection. Theres always a woman that gives energy to our clothes.

How do you plan to expand your brand in the future in terms of sales? Would you
sell internationally in the near future and, if so, are you thinking more towards
online or offline retail?

LOOKBOOK FALL/WINTER 2013-2014

Were making our first steps on the international market and its an amazing journey. We
definitely want to develop our label but what Im interested in now is creating a beautiful
product that can ignite and inspire people. If that happens, everything will follow.

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ORGANISM//

Living, breathing creatures, Fruit of the marriage between

groundbreaking creativity and artisanal techniques, the
pieces by Arianna Celentano and Materia Aspera have
hearts of their own. Handmade with care, but reminiscent
of the imperfections and textures of nature - this is more
than simple jewellery. These are organisms and this is life.

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Photogr a phy

Ines Veiga Pena
Styl ing

Sofia Greganti
Model

Ruxanda Lavric
Ha ir an d Makeu p

Ines Veiga Pena

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Catarina
Joo
22 // ILLUSTRATION AND COMICS

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Q&A

ASK THE ARTIST

Describe the course of your studies, professional or personal, related to your

artistic work.

How and when did you know this was what you wanted to do or do you still want

After doing Art in high school, I graduated in Multimedia Arts from the

to try something else?

Faculty of Fine Arts of the University of Lisbon. During my Erasmus I was

The people who know me best know that I answer I dont know to a lot
of things and finding out what I wanted to do went through this process as
well. When I was little all I was sure of was that I didnt want to be neither a
doctor nor a teacher. Ive always liked drawing so I ended up studying Art
in high school and Multimedia Arts in university, but I was more interested
in doing something related to cinema than drawing.
During my Erasmus year studying abroad, I really enjoyed editing a short
documentary film, Letting Marc Go, about a boy with autism and learning
disabilities and the moment right before he leaves his parents house.
Without a script and so many hours of footage, it was in the editing room
that the story really came together. It was also then that I realised that what
I really liked wasnt necessary to make films, but to make stories.
Since that year I was doing a cinema course, it was also when I was drawing
the least so thats when I really saw how much I missed it. I dedicated myself
more seriously to illustration (fanzines and drawing my own characters)
and writing for comics.
Right now Im working on my own comic book/illustration, but Im still
interested in trying out other ways of storytelling such as cinema, animation
and theatre.

in the United Kingdom studying cinema, where I ended up finishing my

degree. Back to Lisbon, I did an Illustration course at the CIEAM and
worked as a graphics assistant on the show Msica Maestro on RTP. Right
now Im finishing my Masters Degree in Illustration and Comics in Brussels.
Throughout this time Ive also been developing two comic book projects
with Daniela Vioso, in which the stories come from both of us, then I write
and she draws. The collaboration has been excellent because we push
each other a lot and things get done amidst a lot of laughter and good
feelings.

What has stimulated you more throughout the years and what do you think made
you go farther?
I was lucky in the sense that my parents never forced me to follow a certain
academic path, they always gave me freedom and were interested in
culture. That way, Ive been making my own path, meeting people who
share my interests and, me being very indecisive, Ive been trying different
things so I ended up knowing a little bit of everything. If this on one hand
leads me to not really knowing anything very well, on the other hand, when
I finally dedicate myself to something, I have a lot of different perspectives

What are your inspirations?

Mixing storytelling with visuals, my inspirations go through Neil Gaiman,
Terry Pratchett, Natsume Ono, Yayoi Kusama, Tsukirabeya, the whole
concept of the circus, Sailor Moon, lolita fashion and several online-based
artists with a tendency towards kawaii style.

since I wasnt always in the same closed circle.

The rest is a clich answer, but the main thing is to never give up. We hear
that if we really love our work, we dont even feel that were working. But
one thing we never hear is that even when youre doing what you love the
most, sometimes the process goes through horrible parts that make you
want to give up and even doubt if youre doing the right thing at all - it
was supposed to be fun, right? There are times when you want to leave
things for later, for when you have more knowledge and experience, so
you dont make mistakes in the important things. There are times when
you just want to dedicate yourself to planting potatoes instead. And then

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theres the reaction of the public, which can just be inexistent; dealing with
indifference is complicated, too.
Anything done, though, even flawed, even if no one cares, is better than
doing nothing, because while doing it we learn, we improve and we move
on the next one. Experience can only come from doing things and, as
obvious as that might sound, sometimes we need people to remind us
of that. So the credit for not giving up isnt all mine, but also goes to the
people close to me whove always supported me.
In the end, I just have to believe in myself. To try and not compare myself
to others but only to myself, to look at what Ive done in the past, see how
much better Im doing now and how much better Ill be in the future.

What do you have planned for the future?

What is truly important to you about your work?

Telling more stories. This Summer Im starting, with Daniela Vioso, our

Whats most important to me is telling stories with good characters that Id

and the humans who summoned them with a satanic ritual using bath salts.

like to see/read, that touch people. I dont think they have to be realistic
(we already have real life, why imitate it), but believable in their own
universe, therefore the tendency towards magic or supernatural elements
in my work.
I prefer to work with paints and ink and on paper, taking advantage of
the textures of the materials and focusing on the interactions between
characters, with intimate moments happening on sets where I go wild with

webcomic Basket666!, a story about demons who have to play basketball

Im also working on another comic book project with her - the adventure
of a baker, a troubadour and a wolf-dog who travel together through
Medieval Portugal, dealing with traditional legends and local folklore.
By myself, I plan to expand Carnival of Dreams into more comic books
and/or illustration books and to try my luck at freelance illustration. Right
now Im in Brussels, but I might go to the United Kingdom soon.

prints and patterns such as polka dots and little stars, creating a magical
environment where realism and perspective dont really matter.
Other recurring themes are homosexuality and breaking gender roles
in stories where that in itself isnt the main theme. We need more
representation of these issues in different types of stories; LGBT people
have lives, of which that factor is only a part. The way these issues are
generally treated in media is either to make it the focus of the story (usually
a tragic one) or to pass them on to secondary characters who, beyond
being secondary, ultimately are more comic relief than alike to real people.
These are the conceptual and aesthetic themes behind my current project,
Carnival of Dreams, a hybrid of illustration and comic book. Its a story
about the balance between reality and fantasy, where we follow Emin who,
frustrated with his boring life in a small town, is convinced by Ismael to
temporarily join his magical circus.

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24
PAINTING,

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ILLUSTRATION,
COMICS,
FINE
ARTS

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ASK THE ARTIST

Describe the course of your studies, professional or personal, related to your

artistic work.

How and when did you know this was what you wanted to do or do you still want

I studied Art in high school, was an exchange student for a year in the

to try something else?

United States. Then I graduated in Painting at the Faculty of Fine Arts of the

Although I like having comfort zones, Id like to try more things such as
video or even installation, using them in favour of what I already do. I
honestly think that every day I find new things that Id like to try; one thing
would be to work with game makers and create a visual novel or a simple
game. Im terrible at games but Id love to work in making one.

What are your inspirations?

Kawaii style!! I love cute, sweet things, I think they carry their own strength.
I really like Japanese animation and comics, as well as animation in
general. I grew up reading Tio Patinhas (Scrooge McDuck) comic books
and watching Sailor Moon. My academic influences are a salad of artists,
writers, filmmakers and I also really enjoy history in general. I think my
biggest inspirations on an aesthetic level end up coming from smaller
things, like stuff from national folklore and sacred art, Japanese street style
and artists I see online (especially on communities like Pixiv and Tumblr)
who make things with a somewhat similar vibe to mine, quite sentimental
and neo-romantic. Some of the authors/artists I like the most (aka a lot of
people from different fields): Kaoru Mori, Hideyaki Anno, Jayd At-Kaci,
Hayao Miyazaki and Studio Ghibli, Takemiya Keiko and the boys love
genre, Don Rosa, Quentin Tarantino, Sofia Coppola, Satoshi Kon, Marina
and the Diamonds, Yoshitomo Nara, Mike Mignola, Joann Sfar, Yusuke

University of Lisbon, where I also did a semester of Erasmus in Germany.

My love for comics exploded a bit at the end of my degree, probably
because of some conceptual conditionings and prejudices that I, myself,
had created but it was for the best since I completely let it out and let
loose. During my course I focused more on the subject of blasphemy
and subversive things related to dolls, I liked to shock a bit. Meanwhile I
changed quite a lot but the evolution is there and I also know that it was
the environment in Fine Arts that made me want to be so controversial at
the time. Im more sober and Im glad for that, I just want to be left alone,
but if you taunt me I dont hold myself back.
Ive made and still make zines, Ive created stories, got more involved within
my preferences and tastes and that makes me happy. I think our generation
is creating a fusion of asian tastes with european styles, if that makes any
sense, and quite inspired by that, its a funny stylistic multiculturalism.
I was accepted for the Masters Degree in Painting at the FBAUL after
I swore Id never go back there - also because I was rejected by an
international school which was a pretty big blow, I think I went back to the
Fine Arts university to make up for it. I gave up after a semester or so, the
environment was nice but the theory wasnt for me. I just got accepted for
a Masters Degree in Illustration in Kingston, in the United Kingdom, and
Im trying to get some money doing odd jobs here and there (working at
the annual book fair in Lisbon was cool), since I know its going to be tough

Murata, another thousand little bits and Catarina Joo, who puts up with
me a lot and with whom I share some ambitious projects.

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What has stimulated you more throughout the years and what do you think made
you go farther?
I honestly think Ive always wanted to do something related to art, Ive
never questioned that and my parents even supported me. The fact that
Ive always sustained this as something so definite and present in my life

What do you have planned for the future?

also made some disappointments more painful but I think that overall

Making stories! Making books! Painting! More and more and more!

it was good. It depends, of course, on my relationship with what I do

and with myself. I think Im the last person to believe in myself because
Ive always been too good at following orders from others but terrible
at understanding what I really wanted. It has to come from ourselves to
accept ourselves the way we are, but I believe if I hadnt had some people
in my life I wouldnt have gotten there by myself. We are all made up of
the people around us, of what we like, of what we want, of what we think,
of what we read and see, of the places we go to, of the times we live in, of
what we have for lunch and what we want to have for dinner. We belong to
a lot of things and I think that reflects in what we do. The work, that is the
fruit of us - and a quite therapeutic one.

What is truly important to you about your work?

That Im honest with it. I like to create stories and characters that move me,
if they manage to move others then thats a bonus! Its a bit weird thinking
about these things, I never think a lot about them, I guess Im very intuitive,

Alone and with Catarina Joo. Id like to work on an editorial level or by

commission like any other freelancer, beyond having an exhibition or two,
but I know these things are tough. Ill be happy enough if I can get a little
job at a bookstore or something so then I can work on my projects in my
spare time. For now I havent even had time yet to think about what it will
be like to study abroad but Im already stressing myself out with possible
problems. Id love to come back to Portugal even if its years later it
inspires me a lot, we are a country with an amazing culture and history
but were also our own worst enemies because we dont value ourselves
enough! We only care about portuguese artists if theyre super mainstream
or if they become famous abroad, its rather sad. There are many fads and
many little groups but thats a part of being human, not just the art world.
Im slightly afraid of the future, but I think we all are one day at a time,
now I hope to be able to develop a few projects during the holidays and
spend time with whomever I want, since that already gives me the strength
to face anything.

if something feels good I do it. I also think, since Ive been gradually
learning how to like myself, my work now cries out a lot less. I dont think it
has lost any of its personality, I just think it has followed the natural order
of things. I still have to grow a lot, but Im happy with the process. I believe
we each connect to work in a different way, I couldnt be like people who
use their work as a vehicle but never project themselves a little bit in it. To
me, our work is always an extension of ourselves, thats why its ours and
no one elses. Thats why I think its so important to for us to be open with
ourselves so that our work can also be more honest, real and unique.

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T H E DIGEST

The

Digest

AMY JUDD

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ANITA LEOCADIA
EIBATOVA KARIN

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LISSY ELLE LARICCHIA

LENA C. EMERY

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LOLA GUERRERA

MICHAEL CHASE

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OLGA OPRISCO

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CHRISTOPHER-RYAN MCKENNEY

YOANN LOSSEL

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J.D. DORIA
DAMIEN MAMMOLITI

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KYLE J. THOMPSON

KACPER KIEC

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