Fashion is culture.
Without famous designers like Pedro Lourenço, we wouldn't be able to design our thousands of charming garments.
People express themselves in different ways, and fashion is part of that way of showing oneself.
Looking at the clothing of 19th-century women, it's not difficult to understand their role in society and distinguish the inequalities between social classes. Fashion reflects much of the life and culture of a people's history, just like gastronomy. One only needs to think of our own cuisine, Jewish cuisine, and, why not, the United States and its hamburgers.
The fashion production chain is gigantic: from buttons to zippers. From seamstresses to textile factories. From small clothing manufacturers to the ateliers of celebrities. From saleswomen to designers. Thousands of people are driving the economy and creating jobs.
Fashion also generates symbols. Brands that, due to their importance, become synonymous with the country's culture. They attract tourists, add value to other products, and, when combined with gastronomy, music, and monuments, enhance a positive image and contribute to the country's "soft power."
In Brazil, we've only recently begun to understand the power of fashion. Fashion weeks have become established thanks to the efforts of a few, and the entire production chain benefits.
In the Ministry of Culture, the main funding instrument is the Rouanet Law. But the fashion industry wasn't able to secure funding. What was missing? Submitting projects in accordance with the law's provisions. The Ministry of Culture established four criteria for accepting projects: promoting internationalization (impact on Brazil's image), having Brazilian symbolism (showing roots and tradition), training new professionals (designers or in the production chain), or preserving collections.
The first to present a project based on these criteria was Pedro Lourenço, a young designer already with a reputation to participate in Paris Fashion Week.
As a minister, I took on the decision myself, for the symbolic reason of breaking a paradigm by affirming that fashion is culture; for understanding the importance of the media coverage of a Brazilian being in this fashion show, the openness and interest in our fashion industry, and for building an image of a creative, modern, and attractive Brazil. We want a Brazil that transcends the country of Carnival, sun, and bikinis.
Pedro Lourenço benefits, as do Herchcovitch or Ronaldo Fraga? Certainly, from the exposure they will receive. However, without these designers, and others who will come next (I hope the designers who work with Northeastern lace), we will not be able to showcase our thousands of charming garments that, in time, will bring joy to so many women, just as they do today when they buy something "French".
This brand/country was born after an enormous effort by France in promoting its creators (subsidies and exhibitions in major museums) and the genius of some of them: Dior, Chanel, Lacroix, Saint Laurent, to name a few. Exhibitions featuring these icons "sell" the country.
The door is open. Many will pass through, without much fanfare, to expand the Brazil brand, increase investments, export our products, and generate jobs and income for Brazilians.
I hope that our people, who can now emerge strengthened by the support and tax incentives provided by the Rouanet Law, will find sponsors, realize their dreams, but, more than that, become symbols of a vibrant, creative, and enlightened Brazil.
We will all benefit.