Bold Innovations: Curator Maurício Ianês on Brazil’s Fashion Rebel Alexandre Herchcovitch

Alexandre Herchcovitch’s mind is a vibrant kaleidoscope of eras, cultures, and influences. Each of his shows offers a window into the complex world of Brazil’s fashion “enfant terrible.” The retrospective exhibition “Alexandre Herchcovitch: Thirty Years Beyond Fashion” at the Jewish Museum of São Paulo provides a unique opportunity to explore his universe—a fusion of Judaism, queer culture, punk, haute couture, nonconformity, and transgression—all displayed through garments, shoes, bags, hats, and exclusive photos and videos curated by Maurício Ianês, his longtime collaborator since their teens. “This is the first time I haven’t been involved in choosing the works about me. I learned to see myself without having to explain myself,” says the designer.

Herchcovitch, one of Brazil’s most influential and celebrated designers, remains bold in his creations even at fifty-two, despite his calm demeanor. He challenges the stereotype that Brazilian fashion is only tropical, colorful, and floral: “You can’t stereotype. Punk thrived here. My fashion reflects the experience of a Jewish Brazilian boy from São Paulo.” His work reflects his journey as the son of second-generation Jewish immigrants and his early start in fashion, learning sewing from his mother, who ran a lingerie factory. Among the exhibition’s treasures is a dress he made for his mother as a teenager.

The skull, a symbol of transgression and hedonism, is Herchcovitch’s trademark. The show features the original skull sketch he created as a teen in 1986, well before he entered fashion school. One of the most striking pieces is a white dress with a red stain resembling menstrual blood, which he designed for his 1993 graduation runway show. This dress boldly addressed taboo subjects like abortion and menstruation, topics rarely discussed openly in society. Curator Ianês highlights its significance in confronting misogynistic taboos.

The exhibition also includes over forty looks spanning Herchcovitch’s career: latex garments, a Hello Kitty–shaped bag, reissued pieces from his 2012 winter collection inspired by religious Jewish clothing, and a 1993 polyamide jumpsuit made for DJ Johnny Luxo. The show captures his connection to São Paulo’s vibrant underground scenes, including electronic music, drag queens, and nightlife. Herchcovitch’s close relationship with drag culture, especially with his muse Márcia Pantera—who performed at the retrospective opening wearing a custom piece from his graduation collection—reflects this.

In the 2000s, Herchcovitch rose to prominence as one of Brazil’s leading designers, with memorable shows at São Paulo Fashion Week and international acclaim at fashion weeks in London, Paris, and New York. His designs have been worn by icons like Björk, Scarlett Johansson, Gisele Bündchen, Caroline Ribeiro, and Fernanda Tavares. In 2013, he made the bold move to sell his brand to the InBrands group but famously declared, “I sold the brand, but I didn’t sell my brain.” After nearly stepping away from fashion, he returned in 2023 to resume artistic direction for the brand’s 30th anniversary, which is being celebrated with this current retrospective in São Paulo.

Curator Maurício Ianês, speaking from his home in Vienna, Austria, shared some insights with us.

How did you approach the exhibition design, placing clothes and pieces so close to visitors?

The room’s space is quite limited, which was a challenge since I had so much to showcase. I wanted to present the full scope of Alexandre’s work, including his collaborations. Instead of a chronological story, the exhibition focuses on his unique aesthetics—particularly the subversive, underground elements that aren’t as visible in his recent collections. We incorporated this fragmentation into the design, blending raw, punk references with haute couture. That’s why photos are glued and wrinkled on the walls and the whole space feels like an immersive, fragmented kaleidoscope. I wanted to preserve a side of Alexandre’s work many don’t recognize today—this punk, rebellious approach that has been part of his story over many years and remains relevant.

Which pieces among the forty looks in “Alexandre Herchcovitch: Thirty Years Beyond Fashion” stand out for you and why?

One standout is a leather jacket paired with pants from a winter collection inspired by agricultural workers. The wool garment is significant for its construction and modeling. Alexandre draws from the lower economic classes but also invents unique combinations, like the pelerine with pants that form a backless jumpsuit. Experimentation is key in his work. Another highlight is a latex dress displayed lying down in a case—not on a hanger. This was one of his early experiments with latex, marking an important moment in his career. I brought the idea from my sculpture class, where we learned latex mold-making. Early on, the latex was rustic, mixed with fabric, giving the impression of melted skin—a powerful, almost surreal effect. It reflects a very distinct vision Alexandre had at that time.

What makes Alexandre Herchcovitch’s designs so successful?

Alexandre tackles political issues head-on—anti-racism, gender, class. He features transsexual friends, ordinary people, diverse body types, and men in high heels on the runway. These choices make a strong statement about gender, race, and accessibility. He wants his work to be available to all, from affordable T-shirts to high-end dresses. Aesthetically, he is always pushing boundaries, challenging norms and traditional silhouettes. This restless exploration keeps his older work powerful today. These political and social themes are increasingly visible in fashion, art, and society, and despite the controversy, he consistently delivers well-crafted, polished pieces.