The 12th edition of Circuit entitled “ZERO” rounded off Barcelona Fashion Week (BFW). As with all editions, a new theme was “invented,” aimed at surprising the public and used as a way of highlighting new talent in the local fashion scene.

The meaning of “ZERO,” related to the number, signifies nothing, a cardinal number that expresses a null quantity; it’s the beginning of all numbers but at the same time, can be the sum of all numbers… infinity. This concept encompasses extremes: from the most minimal to the most baroque, from empty to full, from positive to negative. The scenography and atrezzo reflects the colours black and white, highlighting an aesthetic of extremes, from Op Art to the sophistication of jazz. This edition emphasizes the fact that Circuit has been, and will continue to be, an event comprised of opposites, black and white without greys; one that never leaves the public indifferent.

On Thursday, I checked out Circuit’s new space called, Espacio Democircuit, exclusively for press and buyers, developed as a joint initiative between Circuit and the fashion resource, Demoguide. Espacio Democircuit showcases close to forty local and international designers of clothes, shoes, and accessories, among them Josep Abril, Mireya Ruiz, Anke Schloder, El Ganso, Own, Xuly Bet, and Jean-Paul Knott, some who presented their collections on this edition’s catwalk, others known from previous editions, as well as up and coming designers who wished to present their designs in a unique atmosphere. Espacio Democircuit was a very professional space, open and easy to walk through – just the opposite of MerkaFAD; light… airy… and spacious; long tables with white tablecloths to sit or work at, with soft jazz music playing in a relaxed atmosphere.

My Circuit experience continued on Friday, when I returned to see the rundown of catwalks. One of the first things you notice is the dichotomy between the “Caixa Blanca” and “Caixa Negra” with two very distinct spaces set-up, each highlighting an extreme, as was Circuit’s goal. The White Chill Out area was bright, clean, and warm with a DJ playing sophisticated lounge music contrasted with the Black Chill Out area, just the opposite: dark, cool, smoky, with a live jazz trio (piano, guitar, and female singer) the old classic black and white movie, “Hilda” as a backdrop projected directly onto one of its walls.

Friday’s catwalks were also a lesson in contrasts. The afternoon’s shows began with Cecilia Sörensen [click for iinterview] in the “White Box,” literally the whole space was white… white chairs and white make-shift walls. Her collection entitled, “My Room” was inspired from the different rooms she’s lived in: from her girly childhood room, her teenage room, her first adult flat, to her first design studio. Memories and dreams were translated into pencil drawings of toys, horses and rabbits and used as prints. Pieces reminded me of paper doll dresses and crystal beads in translucent colours were used as buttons. The collection featured natural fibers: cottons and silks with very feminine styles. Shirts, skirts, and mini-shorts, some superimposed or stamped with animal prints or hearts, in whites and soft turquoise, always highlighting a woman’s grace with high silver heels and high white socks, white gloves, and long white beads. Other outfits were entirely black giving the collection a somewhat vintage feel.

Mercedes Gallego’s collection entitled, “Groupie” followed in the Black Box. It was a tribute to Pamela Des Barres, a California icon of the late 60’s psychedelic era, leader of the GTO’s, and featured a “rock look” of tight jeans, blazers, baby doll dresses, t-shirts with prints (snakes, negative photographic images, flowers, stars, and geometrical patterns) approaching the works of Paganini and Crowley. Mercedes’ chosen fabrics were silk and stone washed denim colored in sand, purple, white and blue. Music by the Rolling Stones blared while the models strolled down the catwalk featuring high clear platform sandals with one funky eye brow and a star-painted eye… like a member of the world-known rock group, KISS.

Returning to the White Box, the dichotomy continued. Next was Angel Vilda’s collection called, “Wicked” based on psalms of the New Testament. His show began with smoke suddenly filling the runway and electronic, psychedelic music.  His models wore no shoes and had mascara running down their eyes. Religious motifs permeated the show. One model featured an all black dress with lace and a cord belt; she was only missing a big wooden cross around her neck to complete the look and even had black nails. Others wore black, white or grey dresses or tops; one had an all white cotton dress with a basket of flowers and a teddy bear as accessories. Throughout the show, models suddenly fell to the floor as if dying. But the melancholic feeling didn’t end there; the last model highlighted the designers’ unique color scheme: “nothing is white; pain is black; sadness is grey; and hope is green.” She appeared in a teal sequin mini dress with a black lace veil completely covering her face, and suddenly, the models that had been lying on the floor stood up, as if reincarnated… an interesting end.

Again, Circuit achieved its goal -- to surprise with innovation in fashion and design.

For more information:

Circuit: http://www.circuit.es