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Marjorie Castellan

Faculdade Santa Marcelina

Meu nome é Marjorie Castellan, tenho 21 ano, sou brasileira e sou estudante de moda, atualmente cursando meu último semestre na Faculdade Santa Marcelina. Minha prática é fundamentada em um profundo interesse pelo couro como material e linguagem, uma superfície que carrega memória, tensão e transformação. Ao longo do último ano e meio, venho atuando como estagiária de estilo, onde desenvolvi uma forte conexão com o desenvolvimento de produto e os processos de construção. Essa experiência me permitiu compreender o couro não apenas como uma escolha estética, mas como um elemento estrutural capaz de moldar identidade e narrativa. Meu trabalho explora a interseção entre força e sensibilidade, frequentemente dialogando com a cultura do rock, a expressão do corpo e a ideia de transformação através do uso. Tenho especial interesse em como o couro pode se comportar como uma superfície viva, que reage, se marca e evolui ao longo do tempo, carregando tanto sua origem quanto seu futuro. Por meio dos meus projetos, busco questionar percepções convencionais sobre o couro, indo além de suas associações tradicionais e investigando novas formas, texturas e significados. Vejo o design como um processo de tensão e liberação, onde material, corpo e conceito se encontram. Participar deste concurso representa uma oportunidade de expandir minha pesquisa, trocar perspectivas e contribuir para um diálogo global sobre inovação e artesanato no design em couro.

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CORPO-ELÉTRICO: ASCENSÃO, RUPTURA E REENCANTAMENTO DO ROCK

Category: Apparel

Competitions: Brazil, International

“Corpo-Elétrico” emerges as a visual manifesto that investigates the power of the guitar as the ultimate symbol of expression, rebellion, and transformation within the imagery of rock. Starting from a reflection on the cycle of death and rebirth of the genre, the project shifts the focus to its nervous center: the instrument that vibrates, pulses, and gives form to sound. The guitar ceases to be an object and becomes a metaphor for identity, intensity, and aesthetic resistance. It extends the performer’s body, shapes gestures, and materializes the energy that defines rock. The choice of this theme stems from a question that has spanned decades: is rock dead? The loss of cultural relevance, the rise of new genres, and an apparent emotional void have created a silence, almost an interval between an ending and a possible beginning. Within this void emerges the need to think of clothing as an energetic extension of the individual, much like strings reverberate, create tension, and occupy the space around them. The garments in the collection translate this reverberation, constructing a dialogue between structure, movement, and performance. To build the narrative of the piece, bovine leather was chosen as the primary material due to its density, durability, and structural potential. Present in clothing since ancient times, its manipulation requires technical mastery and specialized knowledge, establishing a direct relationship between body, material, and construction, an aspect aligned with the project’s proposal of treating clothing as a performative extension. In this context, leather becomes a parallel to rock itself: it carries historicity, strength, and a constant capacity for reinvention. Its rigidity and material memory allow for the creation of garments with striking structures and tensioned volumes. The look explores leather as a living material, capable of recording, reacting, and transforming over time. It embraces grooves, marks, and irregularities not as imperfections, but as expressions of an organic identity. When stretched through wear, the material develops creases and veins, highlighting its malleability and creating a unique patina that inscribes the trajectory between body and garment. The climax of rock is represented here by dividing the silhouette into two complementary forces: in the upper section, a fitted and rigorously structured leather jacket, defined by sharp cuts and a strong presence; in the lower section, the initial structure gradually dissolves into fluidity. This transition translates the dissipation of a sound wave, expanding beyond formal boundaries. Therefore, the development of the look does not aim to literally reproduce rock icons, but rather to interpret the performative gesture that has always defined the genre. The garment operates as a costume without abandoning its legitimacy as fashion: it incorporates exaggeration, theatricality, and a certain intentional artificiality, elements typical of stage and performance. This approach asserts that rock is not only heard or worn; it is performed. The objective is to propose a fashion that transcends ornamentation and assumes a communicative role. “Corpo-Elétrico” presents the body as an instrument and clothing as an amplifier: a system of energy in which sound, gesture, and form intertwine.

In association with Arts Thread

Working with our partners at Arts Thread to develop lifelong learning and career opportunities for students of fashion and design. Our partnership provides the opportunity to compete on a world stage, participate in industry led workshops, set up an outstanding portfolio and gain access to the resources that will kickstart careers in fashion and design.