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Celebrating 10 years of his career, photographer and DESconstrução founder Anderson Macedo has transformed the pursuit of a more democratic definition of beauty into a purpose, bringing diversity, inclusion, and new narratives into fashion LEGACY COVER EDITION - SEPTEMBER 2026 ISSUE Photo: Antonio Junior - @antonhojunior / Video: @olivervideomaker_ / Retouch: @pixelsretouching / Beauty: @dariobion / Hair: @dl_cortes.arts / Styling: @eduardomurari @diegobbueno / Studio: @openstudio There are images that capture a moment. And then there are images that help change the way we see the world. As he celebrates 10 years of his professional career, Anderson Macedo has built a journey that goes beyond the aesthetic practice of photography, transforming the image into a tool for representation, self-esteem, and transformation. His journey with photography began around 13 years ago, when he was working as a booker at a modeling agency and purchased his first camera. Initially, he photographed models’ Polaroids and, while developing his own visual perspective, he also gained an inside understanding of an industry still heavily shaped by beauty standards. Three years later, he decided to leave the agency and fully dedicate himself to a career as a photographer. It was at the very beginning of this new chapter that a social experience would help define the direction of his work. His brother ran an institute that developed initiatives supporting people experiencing homelessness and needed to increase the visibility of an initiative called Human. Anderson then created We Are All One, a project that brought artists into fashion editorials photographed in urban settings connected to the reality of people experiencing homelessness, including deteriorated areas and spaces beneath bridges. The images were later presented in an exhibition at High Line, in Vila Madalena, São Paulo. The experience sparked a restlessness that would permanently change the course of his career: if photography could create space for people and stories that were rarely seen in fashion, why should that possibility remain limited to a single initiative? It was from this reflection that Unbuilding was born, ten years ago. Created at a time when Anderson recognized the lack of diversity within the industry, the project emerged with the aim of breaking established standards and proposing a shift in perspective: bodies should not have to adapt to fashion. Fashion should recognize the diversity of bodies. “I wanted to create a project that could truly embrace all faces, all bodies, and show that everyone can have access to the fashion industry,” Anderson explains. Over the years, DESconstrução has brought together artists, influencers, representatives of the LGBTQIAPN+ community, and people who, until then, had little or no connection to magazines and editorial productions. Among the names who have been part of Anderson’s work are Henrique Fogaça, Sheila Mello, Rodrigo Mussi, Cariúcha, and Marcos Pitombo. The project grew around a concept that became central to his journey: democratic beauty. For Anderson, this means expanding spaces for representation and showing that different bodies, identities, and stories also belong in fashion and art. “For ten years, DESconstrução has been advocating for democratic beauty and showing that everyone belongs in fashion, and that art exists in everyone.” More recently, this essence took on a new meaning when the project reached eight women experiencing social vulnerability through an initiative held during Women’s Month. The initiative provided participants with an experience centered around photography, fashion, beauty, and image production. For Anderson, that encounter represented the realization of an idea that has been at the heart of DESconstrução since its creation: making this universe accessible to those who have historically been kept at a distance from it. It was precisely this experience that made Anderson realize that the project had evolved from simply being an authorial body of work into a true purpose. “During the photoshoot with women experiencing social vulnerability, in partnership with Hooks Magazine and the São Paulo City Government, I had the opportunity to experience a meaningful exchange. It was through this experience that I became certain I was on the right path and had found a beautiful purpose within both my career and the project.” Over the course of a decade, Anderson has also expanded his professional presence within the fashion industry. His work has encompassed campaigns, lookbooks, e-commerce, and various productions across the sector. For more than six years, he has followed the backstage of São Paulo Fashion Week editions and developed projects connected to participating brands. Photography also opened international doors for him. Milan, Paris, and Rome became part of his professional journey through experiences that brought together fashion, photography, brands, and clients. “This profession has given me the opportunity to travel abroad doing what I love most, which is photography, while also taking my career to an international level. I had the opportunity to go to Milan, Paris, and Rome, taking part in fashion trips with brands and clients. That has been truly amazing.” More than simply experiencing new markets, these opportunities broadened his understanding of diversity itself. “The way fashion changes and adapts in every place and within every culture. This social versatility made me understand that there are many different ways of looking at art itself. In each culture, it is celebrated and appreciated in different ways, and that is the power of democratic beauty.” His professional journey also includes an unexpected career change for someone now known for his work in fashion. Before photography, Anderson Macedo was a military police officer and worked for three and a half years as a state highway patrol officer. Although this experience may seem distant from the studios, editorials, and runways that would later become part of his routine, it remains an important reference in his professional development. “The military police shaped me in terms of discipline and taught me to pay closer attention to details in everything I do. The agency, on the other hand, taught me how the fashion market works and how to manage this business of selling — image, beauty, and fashion.” The discipline Anderson acquired through these experiences continues to shape him today, from his professional ethics to the countless hours dedicated to image editing, always with dedication, determination, and a commitment to the quality of his work. As he celebrates a decade of his career, Anderson is honoring not only the work he has accomplished, but above all, the connections he has built through photography and the opportunity to take his purpose into increasingly diverse worlds. “I am very happy and very grateful. I have had incredible people cross my path, meaningful exchanges, and connections that have helped me get to where I am today.” In a Legacy edition, looking toward the future also means reflecting on what we hope to leave behind. For Anderson, the legacy he hopes to build is intrinsically connected to representation. He wants his work to continue creating opportunities for people who still do not feel represented in fashion to see themselves reflected within it. “I hope that when people see these works, they feel represented within the fashion industry and that they gain greater self-esteem, carrying more love and empathy into the world.” His vision is rooted in the idea that beauty does not need to follow a single standard to exist. “I want minorities to understand that beauty lies in difference and that we are unique beings, each with our own stories and experiences. Authenticity is what makes us shine in our own unique way.” Perhaps that is precisely where the deeper meaning of a ten-year career lies. Not simply in photographing people, but in creating spaces where they can be seen. Not simply in producing images, but in questioning who gets to appear in them. Not simply in witnessing the transformation of fashion, but in helping expand its possibilities. Anderson Macedo arrives on the Hooks Magazine Legacy Cover celebrating a decade of his career and reaffirming an idea that has guided his work from the very beginning: beauty can exist everywhere, as long as there is space for it to be recognized. Because, for him, photography is not only about what we see through the lens. It is also about who finally gets to see themselves within the image. Read the full interview: 1. You are celebrating 10 years of your career at a time when diversity has gained more space in fashion, but barriers still remain. Looking back on this decade, what has truly changed, and what still needs to be deconstructed? Our society is structured around beauty standards and stigmas, patriarchy, and ethnic issues. We will still need a great deal of time to achieve a form of existential democracy. With technological advancement, what was once considered a minority has gained strength and a voice, but I believe there are still many layers that we need to confront and continue discussing, such as homophobia, racism, among others. 2. DESconstrução was born from the desire to make beauty more democratic and, over the years, has embraced different bodies, identities, and stories. When did you realize that the project had evolved from simply being an authorial body of work into a purpose? During the photoshoot with women experiencing social vulnerability, in partnership with Hooks Magazine and the São Paulo City Government. Through that photoshoot and the exchange we shared, I became certain that I was on the right path and had found a beautiful purpose within both my career and the project. 3. You have taken your perspective into different worlds — from São Paulo Fashion Week to Milan, Paris, and Rome. What have these international experiences taught you about the way fashion views diversity and representation? The way fashion changes and adapts in every place and within every culture. This social versatility made me understand that there are many different ways of looking at art itself, as something that shapes the human experience. In each culture, it is celebrated and appreciated in different ways, and that is the power of democratic beauty. 4. Before photography, you were a military police officer and worked as a booker at a modeling agency. These are very different experiences, but both involve working directly with people. What did these two stages of your life bring to the photographer and professional you have become? The military police shaped me in terms of discipline and taught me to pay closer attention to details in everything. The agency, on the other hand, taught me how the fashion industry works and how to manage this business of selling — image, beauty, and fashion. The methodical approach and strict discipline I had to develop in both fields are qualities I still carry with me today, from professional ethics to the hours I spend editing images with dedication and determination, always striving to deliver quality work. 5. In a Legacy edition, talking about the future also means talking about what we want to leave behind. When you look ahead to the next 10 years, what legacy would you like your work and DESconstrução to leave for fashion and for people who still do not feel represented by it? Representation, above all. I hope that when people see these works, they feel represented within the fashion industry and gain greater self-esteem, carrying more love and empathy into the world. I want social minorities to understand that beauty lies in difference and that we are unique beings, each with our own stories and experiences. Authenticity is what makes us shine in our own unique way. Anderson Macedo and Caiúcha Purchase the Legacy Edition, available for worldwide delivery, by clicking below:

When I first visited a wedding venue with my then-fiancé in April 2025, I encountered, for the first time, a behavior that has become deeply normalized in the wedding industry over the years: the disregard for the groom. At no point during the visit did the person responsible for the venue even look at my partner, despite my arm being linked with his. Photo Disclosure Pinterest A bride of mine once told me that when her fiancé shared his opinion about the wedding décor, the decorator said: “Leave the opinions to the bride, the groom just pays.” Why does it seem so easy to ignore the man who is also a protagonist of the day? This entire world has always been pushed toward women through fairy tales, princess movies, toys, and bridal fantasies, while men have traditionally been taught to ignore emotional and family-related elements, being more encouraged to focus on work and personal interests and to avoid involvement with anything considered part of the “feminine world.” However, more recent generations of fathers and husbands have been becoming, even if gradually, more involved in building their families. Fortunately, most of my brides are with men who want to participate and dream together. What it seems to me is that the industry is having some difficulty keeping up with the evolution of some men, particularly older vendors who have spent years working with men who were disconnected from their partners. At first, it may seem harmless, but if we think about it carefully, we understand that this lack of consideration for the groom’s wishes can negatively affect his perception of the entire experience. If he initially believes he is in a safe place to express how he also wants to experience this day, he should not have to encounter a service provider he has just met telling him: “Your opinion doesn’t matter.” One of the grooms I met showed me a Pinterest board he had created on his own, filled with his own ideas for their celebration, all wonderful and thoughtfully planned, telling the story of the couple. Another groom told me that getting married had always been much more of his dream than his partner’s, so he was the one who spoke more with vendors about the wedding decisions. My husband took care of much of the wedding stationery because he has a more detail-oriented eye than I do, and he also wanted to take responsibility for the thank-you speeches. Because of that, I am the kind of vendor who does not charge an extra fee if the groom discreetly asks me to cover a blemish that appeared on the day or to conceal his dark circles after an anxious, sleepless night. How could I deny a request from men who make my brides so happy? Requests that come from the same reason: they also want to feel good so they can enjoy the day. Fortunately, we are beginning to see, even if gradually, more sensitive, dreamy, and emotionally present men among us. If they choose to embrace fatherhood responsibly, they will raise more people in this world who are like them. Therefore, it is more than time for us to have vendors who are up to date and open to understanding the profile of the couple who hired them, before judging them and simply following the path they are accustomed to.

Before the camera, there were people. Before audiovisual came fashion. Before the image, observation. Photos Anderson Macedo Oliver’s relationship with audiovisual storytelling did not begin when he decided to turn the camera into a profession. It began much earlier, during his years in retail, first as a salesperson and later as a store manager. It was there, through daily contact with different people, behaviors, and choices, that he developed a particular attention to what happens before an image exists. The way someone carries themselves. What they choose to wear. A gesture. An expression. The way a space is arranged. Details that, individually, may seem small, but together create a perception. This is also where his relationship with fashion comes from. More than an aesthetic reference, it became a kind of school of perception. In audiovisual work, this repertoire found another way to exist. When he decided to make audiovisual work his professional path in 2025, Oliver was not starting from zero. He brought with him years of experience observing people and understanding how different elements can shape an experience. The camera simply opened a new possibility for this repertoire: transforming perception into narrative. Today, his work moves across fashion, entertainment, campaigns, events, and behind-the-scenes productions. But something remains regardless of the project: the attempt to find, within a situation, what deserves to be noticed. Perhaps that is why mobile makes so much sense within his visual language. The iPhone allows for proximity. And proximity allows for presence. Instead of waiting for the scene to organize itself perfectly in front of the camera, Oliver works within it. He follows the movement, notices the changes, and looks for what happens while everything is still unfolding. A glance that lasts for a second. A change in expression. The energy of a set. The anticipation before a click. The relationship between the people who bring a production to life. It is from this interest in what exists before the final image that DESconstruction was born, a project created alongside photographer Anderson Macedo. If photography captures the moment that remains, the project turns its attention to the process that made that moment possible. There, the behind-the-scenes is no longer simply the behind-the-scenes. It becomes part of the story. The preparation, the movements, the encounters, the tension, the anticipation, and the energy of a working day begin to carry the same narrative value as the photograph that emerged from it all. This way of seeing also shapes Oliver’s relationship with the people who have stepped in front of his camera. Cariúcha, Jesus Luz, Marcos Pitombo, Erika Schneider, Cela, Gabi Cabrini, Jaquelline, Natacha Horana, Ismeiow, and Lucas Souza are part of this journey, alongside brands and productions connected to fashion, entertainment, and lifestyle. They belong to different worlds, but there is one constant: the attempt not only to capture who is in front of the camera, but to understand what that person, that moment, and that context ask of the image. This is how a visual language begins to take shape. Not through the repetition of a formula, but through the ability to transform references into personal choices. To look at what already exists and find another way to tell the story. In 2026, this perspective also crossed the Atlantic. Rome placed Oliver in front of a landscape different from the one that helped shape his visual language. Different architecture, a different atmosphere, new references, and a new professional context. More than an international experience, it was an opportunity to test what he had been building away from the environment in which he had learned to do so. And perhaps that is precisely what makes the experience meaningful: realizing that a visual language does not necessarily belong to the place where it was born. It can travel. It can meet other people, other cities, and other stories without losing its identity. Oliver is still building this path. There is no fixed formula, nor any need to arrive at a definition too quickly. There is room to experiment, refine, change direction, and discover what comes next. Technology will continue to evolve as well. Equipment will be upgraded. Formats will transform. But there is something that remains at the center of his work: the ability to perceive. It is this development of his eye, the process that exists before the image, and what Oliver wants to preserve as his work grows that we explore in the conversation below. 1. Before working with images, you spent years working with people. What did working in fashion retail teach you about behavior that now appears, even without you realizing it, in your work? I spent years dedicated to retail, first as a salesperson and later as a store manager, and that taught me a lot about posture, communication, and, above all, about how we are perceived. I have always been a very observant person, so retail developed this ability in me to analyze behavior before taking action.Fashion also gave me a very refined eye for details. In visual merchandising, for example, you learn that everything matters: the way a clothing rack is organized, the storefront, whether a piece is properly positioned, cleanliness, and the operation of the store. They are small details that, together, create an overall sense of refinement.Today, I bring that into audiovisual work. When a client approaches me, they are looking for my perspective. So I need to understand the purpose of that image and guide the setting, people, behavior, lighting, framing, and every element so that they all speak to one another. 2. There is a difference between documenting what happened and recognizing what deserves to be told. When did you begin to realize that you were developing a language of your own? I think that happened when I started trusting my own eye more. I stopped constantly looking at what other people were doing and started looking more at myself: trusting my direction, my perception, my editing, and the choices I make.This personal language is built through practice. It is like when you look at an artist’s work and can recognize that it belongs to them. That does not mean you stop having references, but rather that you transform those references into something of your own.Today, when I receive a reference from a client, I do not think about reproducing it exactly. I think about understanding the idea behind it and reinterpreting it through my own perspective. That is where I believe a reference stops being a copy and becomes inspiration. 3. In DESconstruction, you return to what happens before the photograph exists: the process, the movement, the preparation. What do you find in these moments that you feel needs to be shown? I find the energy and connection that exist behind that image. When you see a finished photograph, you often have no idea of everything that happened that day inside the studio: the preparation, the people involved, the anticipation, the emotion, and often even someone’s dream of experiencing that moment.DESconstruction was born largely from this desire to show what normally remains invisible. I want to show the energy of the set, the movements, the encounters, and everything that happened to arrive at that final image.It is about making the viewer see not only the result, but actually feel as though they were there that day. 4. Rome placed your work within another cultural and professional context. What did being outside Brazil reveal about the path you are building? Completely. It was a very valuable experience, both personally and professionally. Being outside Brazil and realizing that my work can also be seen and appreciated in other places made me believe even more in the path I am building.It was like looking at myself and thinking, “You are on the right path. Keep believing in your vision.”Since I was a child, I had the desire to work in something that would allow me to travel and have different experiences. Today, as a videomaker, I see that happening more and more. Being able to work outside the country and take my perspective to different places is, for me, the fulfillment of a dream. 5. The iPhone can change, technology can change, and markets can change as well. What would you never want to lose in your work, regardless of all that? My eye. Technology can change, the iPhone can change, equipment can evolve, but I do not want to lose my ability to observe and recognize what deserves to be told.I also do not want to lose my artistic side. Technique is very important, but there is a feeling that comes with it: recognizing that a particular scene calls for a slower camera movement, that a certain cut works better, that a particular song connects more deeply with the story.I believe equipment is a tool. What truly sets the work apart is the way you see and transform what is in front of you into a narrative. 6. And, to close: what is your voice? If you could say just one thing to the world, what would you want it to hear? Trust what is inside you. It knows what is best for you.We live surrounded by information, references, and comparisons, and we often forget to ask ourselves what we truly want for ourselves. Where do we want to go? Are we happy? Are we being respected? Does what we are experiencing really make sense?I believe we need to stop being so present in other people’s lives, online or physically, and start being more present in our own. Learn to deal with our silences, our anxieties, our dreams, and our desires.We need to embrace ourselves and learn to be our own best friends internally.And for that, sometimes we simply need to stop and observe our surroundings. Stop thinking that we are constantly falling behind. Have a coffee slowly, savor that moment, notice where we are. Give ourselves space to step out of autopilot for a while and begin to feel again.I think it is in that silence that we begin to hear our own voice.

HEALTH COVER EDITION - SEPTEMBER 2026 ISSUE Photos: Lucas Souza - @Isouzafoto / Make: Emily Paula - @emilypaulamua / Stylist: Jady Tofoli - @jadytofoli / Studio: @zoidestudio A surgeon’s excellence is built not only on the number of techniques they master, but also on the quality of the choices they learn to make over time. In the case of Dr. Cecília Ruiz, this perspective has been shaped through different fields of medicine, reconstructive experiences, and a continuous journey of professional development. A graduate of the Souza Marques Technical-Scientific Faculty of Medicine in Rio de Janeiro, Cecília completed her residency in General Surgery at UFRJ before pursuing Plastic Surgery at INCA. She later gained experience in breast and head and neck reconstruction, along with further training at USP and A.C. Camargo Cancer Center, as well as advanced training in various plastic surgery techniques. It is an extensive educational journey, but what stands out is not simply the number of stages along the way. It is how each experience helped shape an increasingly attentive perspective on the body and on the responsibility involved in intervening in it. Today, breast surgery holds a central place in her practice. Mastopexy, reduction mammoplasty, hybrid mammoplasty, reduced-scar techniques, and rapid-recovery strategies are all part of a broad repertoire developed to address different anatomies and individual needs, without turning any single technique into an automatic solution. Perhaps this is one of the most compelling aspects of her work. Knowing many possibilities does not mean wanting to use them all. On the contrary: experience also means recognizing when one technique is appropriate, when another may offer a better outcome, and when doing less may be the more thoughtful decision. Plastic surgery is going through a period of significant evolution. Technologies, surgical techniques, and recovery strategies are continuously expanding the possibilities within the field. At the same time, social media has transformed the way many women perceive their own bodies and approach the consultation room, bringing references and expectations, and sometimes exposing them to standards that can be difficult to sustain beyond the screen. It is within this context that a surgeon’s work carries an even greater responsibility. It is not enough to know how to operate. It is essential to understand who is sitting across from you, what she wants, what can realistically be offered, and which choices truly make sense for that individual. This is the perspective we explored in our conversation with Dr. Cecília Ruiz: a career built on depth and dedication, her extensive experience in breast surgery, the evolution of the specialty, and everything that years of practice have taught her about beauty, choice, and care. 1. When did you realize that plastic surgery was the field in which you wanted to build your career? Plastic surgery won me over precisely because it brings together two dimensions of medicine that have always fascinated me: technical precision and the ability to reconstruct. My training in General Surgery was fundamental in building a solid foundation as a surgeon. Later, my experiences in plastic surgery, breast reconstruction, and head and neck reconstruction greatly expanded my understanding of what it means to operate on someone. When you take part in a reconstruction, you realize that you are not treating merely an anatomical structure. There is a person, a story, and often a process of reclaiming one’s own identity behind that procedure. I believe it was through this journey that I understood plastic surgery was the field in which I wanted to build my professional life. Every stage of my training added something to the way I see my work. Today, when I enter an operating room, I carry with me not only the techniques I have learned, but also the awareness that every decision has an impact on how that patient will see herself afterward. For me, surgery has never been simply about changing a part of the body. It is about bringing together science, technique, proportion, and sensitivity to achieve a result that makes sense for that individual. 2. What has your experience taught you about anatomy, proportion, and individuality in breast surgery? The more breasts you operate on, the more you realize that no two are the same, and that completely changes the way you plan a surgery. There are differences in anatomy, skin quality, the amount and distribution of breast tissue, breast position, the shape of the chest, asymmetries, and, above all, what each woman considers beautiful and wants to preserve about herself. That is why I increasingly believe less in applying a standardized technique. The technique needs to serve the patient, not the other way around. Over the years, I have developed a very attentive eye for proportion and naturalness. I do not seek to create a “perfect breast” according to a predetermined standard. I seek to understand what result is harmonious for that particular body, taking into consideration anatomy, safety, personal wishes, and also how that result will evolve over time. Perhaps one of the greatest developments in a surgeon’s career is precisely this: early in your career, you are very focused on mastering techniques. With experience, you understand that true sophistication lies in knowing which technique to choose, how much to do, and, often, when to do less. 3. In a landscape where plastic surgery is advancing rapidly, while social media increasingly influences perceptions of beauty, how do you decide what truly deserves to be incorporated into your practice? Plastic surgery has evolved tremendously. Today, we have technologies, new surgical concepts, recovery strategies, and resources that allow us to provide increasingly individualized treatments. I enjoy innovation, and I believe a surgeon needs to keep up with this evolution. But, to me, innovation needs to be accompanied by discernment. Not everything that is new necessarily represents progress. Before incorporating a technique or technology into my practice, I seek to understand its safety, indications, scientific evidence, and, above all, whether it truly adds any benefit to the patient’s outcome. At the same time, we are facing a very particular issue of our time: many patients come to the consultation with references shaped by social media. These are edited images, filters, specific angles, and bodies that are repeatedly presented until they create the impression that there is a single desirable standard of beauty. A very important part of the consultation is precisely to deconstruct this idea. I like to listen to what the patient wants, but I also try to help her understand her own anatomy and what is both possible and beautiful for her body. In my view, the best surgery is not the one that makes a woman look like someone else. It is the one in which the result feels as though it belongs to her. 4. At what point does changing something cease to be a choice about one’s own body and become an attempt to meet other people’s expectations? And what is the surgeon’s responsibility when they realize that this boundary has been crossed? This is perhaps one of the greatest responsibilities of a plastic surgeon. There is an important difference between a woman who has a consistent concern, has lived with it for some time, and wants a change for herself, and someone who is trying to achieve an external standard or believes that surgery will be able to resolve issues that go beyond the body. And that difference becomes especially clear when we know how to listen. That is why I consider the consultation just as important as the surgery itself. This is the moment when I try to understand not only what the patient wants to change, but why it matters to her and what she hopes to feel afterward. There are situations in which the best medical decision is not to operate. And saying “no” is also a form of care. A surgeon cannot simply be someone capable of technically executing a desire. There is a medical responsibility to assess limits, expectations, risks, and motivations. Plastic surgery can have a profoundly positive impact on self-esteem and self-confidence, but it should not be presented as a solution to every insecurity. Our role is also to recognize that boundary. 5. After so many years of training, practice, and continuous development, what has changed in your understanding of beauty? And, looking toward the future of plastic surgery, what do you believe no technology will ever be able to replace? My perception of beauty has become much less rigid over the years. The more people you meet and the more bodies you operate on, the more you realize that beauty is not about perfection or the absence of asymmetries. It is much more connected to harmony, proportion, and the way a person recognizes herself in her own body. Today, I value individuality much more. Technology will certainly continue to transform plastic surgery. We will have more precise resources, increasingly personalized procedures, and, most likely, better and better recovery experiences. I find that extraordinary. But there is something no technology can replace: the medical eye. The ability to listen to a patient, understand what she may not necessarily be able to put into words, recognize her limits, interpret her anatomy, and make responsible decisions will always remain human. Ultimately, surgery takes place at the heart of a relationship built on trust. The patient entrusts the surgeon with something deeply intimate: her body and an expectation of transformation. That trust requires technical knowledge, but also ethics, sensitivity, and responsibility. 6. After everything medicine, surgery, and your daily interactions with so many women have taught you, is there something you still feel you need to say? If you could use your voice to speak to the world without filters, without protocols, and without having to meet anyone’s expectations, what would you want people to hear from you? Perhaps I would say that we do not need to spend our lives trying to fit into versions of ourselves created through other people’s eyes. We live in a time when we are constantly invited to compare ourselves. There is always a body, a career, motherhood, a life, or an apparently perfect image in front of us. And it is very easy to turn that comparison into self-imposed pressure. Working every day with the human body and with image has taught me precisely the opposite: there is no such thing as perfection. There are stories, proportions, scars, asymmetries, stages of life, and characteristics that make each person unique. Plastic surgery can transform a body. I see that every day. But I believe the most beautiful transformation happens when that change does not try to create a new person, but simply allows someone to recognize herself again. If there is something I would like women to hear from me, it is this: take care of yourselves, make choices for yourselves, and do not be afraid to desire change. But also, do not allow the world to determine what you need to change in order to be enough. To me, beauty should never mean erasing who you are. It should mean revealing who you are, with greater freedom and confidence.

With more than three decades of international experience, the Brazilian lawyer has turned obstacles, relocations, and differences between legal systems into a distinguished career spanning Brazil and Europe. Patrícia Mutzke Gains Recognition in International Law There are awards that celebrate a specific achievement, and there are those that seem to bring together, in a single moment, everything that was necessary to get there. For lawyer Patricia Mutzke, receiving the 2026 Highlight Trophy during the International Conference for Lawyers at Sea carries precisely that significance. The honor took place from August 28 to September 4, as part of an international program aboard a cruise ship that traveled through Italy, Greece, and Turkey, bringing together legal professionals for an experience centered on knowledge exchange, networking, and legal practice beyond borders. The international setting could not have been more symbolic for a professional who has made borders the territory of her career. A specialist in International Law, Patricia has more than 30 years of experience between Brazil and Europe and has built a career defined by her ability to navigate different legal systems, cultures, and approaches to understanding the law. Today, with an established practice particularly between Brazil and Switzerland, she estimates that she has already served approximately 1,800 clients in the European country. Patricia Mutzke Receives the 2026 Highlight Trophy “Receiving this honor at an international gathering is very meaningful to me. My career has always been shaped by dialogue between different legal systems, cultures, and realities. Being alongside legal professionals from different places and having this work recognized reinforces the importance of a legal practice that is increasingly prepared to address issues that transcend borders,” she says. One Suitcase, Many Dreams, and the Beginning of an International Story To understand the significance of the award, it is necessary to go back to the European summer of 1996. Newly graduated in Law from PUC Minas, Patricia arrived in Frankfurt, Germany, carrying only one suitcase and the determination to build a new professional life. Fluent in English and with a strong academic background, she soon discovered that this would not be enough to establish herself in the German legal market. Mastering the local language would be essential, and she decided to face the challenge head-on. For two years, she studied German intensively, five hours a day, until reaching an advanced level and earning her language proficiency diploma. Her dedication, however, did not mean that doors would immediately open. After countless applications, Patricia received an offer to work in Deutsche Bank’s Legal Department, but the hiring process was blocked by Human Resources on the grounds that her Brazilian law degree would not be valid in Germany. The episode could have brought her attempt to build a legal career in Europe to an end. Instead, it became one of the turning points in her journey. Patricia realized that she needed to transform precisely what set her apart into her greatest professional strength. She began working as a lawyer and consultant specializing in Brazilian law, advising German entrepreneurs and executives on negotiations with Brazil and developing a skill that, decades later, would remain at the heart of her practice: translating not only laws, but also cultures, behaviors, and different business environments. From Germany to Switzerland, a Career Finds New Frontiers In 2010, Patricia began another chapter by moving with her family to Bern, Switzerland. Just six months later, she was hired by a law firm in Zurich, where she began deepening her knowledge of the Swiss legal system. She went on to study Private International Law at the universities of Bern and Fribourg, as well as taking specialized courses for lawyers, participating in forums and congresses, and completing a specialization in Swiss Migration Law at the University of Bern. After five years practicing Swiss law, the time came to pursue one of the most important projects of her professional life. In 2016, Patricia founded the first Swiss-Brazilian law firm in the Bern region. The achievement carried special significance for someone who, two decades earlier, had arrived in Europe needing to find a place for her Brazilian legal education. Now, she had not only secured that place, but was creating her own structure dedicated to legally connecting two countries that had already become part of her story. Over the years, she established herself particularly in International Family Law, while also working in Swiss and European Migration Law and Transnational Business Law. Her professional routine increasingly became connected to stories that are common in a globalized world: marriages between people of different nationalities, families living across countries, assets distributed across multiple jurisdictions, immigration proceedings, and business relationships that must be understood through different legal systems. “Today, family, professional, and financial relationships are increasingly international. This movement requires lawyers to have not only technical knowledge, but also the ability to understand how decisions made in one country can affect a person’s life in another. I also receive this award as an incentive to continue building bridges between these different realities,” she emphasizes. The 2026 Highlight Trophy Caps Three Decades of a Career It is within this context that the 2026 Highlight Trophy takes on a significance that goes beyond the awards ceremony. The recognition comes as Patricia marks three decades of a story built outside Brazil and helps put into perspective the journey of a professional who had to adapt to new languages, understand different legal systems, rebuild her professional network, and establish credibility in markets where she was starting almost from scratch. Her résumé now includes a specialization in Insurance Law from Goethe University in Germany and in Swiss and European Migration Law from the University of Bern. Patricia is registered with the OAB/MG 71.418, the Portuguese Bar Association (OAP 60994), and practices as a European lawyer before the Bern Bar Association. More than a sequence of titles, her education reflects a career built on a continuous pursuit of knowledge and the need to deeply understand the countries in which she chose to practice. Her accumulated experience has also become something she shares with other Brazilian lawyers who dream of building international careers. Patricia believes that a career abroad requires much more than legal knowledge: language proficiency, continuous professional development, an understanding of local culture, the ability to build connections, and professional planning are among the elements she considers decisive. When reflecting on her own story, she often summarizes this philosophy in a particular way: believing in your dreams does not mean ignoring obstacles, but understanding that challenges, failures, lessons, and achievements are also part of building a career. For Patricia, it is important to plan the journey, celebrate every milestone achieved, and recognize that “the greatest reward is the journey itself.” Thirty years after that arrival in Frankfurt, the image takes on a different dimension. The young Brazilian woman who arrived in Europe with a suitcase and had to fight to find her place in the legal profession now crosses the Mediterranean while being honored among legal professionals. The 2026 Highlight Trophy celebrates the present, but it also carries every stage that came before it: persistence in the face of rejection, years of study, the courage to start over in another country, the creation of her own law firm, and the thousands of professional stories that helped establish her name. For Patricia Mutzke, therefore, the award represents more than reaching a position of prominence. It symbolizes a journey that transformed borders into bridges and made a Brazilian woman who dared to start over in Europe a professional recognized precisely for what she chose to build between two worlds.

ITALY COVER EDITION - SEPTEMBER 2026 ISSUE Photo: @demmacedo / Model: @bellezorzi / Beauty: @loe.roma / Video: @olivervideomaker_ / Styling: @abrunnaeler / Location: Roma / PR: @sigth.coom / Executive leadership: @jheelunna / Fashion Director Hooks: @evelyoliveira / Editor-In-Chief Hooks: @directorhooks / Travel agency: @planejamento.viagem @eagleofpersonaltravel / Clutch: @syetvie Every departure begins before the suitcase. It begins long before the airport, when someone starts looking at their own life and imagining what it would be like to exist somewhere else. Sometimes, that desire is born out of necessity. Other times, it emerges precisely when there is seemingly nothing wrong. And perhaps that is one of the hardest decisions to make. It is different to leave because there is no longer a choice, and to leave when there are still enough reasons to stay. Whoever leaves behind a life that worked doesn’t take only documents, clothes, and belongings. They take references with them. A professional name that already means something. Relationships built over the years. Habits that no longer require thought. The familiarity of knowing how things work and, above all, the feeling of knowing who you are within that world. Until you arrive in another one. At first, everything feels bigger. Differences catch your attention, details become meaningful, and everyday life carries the intensity of discovery. There is a kind of suspension of the life that came before. For a while, almost anything seems possible because almost nothing has yet been tested by reality. But no place remains new forever. At some point, the landscape stops being something to discover and becomes an address. The language stops being a curiosity and becomes a necessity. Choices stop feeling like an adventure and begin to carry real consequences. That is when the experience of living abroad often changes its nature. Because there is a profound difference between discovering a country and building a life in it. The first can happen in a matter of days. The second takes time. And in that in-between space, an immigrant is confronted with what may be one of the most disorienting aspects of any major change: realizing that what once served as a definition of who they were may no longer work in quite the same way. It doesn’t mean it has ceased to exist. It means it needs to be reinterpreted. That is why immigration can be, at the same time, both a geographical experience and an experience of identity. The address changes first. Everything else comes later. Some people spend years trying to rebuild exactly the life they had before. Others gradually come to understand that the opportunity to be somewhere else can also be an opportunity to discover a version of themselves that their former environment never required them to become. Neither path is simple. Starting over involves a kind of grief for what has been left behind, but also a difficult-to-explain sense of freedom. When old reference points lose some of their power, an unsettling question emerges: if I no longer have to be exactly who I was, who can I become? Perhaps that is the question that accompanies every true new beginning. And it is not usually answered at the airport, nor on the first day, nor when the photographs begin appearing on social media. It is answered in everyday life. In the choices no one sees. In the days when you have to keep going without having all the answers. In the ability to look at what didn’t go according to plan without mistaking a change of direction for failure. It is at this point that Belle Zorzi’s story becomes particularly compelling. Because hers is not a story of rupture. There was no life in ruins waiting to be escaped. There was a life already built, relationships, work, and a reality that could have been enough to stay. But there was also the awareness that a life can be working perfectly well and still not contain all the possibilities a person wants to experience. That distinction changes everything. Because when leaving is not an escape, the decision stops being solely about the place you are going to. It becomes about the person you are willing to become once you get there. It was from that choice that Belle began her chapter in Italy. And perhaps the most compelling part of this story lies not only in the country she chose, but in everything that had to be reconsidered when the woman she was before leaving encountered a reality that no longer followed the same rules. It is at this border between the life we know and the one that does not yet exist that our conversation with Belle Zorzi begins. 1. You had an established professional life in Brazil, but decided to leave everything behind and start from scratch in Italy. What was missing from that life that made you feel it was worth taking the risk of starting over? I don’t think anything was exactly missing. We had a good life in Brazil — we had work, family, friends, a structured life. But there was a very strong desire within me to discover what else life could be. I always had this fear of reaching a certain point in life and realizing that I had spent my entire life in the same place simply because it was more comfortable to stay. I wanted to see other places, experience different cultures, have more freedom, work from anywhere, and build a life that truly made sense for us. And perhaps that is why making the decision was so difficult. Because it is much easier to leave when you have nothing to lose. We did. Even so, we understood that some things only happen when you are willing to trade the security of what you already know for the possibility of building something new. 2. You arrived in Italy as a lawyer and suddenly had to face a reality in which your professional background no longer carried the same weight. After so many “no’s” and even being told that you wouldn’t be able to work because you didn’t speak Italian well enough, what changed within you that made you decide to create your own opportunity? That was probably one of the most difficult parts of living abroad. I have a law degree, I worked as a lawyer in Brazil, and when I arrived in Italy, I realized that everything I had built professionally did not necessarily cross the border with me. I heard “no” many times. I was told that my Italian wasn’t good enough, that finding work would be difficult, and I began to understand that I could spend a very long time waiting for someone to decide to give me an opportunity. Until I thought: if no one is giving me an opportunity, I’ll create my own. I had already been working online for a few years, creating content and developing marketing skills. So I started looking less at what I had lost professionally and more at what I knew how to do. That’s where the biggest change happened. I stopped waiting for someone to validate my abilities before taking the first step. 3. From that decision, you began building a new source of income online. What was it like to turn what you already knew how to do into services that someone would actually be willing to pay for? And what was the first job that made you realize this could really work? In the beginning, it was very much a matter of asking ourselves: “What do we know how to do that can solve someone’s problem?” Especially something that didn’t depend on my ability to communicate in Italian, since that was something I was still developing. But I couldn’t wait for my Italian to become perfect before starting to make money. I already had experience in content creation and digital marketing, and David gradually entered this world with me as well. So we started offering content creation, video editing, social media management, websites, and other digital services. But knowing how to do something and turning it into a business are two completely different things. We had to learn how to sell, prospect for clients, set prices, negotiate, deal with clients, and, above all, demonstrate value. Our first job was as videographers, creating video edits and managing social media for a beauty salon. I realized that Italy wasn’t as advanced when it came to marketing. Many businesses still don’t even have social media. And those that do often don’t keep it active. Or, if they do, the quality of the content is lacking. That’s when I saw an ocean of opportunities. We started with small businesses, but every new client was almost a confirmation that this could exist beyond our own imagination. Until there came a point when we realized that this was no longer simply an attempt to make an income online. It was becoming our work. And I don’t think that realization happened in one single, defining moment. It happened gradually: when one client referred us to another, when someone came back to hire us again, until what had started as freelance work evolved into a marketing agency. 4. Today, you have built a routine that is very different from the one you had in Brazil. There is, however, a side of that freedom that doesn’t appear on social media: the risks, the difficult months, the need to constantly win new clients and make the business sustainable. What exists behind the life you chose to build that almost no one sees? There is a lot of uncertainty. Freedom is wonderful, but it comes with responsibility. When you work for yourself, there isn’t necessarily a guaranteed salary coming in at the end of every month. You have to win clients, deliver results, manage the business, think about the following month, and keep finding ways to grow. On social media, people see the trips, the beautiful places, the possibility of working from different locations. What they don’t see as much are the hours spent in front of the computer, the proposals that are turned down, the clients who leave, the better months and the more difficult ones, the fear that something might go wrong, and the pressure of knowing that it is up to you to make it work. And I don’t say this to romanticize hardship, because I don’t believe suffering is a prerequisite for achieving something. It is simply the other side of freedom. But even so, I would choose this life again. Freedom comes with a price, but I wouldn’t trade for anything the satisfaction of building something that is truly ours. 5. When you look at the woman who arrived in Italy afraid she wouldn’t be able to make it, and at the woman you are today, what do you believe has transformed the most within you? And, after everything you have already built, what do you still feel you need or want to build? I learned to trust my ability to rebuild myself so much more. When I arrived in Italy, my biggest question was: “How am I going to make things work?” And I discovered that we are capable of so much when we stop doubting ourselves and have the courage to go after what we want. When we refuse to let other people dictate how far we can go. I was told I wouldn’t be able to work because I didn’t speak Italian. I watched my professional background lose the weight it had carried in Brazil and, for a moment, I genuinely questioned what I would be capable of doing here. Today, I realize that we often place our sense of security in the things we have achieved: a profession, a job, a salary, a position. Living abroad taught me that there is a much greater kind of security — trusting myself. Because if I was able to build a life from scratch in another country, learn things I never imagined I would learn, and create opportunities where none existed, I am much less afraid to try today. And I still want to build so much. I’m a very dreamy and ambitious person. Not necessarily in the sense of having more things, but of experiencing more. I want to see the world, continue growing professionally, gain more and more freedom, and keep discovering just how far I can go. 6. And last but certainly not least: what is your voice? If you had the opportunity to say something to the world, without filters, without fear, and without having to fit into anyone’s expectations, what would you want to shout? If I could shout something to the world, it would be: don’t put your life on hold waiting to be certain about everything. We grow up believing that we need to know exactly who we are, what we want to do, and where we want to go. And that once we choose a path, we have to stay on it so that everything that came before feels like it was worth it. But you can change your mind. You can discover that something you wanted for years no longer makes sense. You can change careers, countries, dreams. You can become a completely different person from the one you once imagined you would be. And you don’t have to wait until you feel ready. Some of the most important decisions in our lives happen when we are still afraid, without all the answers, and without knowing exactly how we are going to make things work. I’ve also learned that I can’t make decisions about my life based on what other people expect from me. Not everyone will understand the paths you choose, and that’s okay. In the end, living your life trying to meet everyone else’s expectations can cost you the very life you wish you had lived. Allow yourself to change. Allow yourself to begin before you feel ready. Allow yourself to choose a life that makes sense to you, even if it makes no sense to anyone else. After all, it’s YOUR life!!! Buy the printed magazine now by clicking below:

At 21, the singer-songwriter from Campinas releases the third single from his album, blending pop, funk and K-pop influences while taking on different stages of the music video’s creation Pedro Bustamante There are artists who perform a song. There are those who take part in its creation. And then there are those who seek to transform every detail of a work into an extension of their own identity. At 21, Pedro Bustamante places himself firmly in this third category. A singer, songwriter, performer, and Music student at Unicamp, the artist, born in Campinas, in the state of São Paulo, presents “Noite Estrelada” (“The Starry Night”) on September 9, the third single from an album he has been independently developing. The following day, September 10, the track is accompanied by a music video that translates one of the most renowned paintings in art history into the language of pop: Vincent van Gogh’s The Starry Night. The reference does not appear solely as a visual concept. Pedro brought the artwork into the very structure of the performance, creating a vibrant, nocturnal and choreographed atmosphere in which dance, lighting, fashion and stage effects come together. The idea is to transform the sense of movement present in the painting into a music video designed for a generation accustomed to experiencing music through the impact of imagery as well. “I wanted the music video to be a modern reinterpretation of the painting. I envisioned the choreography as a kind of reproduction of the artwork in motion, as if each dancer were the city being illuminated. The song is dance-driven, so I needed the visuals to carry that same energy, with movement, color and freedom,” Pedro explains. The result is a vibrant, dance-oriented pop production featuring funk-pop elements, a catchy chorus designed to stay in listeners’ heads, and choreography that is easy to recreate. The intention is for “Noite Estrelada” to be not only heard, but danced to as well. The track is aimed particularly at Generation Z, an audience Pedro knows well not only as an artist, but also as a creator immersed in a culture in which music, dance, fashion and audiovisual storytelling are no longer separate worlds. From Van Gogh’s Painting to the Dance Floor Choosing Van Gogh may seem like an unusual direction for a pop song. For Pedro, however, there is a direct connection between the painting and the way he sees his own music. The Starry Night is defined by movement, contrast and intensity. In the music video, these elements are reinterpreted through choreography, lighting and the presence of a large ensemble of dancers. Pedro was directly involved in developing the choreography alongside Gaaby Mendes and Marcus Mariano, transforming the artistic reference into a collective performance. The production also incorporates fireworks and a nighttime aesthetic that reinforces the sense of spectacle. The video is directed by Pedro Bustamante, Kawan Lima, Gaaby Mendes and Jhonatan Komatsu, with editing by Kawan Lima, Pedro and Gaaby. The styling follows the same approach to visual storytelling. All of the pieces were designed specifically for the project by Campinas-based designer Maurício Mazzon, connecting the production to the city where Pedro was born and where he is developing his artistic career. “I wanted everything to speak to each other. It wasn’t simply about adding a reference to The Starry Nightand making a pop song. The idea was to build a universe in which the music, choreography, styling, lighting and dancers all told the same story,” the singer explains. An Artist Who Wants to Be Behind Every Detail The project’s creative authorship is also reflected in its process. Pedro is not simply at the center of the camera. He takes part in different stages of bringing his work to life, from music to audiovisual production. The approach is consistent with a journey that began at an early age. At six, he started studying piano. At 12, he began singing and later developed an interest in songwriting. The son of a Mexican father and musician who worked as a drummer, he grew up close to the musical environment and eventually turned that experience into a professional path. Now in his third year of a Music degree at the University of Campinas (Unicamp), Pedro balances his academic education with his original projects. Before “Noite Estrelada,” he released “Superstar” in 2024 and “Meia-Noite” in 2025, projects that have helped shape his artistic identity. For the new single, this creative involvement also extends to the music video. In addition to being part of the directing and editing teams, Pedro was involved in the choreography and overall conception of the project. “I like to understand and be part of every stage of the process because every choice changes the final result. When I’m composing, I’m already imagining the performance. When I think about the music, I also think about what I want people to feel when they watch the video. To me, there isn’t such a clear division between singing, dancing, producing and creating the visual identity,” he says. Between Anitta, Miley Cyrus, Ariana Grande and K-pop Musically, Pedro builds his repertoire from references that move across different sides of pop. Miley Cyrus, Anitta and Ariana Grande are among the artists who form part of his creative universe, alongside the aesthetic and performance power of K-pop. This combination helps explain the concept behind “Noite Estrelada”: a highly visual track built for performance and accompanied by choreography that can come to life beyond the music video itself. For Pedro, music and image are part of the same artistic construction. Rather than treating the music video simply as a promotional tool for a song, the singer is focused on creating a universe around each release, bringing together sound, dance, styling and storytelling. The New Prince of Brazilian Pop? At 21, Pedro Bustamante is still at the beginning of his journey, but “Noite Estrelada” reveals an artist interested in occupying a space that demands more than a good voice. The project combines music, dance, fashion, direction and visual storytelling in an attempt to present not just a track, but an entire universe. It is also the third step in an album being unveiled gradually, allowing audiences to follow the development of his artistic identity. If the goal is to win over Generation Z, Pedro seems to understand that the challenge is not simply to release a song. You have to create a moment. And “Noite Estrelada” is born precisely from that idea: transforming a reference that has endured for more than a century into a contemporary, dance-driven and visually spectacular pop experience. In Van Gogh’s sky, the stars seem to move. In Pedro Bustamante’s universe, they now dance as well. Credits Music video filming: Santos Dumont Aeronautical Condominium, June 21, 2026 Music: Pedro Bustamante Mixing and mastering: Beatwill Executive production: Marco Rodriguez Direction: Pedro Bustamante, Kawan Lima, Gaaby Mendes and Jhonatan Komatsu Editing: Kawan Lima, Pedro Bustamante and Gaaby Mendes Choreography: Gaaby Mendes and Marcus Mariano Dancers: Alícia Connagin, Danilo Tomazio, Gaaby Mendes, Gabriel Mascarenhas, Gustavo Oliveira, Jeff Silva, Jhonatan Komatsu, João Pedro Alves, Kat Silva, Leticia Jesus, Marcus Mariano, Martin Asaf, Mayara Miquelotto, Mikaella Cristina, Sofia Crespo, Victor Montoya and Yasmin Miquelotto. Makeup: Edson Barreto Styling: Maurício Mazzon Lighting and sound: DJ Phillip Festas & Eventos Filming and audiovisual production: Lima Produções Photography: Larissa Lima Generators: Scali Geradores Tents: Camp Tendas Pyrotechnic show: LM Gatti – Grupo Flames Social media: Isabela Simião, Amarylliz Fukuoka and Alandra Almeida Location: Santos Dumont Aeronautical Condominium MUSIC VIDEO LINK:

The international awards, conceived by Brazilian entrepreneur Natália Mondelli, recognized impactful journeys, entrepreneurship, and leadership during a gala evening on the shores of Lake Geneva Natália Mondelli - Photos by: RAMYNGLY - Movies and Photography Switzerland, September 2026 — The historic Château de Chillon, one of Switzerland’s most iconic landmarks, hosted the second edition of the EWI Global Awards on September 5. The international awards recognize entrepreneurs, leaders, and prominent personalities whose careers stand out for their achievements, innovation, impact, and contributions to society. Natália Mondelli The EWI Global Awards was conceived and produced by Brazilian entrepreneur Natália Mondelli, who is based in Switzerland. For Mondelli, bringing Brazilian entrepreneurs to a venue such as Château de Chillon also carries a symbolic meaning. “There are many people building companies, creating jobs, transforming markets, and impacting lives. Many of these stories deserve to cross borders. The EWI Global Awards was also born from this desire: to recognize achievements and place outstanding journeys on an international stage,” she says. An Awards Ceremony with a Social Purpose Beyond business and institutional recognition, the EWI Global Awards is directly connected to the work of Empowering Women for Integration (EWI), an organization founded in Switzerland in 2021 that focuses on the integration and development of immigrant and refugee women through entrepreneurship, education, professional training, and network building. Throughout its journey, EWI has developed projects, events, and initiatives focused on integration and entrepreneurship in partnership with professionals, companies, and organizations across Switzerland. Simon Loop And Jose Planta The Global Awards reflects this vision of bringing the business world together with social impact, using connections, knowledge, visibility, and resources to expand the reach of the initiatives developed by the organization. “I believe recognition only truly matters when it also creates momentum. The award celebrates those who have achieved meaningful results, but there is something greater behind it. When we are able to turn influence, business, and connections into opportunities for others, we create a much more powerful cycle,” Mondelli explains. Maria Willi And Alexander Willi From Brazil to the World The EWI Global Awards highlights the strength and representativeness of Brazilian business leaders on the international stage. Gathered in Switzerland, entrepreneurs, founders, and leaders from different sectors represented businesses that, collectively, generate billions in revenue, create thousands of jobs, and have a direct impact on the development of their respective markets. Andréia Fioravante And Natália Mondelli The event brings together on the same stage individuals who have built solid companies, recognized brands, and operations that cross borders. They are entrepreneurs who have transformed vision into results, taken risks, opened new markets, and now represent a significant share of Brazil’s economic and entrepreneurial strength. Natália Mondelli Holding this gathering in Switzerland reinforces precisely this message: Brazilian entrepreneurship has the scale, expertise, and strength to take its place on the world’s major international stages. The EWI Global Awards was also created as a platform to recognize and showcase this representation, connecting business leaders who actively drive the economy and build lasting legacies. Château de Chillon, on the shores of Lake Geneva, was chosen as the setting for this gathering. Within a castle steeped in centuries of history, entrepreneurs responsible for building businesses of significant economic relevance were recognized not only for their individual achievements, but also for the broader impact they represent: capital, jobs, innovation, influence, and the ability to transform markets and societies. About Natália Mondelli A Brazilian entrepreneur based in Switzerland, Natália Mondelli is an entrepreneur, author, speaker, and specialist in internationalization and business connections. She is the founder of B-Long Business School, Global Ventures Alliance, and Empowering Women for Integration (EWI), and works to build bridges between Brazilian entrepreneurs and the international business ecosystem. Throughout her career, she has developed projects focused on entrepreneurship, executive education, integration, and international expansion, connecting professionals, entrepreneurs, and institutions across Brazil, Switzerland, and other markets. She is also the author of the book O Mundo é Seu. Negócio Fechado! (The World Is Yours. Deal Closed!), in which she explores business, intercultural relations, and the building of connections through her experiences negotiating with 65 countries. Next Edition of the EWI Global Awards September 4, 2027 Château de Chillon — Switzerland

DUBAI COVER EDITION - SEPTEMBER 2026 ISSUE Photography by PH Euzébio - @pheuzebio / Model: @kamashevaa / Makeup Artist: @amandakaymakeup / Hairstylist: @sofia_iva / Styling: @sarahnezhad__ / Studio: @cliffstudio_dxb There are images that document fashion, and there are images that transform fashion into a visual language of their own. In this new editorial for Hooks Magazine’s Dubai Edition, model Zeynep Kamasheva becomes the center of a carefully constructed world where fashion, geometry, movement, and attitude meet. Photographed in Dubai by photographer and creative director PH Euzébio, the series embraces a deliberately controlled aesthetic. Rather than relying on an abundance of scenery or visual distractions, the photographs allow the silhouette to take command. Every element feels intentional — from the graphic quality of the garments to the sculptural beauty direction and the carefully considered poses. At the heart of the editorial is contrast. Black meets white. Softness meets structure. Retro references collide with a distinctly contemporary attitude. The result is an aesthetic that feels simultaneously familiar and futuristic, recalling the precision of classic fashion imagery while remaining firmly rooted in a modern visual vocabulary. The circular architectural setting seen throughout the cover becomes more than a background. It functions almost as a frame within the frame, emphasizing Zeynep’s body and transforming her pose into part of the composition itself. The curved structure contrasts with the sharp lines of the styling, creating a visual tension between organic form and geometric precision. The styling reinforces this language. A monochromatic houndstooth look extends across the body, creating a continuous graphic pattern that becomes almost hypnotic when photographed. Black leather gloves and a sculptural waist piece introduce stronger architectural elements, while the metallic platform shoes add an unexpected futuristic touch. Even the beauty direction contributes to the narrative. Zeynep’s sculpted hair creates a dramatic silhouette, while the striking white eye makeup immediately draws attention to her gaze. Instead of following conventional notions of softness or naturalism, the beauty look becomes an extension of the concept — graphic, expressive, and slightly surreal. There is also a sense of movement throughout the imagery. Zeynep is not simply positioned within the set; she interacts with it. Her extended arms, angular legs, dramatic posture, and expressive body language give the photographs a sense of choreography. The body becomes a design element, capable of creating lines, shapes, and rhythm within the frame. This approach gives the editorial a distinctly cinematic quality. Each photograph feels like a carefully composed scene rather than a simple fashion portrait. The images invite the viewer to look at clothing not only as something worn, but as an instrument for creating character and atmosphere. The minimalism is therefore not about absence. It is about precision. With very few visual elements competing for attention, every detail becomes more significant. The gloves, the texture of the fabric, the shape of the shoes, the makeup, the hair, the circular architecture and, above all, Zeynep’s physical expression contribute to a unified visual story. The editorial also reflects something particularly relevant to Dubai’s fashion landscape: its ability to bring together international perspectives. A photographer working in Dubai, an international model, and a fashion language that draws from multiple visual references come together to create imagery that feels global without losing its individual identity. In this series, Zeynep Kamasheva is not simply wearing fashion. She becomes part of its architecture. The result is an editorial built on confidence, discipline, contrast, and movement — a visual exploration of how simplicity can become powerful when every element has a purpose. ⸻ PH EUZÉBIO: THE EYE BEHIND THE IMAGE PH Euzébio is a fashion photographer and creative director whose work is driven by aesthetics, identity, and visual storytelling. Dubai fashion photographer PH EUZÉBIO His approach goes beyond simply documenting clothing. PH works to translate mood, attitude, personality, and concept into each frame, creating imagery across fashion editorials, lookbooks, campaigns, and contemporary visual narratives. Now based in Dubai, he has established his presence within the city’s dynamic fashion scene, contributing to projects connected to internationally recognized fashion houses including Louis Vuitton and Schiaparelli. His work has also allowed him to collaborate with an international network of models, stylists, makeup artists, and creative professionals, bringing a global perspective to his visual language. As a creative director, PH is involved in the process beyond the camera. From developing the initial concept and defining the aesthetic direction to assembling and collaborating with the creative team, he works to transform an idea into a complete visual experience. His creative philosophy is grounded in concept, art, and minimalism. In his images, simplicity is never synonymous with emptiness. Instead, it becomes a deliberate choice — a way of allowing composition, detail, personality, and emotion to speak with greater intensity. For PH Euzébio, every frame is an opportunity to construct a world. And in this Dubai editorial with Zeynep Kamasheva, that world is defined by form, movement, contrast, and unapologetic fashion.

"BUSINESS" EDITION COVER - SEPTEMBER 2026 ISSUE Photo: @demmacedo / Beauty: @dariobion / Video: @olivervideomaker_ / Styling: @eduardomurari @diegobbueno / Studio: @openstudio Nathaly Brandão did not come to facial rejuvenation with a desire to transform faces. What transformed over the years was the way she came to see them. In her practice, the same situation began to repeat itself. Women would come in pointing to a specific area of their face, convinced that was where the problem lay: more pronounced dark circles, nasolabial folds, a loss of definition. But when looking at the face as a whole, Nathaly realized that the concern was often simply the most visible sign of a change that had begun somewhere else. It was from this observation, accumulated over years of consultations, that a question emerged—one that ultimately changed the way she approached her work: what if the face could not be treated in parts? The answer was built through study, practice, and experience. Gradually, it became clear that effective facial rejuvenation required looking at structure, support, proportion, movement, and, above all, the features that are part of each woman’s identity. From this perspective, the Visage Method was born. Today, at the helm of a clinic specializing in facial rejuvenation in Sorocaba, her work is particularly focused on women over 40 who recognize the changes brought by aging but do not want to lose the characteristics that make them who they are. For many of them, the desire is not to return to the face they had at another stage of life, but to make their reflection in the mirror better represent who they still are. It is a difference that changes the way treatment is approached. Instead of starting from an isolated area, the face is understood as a whole, assessing what truly needs to be treated — and, equally important, what does not. The clinic has grown alongside this vision. Today, the aesthetic biomedical professional also takes on the role of entrepreneur and leader, during a phase of expansion that involves new facilities, a growing team, and a larger clinic. By her side is her husband, Matheus, who left his previous job to take over the management of the business, turning part of this growth into a family project. Family plays an important role in this journey. As the mother of Guilherme and Henrique, she has had to balance motherhood, marriage, patient care, studying, and business management without a nanny or a large support network. Reorganizing her schedule to be more present in her sons’ lives has become one of the most meaningful achievements of this phase. It has also meant learning to share responsibilities. Dr. Paula Toratti, who has worked alongside her for more than five years, has become an important part of the team and of her patients’ journeys, allowing the clinic to grow without losing the sense of closeness that has always been at the heart of her work. The experience accumulated throughout this journey has also begun to be shared with other professionals through the Método Visage Mentorship. Designed for professionals who already have experience in the field, the program brings together clinical reasoning, consultation approach, patient experience, business management, and professional positioning. Participants are carefully selected, a choice that reflects the desire to preserve the essence of the method even as it expands. Between the clinic, the mentorship, and new projects, this is a time of professional and business growth. Business recognitions and invitations to events alongside leading professionals in facial harmonization in Brazil have marked this journey, while the new clinic represents the next step in a project that has been years in the making. There is also a personal dimension to this moment. As she approaches 40, she is beginning to experience some of the changes she sees in her patients every day. She reassesses her own image, reflects on how she wants to age, and understands in a different way the women who come to the clinic simply wanting to recognize themselves again. Perhaps that is precisely where the essence of her work lies. Not in erasing time or creating a different face, but in preserving a woman’s identity as she cares for her appearance. After years dedicated to understanding how time transforms the face, she enters a new phase carrying with her a method of her own, a growing clinic, and a unique perspective on the aging process. The cover of Hooks Magazine arrives at a symbolic moment in this journey. It represents everything that has been built so far, while also marking the beginning of a new chapter for the clinic, Método Visage, and for her as a woman, mother, professional, educator, and entrepreneur. You built your career at a time when facial aesthetics was largely focused on correcting individual areas of the face: a wrinkle, a fold, a loss of volume. Over time, your work began to take a different path, one much more focused on understanding the face as a whole. Do you remember when you realized that you no longer wanted to simply correct what bothered a patient, but instead understand why it was happening? What changed in the way you saw the face from that point on? I can’t point to a single day when that realization happened. It was something that began to happen repeatedly in my practice. A patient would point to her nasolabial folds, dark circles, or marionette lines, but when I looked at her entire face, I realized that the area she was pointing to was simply where the signs of aging were most pronounced. It wasn’t necessarily where the problem had begun. I could treat exactly the area she identified and still fail to restore the lightness she was looking for. In some cases, focusing too much on that particular area could even make the face look heavier. That was when I understood that I needed to stop looking at individual parts and start understanding the face as a whole. The face doesn’t age in isolated compartments. It loses structure, support, contour, and balance as an interconnected system. From that point on, my consultations changed completely. Before thinking about any procedure, I began to observe how that face was structured, what time had changed, and what still needed to be preserved. The question was no longer, “Where should I add volume?” but rather, “What is making this woman look more tired or older than she feels?” That was when I began to develop the perspective that would later give rise to Method Visage. A perspective that doesn’t seek to erase the history of a face, but to restore what aging has taken away while preserving identity, expression, and naturalness. There is a difference between knowing how to perform a procedure and knowing how to read a face. And it seems that the second kind of learning happens much more in front of patients than in a classroom. After so many years in practice, what have women taught you about aging that no course could ever have taught you? Courses taught me anatomy, technique, safety, and treatment options. But my patients taught me the emotional meaning of a face. They showed me that aging is not simply about noticing a wrinkle. Often, it is about looking in the mirror and feeling that the reflection no longer represents the woman you feel you are inside. It is constantly being told that you look tired, even when you feel fine. It is avoiding photographs, always looking for your best angle, or realizing that you have lost an expression of lightness that was once part of who you were. I also learned that most mature women don’t want to have the face they had at 20 again. They don’t want to become someone else. They want to continue recognizing their own features, but with an appearance that feels more rested, cared for, elegant, and aligned with the vitality they still possess. My patients also taught me that naturalness doesn’t necessarily mean doing less. It means doing what is necessary, in the right amount and in the right places. Sometimes, a very targeted treatment doesn’t create a natural result because it fails to respect the face as a whole. A more comprehensive and well-distributed treatment plan can look far more subtle than several small, disconnected interventions. No classroom could ever fully teach me what lies behind the words, “I don’t recognize myself anymore.” I learned that by listening to women. And that listening transformed not only my technique, but also the way I practice my profession. Method Visage is based on an idea that completely changes the logic of a consultation: often, what a patient wants to treat is not the root cause of what is bothering her. That requires knowledge, but also the courage to challenge an expectation. When did you realize that your role was not to deliver the procedure a patient asked for, but to help her understand what her face truly needed? I realized this when I understood that performing a procedure correctly was not enough if the indication wasn’t the best one for that particular face. There is a significant difference between fulfilling a request and taking responsibility for an outcome. When a patient comes to see me, she knows what bothers her, but she isn’t expected to understand anatomy, the causes of aging, or the limitations of each procedure. That responsibility is mine. That means that, at times, I need to tell her that the procedure she requested isn’t the most appropriate one. I need to explain that treating only that particular area may not resolve her concern or could even make the face look heavier. In other cases, I need to tell her that she doesn’t actually need something she thought she did. Of course, challenging an expectation can be uncomfortable. It would be much easier to simply provide the procedure she asked for. But I don’t want a patient to leave the clinic simply having had something done. I want her to feel confident that there is a strategy designed for her face, so that the best possible result can be achieved. That is why the consultation has become one of the most important stages of Method Visage. It is when I listen to the woman, observe her face, and translate what is happening for her. Many patients tell me that they have never received such a thorough explanation of their own face. To me, that is an incredibly valuable moment, because she stops choosing isolated procedures and begins to understand her own aging process. My job is not to convince a woman to do more. It is to help her make better choices. And sometimes, that also means having the maturity to do less — or to do nothing at all. For a long time, this perspective existed only in your own hands. Today, it also needs to exist in the hands of other professionals. How do you teach a way of seeing without turning it into nothing more than a technique? And as Método Visage grows, what are the things you refuse to compromise on? This is perhaps one of the greatest challenges of my journey. A technique can be demonstrated, repeated, and practiced. A trained eye requires experience, observation, clinical reasoning, and sensitivity. To teach Método Visage, I can’t simply show where or how to perform a particular procedure. I need to teach professionals to understand why they are doing it, what problem they are trying to address, what needs to be preserved, and how each decision affects the face as a whole. I also teach that a patient cannot be reduced to a before-and-after image. There is a woman behind it, with her own expectations, fears, references, and history with her appearance. Knowing how to listen to her is just as much a part of the method as knowing how to treat her. That is precisely why I began training professionals within the clinic and also created the Método Visage Mentorship, designed for those who already have experience in the field. The mentorship goes beyond technique. We work on clinical reasoning, consultation approach, patient experience, professional positioning, and follow-up. I want to train professionals who think, not simply professionals who replicate. As Método Visage grows, I refuse to compromise on individuality, naturalness, and honesty in treatment recommendations. I don’t want it to become a formula applied in the same way to every face. The method needs to grow without losing the sensitivity that gave rise to it. I also refuse to compromise on trust. Caring for someone’s face means caring for something deeply connected to that person’s identity. To me, expansion only makes sense if that responsibility remains present in every consultation. You are approaching 40 while, every day, caring for women who are living through this exact stage of life. At what point do the aesthetic biomedical professional and the woman herself begin to meet in front of the mirror? What has approaching 40 changed in your relationship with beauty, with time, and with the woman you want to continue being? They begin to meet when what I have observed for years in my patients gradually begins to appear on my own face. As I approach 40, I am beginning to notice changes that I previously knew mainly through theory and through my work in the clinic. And that gives me an even deeper sense of empathy. I understand what it feels like to look at a photograph and notice something different, even when we still feel young, active, and full of plans. This stage has also brought greater maturity to my relationship with beauty. Today, beauty, to me, has less to do with perfection and much more to do with presence, identity, and authenticity. I don’t want to freeze time or look like I’m an age I’m not. I want to age while still recognizing myself, preserving my femininity, my expression, and the pleasure I find in caring for myself. I have also come to see self-care with less guilt. A woman can be mature, a mother, a professional, and a wife, and still want to feel beautiful. That doesn’t make her any less profound. Caring for your appearance doesn’t have to represent a fear of aging. It can represent respect for the woman you have become. The aesthetic biomedical professional in me helps me understand the process. The woman in me helps me never forget what that process means emotionally. When those two sides come together, my perspective becomes more human. I don’t look only at what has changed in a face. I think about how that woman wants to move through time and who she wants to continue recognizing in the mirror. I want to end by stepping away from aesthetics for a moment. After everything you have experienced, studied, and built, is there an idea that has become non-negotiable for you? Something you would like a woman to take with her after hearing this conversation? There is one idea that has become non-negotiable for me: a woman does not have to choose between accepting time and continuing to care for herself. For a long time, it seemed as though there were only two paths. Either she fought against every sign of aging, trying to look like someone else, or she had to quietly accept every change in order to prove that she was confident and mature. I don’t believe in either extreme. It is possible to respect your own history while still wanting to feel more beautiful. It is possible to age without abandoning yourself. It is possible to undergo treatments without erasing your identity. And it is possible to look at yourself in the mirror with greater kindness, without turning beauty into an obligation. If I could leave every woman with one message, it would be this: time does not take away your right to feel beautiful, feminine, interesting, and alive. You don’t need to go back to who you were at 20. But you also don’t have to give up on recognizing and caring for the woman you have become. That is what I seek to offer through my work. Not the promise of stopping aging, but the possibility of moving through it with greater awareness, elegance, and freedom.

The new holding company brings together DB Creative, Bradshaw Lodge and the business structure connected to the Brazilian model’s work in fashion and digital media Photos by Diogo Barbosa Leticia Bradshaw Ledger has launched Bradshaw Group, a holding company bringing together three areas of her professional activity: marketing and technology, hospitality, and fashion. The new structure consolidates businesses that had previously developed independently within her career. Among them is DB Creative, a marketing, technology and artificial intelligence company where Ledger serves as CEO and partner. In hospitality, the group includes Bradshaw Lodge, an operation focused on the hotel sector. A third arm is connected to Ledger’s own career, encompassing her work as a model and the management of her digital presence. Best known publicly for her work in fashion, Ledger maintains a more restrained approach to social media. Her Instagram is updated selectively, with posts centered primarily on fashion, travel and specific moments, creating a presence that reads more like an editorial portfolio than a record of everyday life. That public image has, for several years, existed alongside a less visible business career. The launch of Bradshaw Group brings greater visibility to a professional side that has largely remained secondary to fashion in the public eye. With the new holding company, technology and hospitality now take on a more defined role within a career still closely associated with fashion and image.

'BRIDES' COVER EDITION - AUGUST 2026 ISSUE Allison e Bia - @amorenosfotografia A bride standing at the doors of a church can still make Maria stop in her tracks. It doesn’t matter how many she has seen. How many she has done the makeup for. How many dresses she has helped adjust, how many bouquets she has watched arrive, or how many times she has stood beside a woman in the minutes before she walks down the aisle. When a bride crosses Maria’s path, she looks. Perhaps that is why this story began so early. Maria grew up at a resort where weddings were part of the scenery. As a little girl, she would watch brides, dresses, and celebrations from a distance, while her imagination filled in everything she couldn’t see. That was where her fascination began — a fascination that, years later, would find its way into her professional life. For a long time, Maria stood beside other women precisely when they were about to enter a new chapter of their lives. She witnessed their anxiety, anticipation, little unexpected moments, and that deeply personal instant when a woman finally sees herself ready. Until it was her turn. And it was fascinating to discover that, after so many years immersed in the world of weddings, her own wedding would place Maria in a completely different position. This time, there was no other bride to watch. There was her, there was Luckas, and there was a story the two of them had already been building long before that day. The celebration began to take shape around the life they shared. Art, theater, musicals, their families, their Argentine roots, their friends, and the way they love welcoming people into their home all found their place naturally. Nothing needed to be chosen simply because it was beautiful. It needed to mean something to both of them. And perhaps that is precisely what makes a celebration so personal. You look around and begin to recognize the people who are there, the stories they carry, and the little things that, to anyone else, might seem like mere details. At Maria and Luckas’s wedding, there were many of them. Some were obvious. Others would only be noticed by those who knew them well. But every one of them helped tell a little more of their story. For Maria, there was something especially symbolic about experiencing that day. The little girl who spent her childhood watching weddings. The professional who learned how to care for other brides. The woman who, for so many years, imagined what her own wedding might be like. And now, someone by her side with whom to share everything that had once existed only in her imagination. This time, she didn’t have to imagine it. When she went downstairs to see the décor, received her bouquet, and finally saw herself ready, Maria realized that the moment she had so often witnessed from the outside had finally arrived for her. And perhaps that is why a bride can still make her stop in her tracks. Because, for a few seconds, Maria may become that little girl at the resort again, watching from a distance as a woman dressed in white and imagining everything that could exist within that story. Only now, she knows the answer. She lived her own. And, by Luckas’s side, she began living theirs. Before becoming a bridal makeup artist and psychologist, you were already a girl fascinated by the world of weddings. Growing up at a resort, you watched brides, dresses, and celebrations from a distance and, at some point, decided that you wanted to work in that world. What was it about those weddings that captivated you so much and allowed your imagination to go so far? I remember her very clearly, because she was the one who decided that one day she would work with weddings. As a guest, I have attended very few weddings in my life. I’m usually there as a vendor, even at weddings where I’m actually invited to stay and enjoy myself.Because of that, I believe I created a fantasy in my mind of what weddings could be. So every wedding I watched from a distance allowed my imagination to flourish — imagining grand settings, promises of love, and unparalleled beauty.Growing up with that idea made me dream big about my own wedding. I wanted to create an unforgettable day, both for myself and for my guests, in the way I had always imagined it would be.I also always felt that there was nothing quite as angelic and perfect as a bride. Even today, when I’m walking down the street and see a bride standing in front of a church, I have to stop and watch. There is nothing more perfect in the world than a bride who is fully ready, bouquet in hand, with a smile on her face.It doesn’t even seem like I see one every weekend, right? I believe that’s the beauty of life — allowing yourself to be constantly surprised by its magic. And then there is the story of the two of you. You say you knew Luckas would be your husband as early as your second date, in a rather special moment at the Spanish Steps. What happened that day, and what made you feel so certain so soon? I knew Luckas would be my husband on our second date.You see, I have always been a very private person when it comes to love. I like to joke that Luckas was the second man I ever kissed and that I hope he will be the last!That’s why it took me a few months to agree to go on a date with him. I needed to be sure that he was a good person, that his intentions were genuine, and that we could become good friends. I have never been interested in anything casual.On the date I mentioned, at the Spanish Steps, Luckas showed an act of chivalry and consideration toward me — someone he barely knew (although apparently, he had already read me completely) — that made me completely let go of all the resistance I had been holding onto.To keep you from getting too curious, here’s what happened: I was absolutely terrified that he might want to kiss me.TERRIFIED.While we were waiting at the Spanish Steps for the restaurant to call us to our table, I was walking toward one of the benches thinking: “This boy is going to want to sit next to me and kiss me, and I don’t want that. If he touches me, I’m going to get up and leave. How outrageous...” And, right in the middle of this entire monologue in my head, Luckas chose to sit on the bench directly across from me, and spent the next 30 minutes simply talking to me and getting to know me.I fell in love with Luckas in that moment, when he didn’t want me.Something so powerful touched my chest and sent chills through my body that I felt a kind of intuition. It was as if I had spent 19 years waiting for that day, as though it had already been written in the stars.From that moment on, I never stopped loving Luckas. And today, he no longer needs to sit on the bench across from me. In fact, I want him sitting right beside me until we grow old, on that very same bench in that very same square. You spent years being part of other people’s weddings. At your own, there was a moment when you received your bouquet, looked at the décor, and realized that this story was yours too. Do you remember when you felt that this wedding stopped being simply a bride’s wedding and became your wedding? When it was finally my turn to sit in the chair, I still had that feeling of the usual “rush” of a wedding morning. Waking up, having breakfast, getting dressed, checking everything three times to make sure I hadn’t forgotten anything, dropping off a few boxes with the décor, checking in with the wedding planner, putting on the robe...But when I finally got dressed, went downstairs to see my décor, and received my bouquet, I felt that it was finally my turn.I had seen thousands of wedding setups, one more beautiful than the next, with the most spectacular arrangements you could imagine, but they had always reflected other women.When I saw all that theatricality, drama, warmth, and attention to detail, I saw myself and my husband. If I could, I would have that exact décor in my home.My bouquet was something I had designed and envisioned myself, but I didn’t know whether my decorator would be able to execute it in a way that would actually make it functional to carry.I, who had read so many love stories throughout my life, was now taking my own romance to the altar — a story written by the two of us, with its first chapter beginning that very day.From that moment on, a strange and entirely new feeling took over my whole body. I was ecstatic, happy, and radiant to finally be living my own wedding. The dome, red curtains, chandeliers, candelabras, and books gave your wedding a very strong identity. But there was an even more important intention behind it: making every guest feel welcomed, just as they do when they enter your home. How did this way of hosting and welcoming people make its way into your wedding? Something that is incredibly important to us in our everyday lives is welcoming people. Here, no one is ever received casually.I set the table, spend one to two days in the kitchen preparing homemade food for our guests, and always ask about their preferences, allergies, or dietary restrictions.Luckas prepares the atmosphere with candles or incense and chooses the perfect playlist for the moment. We are also two amateur actors and lovers of the arts. We thought a lot about creating a day divided into “acts,” like a theater play. So why not bring the classic red curtains into our own set as well?My wedding planner, in all her brilliance, came up with the idea of using chandeliers and candelabras on the floor as a reference to the first musical I ever saw on stage, The Phantom of the Opera. It’s no secret that Broadway is my reason for living, so it was incredibly thoughtful of her to incorporate an element of musical theater into the décor.We also thought about small details that would make every guest and vendor feel loved and expected. We included many translations into Spanish, incorporated Argentine cultural traditions, created personalized stationery with each person’s name, greeted every guest with a hug as they entered the venue, and offered menu options for everyone, including those with more significant dietary restrictions... the list goes on.We wanted them to feel, as they sat down for dinner, as though they were in the living room of our home, surrounded by soft lighting, music in the background, countless candles, and the knowledge that every person there plays an important role in our lives.Best of all was being able to have three days of celebration that truly felt like us. The first was our civil wedding, followed by breakfast at a place we often visit with Luckas, with my family from Argentina there. The second was the wedding day itself. And the third was a farewell dinner for my family, together with a few friends and vendors who couldn’t attend the day before.They were three dream-filled days, thoughtfully planned, and they accomplished exactly what we wanted them to: to celebrate, to love, and to be loved! Your dress seems to hold an entire story within it. Long before becoming a makeup artist, you dreamed of creating bridal gowns, and for your own, you incorporated lace, red embroidery, your love of color and texture, and even a tribute to your father and your Argentine roots. When you look at that dress today, what do you feel it says about who you are? Before becoming a makeup artist, I had already dreamed of having my own bridalwear brand, so this was the element that received the most attention from me compared to everything else. Because I see so many wedding dresses all the time, I didn’t want to wear something that I would easily see again. So I created a gown with Madah that felt completely like me, while still carrying the authentic touch that has always been part of my identity. The fluidity of the romantic lace, extravagant at the same time because of the size of the flowers, was perfectly contrasted by the drama of the red embroidery that would echo our décor.In my personal life, I love color, prints, and texture. I usually joke that if there isn’t something a little “weird” about my outfit, I don’t feel complete.Inside the dress, my father embroidered a little Argentine flag so it could be my “something blue,” following that old wedding tradition. Who here has watched Bride Wars and knows exactly what I’m talking about? My dress was perfect — so perfect that I didn’t want to take it off.And if it hadn’t been for the weather, I would have worn a beautiful red stole after the ceremony as well, made especially for me. You work in weddings and are used to taking care of details and other brides. At your own wedding, you were able to simply live the day and trust the people around you. What made it possible, in that moment, to let go of control and simply be the bride? I discovered that I really am an excellent wedding vendor.You see, I’m extremely cautious about absolutely everything. I live in a constant state of alertness. And that was very evident in the way I chose my vendors.Working with weddings and always being aware of what a bride might need made me want to have an entire team like that around me, so that I could simply live the moment.Throughout the day, I didn’t have to be attentive, anxious, or worried. I simply trusted the people around me and allowed myself to be fully present.Perhaps if I weren’t this way in my work, I would have been less demanding when choosing my vendors, and it probably would have caused me some headaches at some point, either on the wedding day or during the months leading up to it.After the wedding, a friend even joked with me and said:“I was sure you were going to be freaking out on the day, but you were so calm.”Of course. I chose people who work the way I do. They would never have allowed me to get stressed.And for that, thank you, my vendor friends!! Wedding Team Credits Wedding Planner: @enfimcasadosporcrisassef Décor: @sejaoqueflor_decoracoes Bride’s Dress: @madah.atelier Groom’s Suit: @madah.forman Venue: @espaconamata Accessories: @tantannoivas Stationery: @chuvadepapel Photography: @amorenosfotografia Videography: @papelecanetafilmes Ceremony Music: @partitamusical Desserts: @dierica.atelierdedoces Storymaker: @altare_ Coffee: @hi_coffee Bride’s Shoes: @chibinski.cbk Table Setting: @violettelocacoes DJ: @djfernandotoledo Bride’s Hairstyling: @jessicallovethair Bride’s Makeup: @mariaconstanzanoivas Photo Booth: @moments.cwb Furniture: @locadeira_ Couple’s Choreography: @dancecomacami Fashion Consultant: @elzasantos_consultoria Drinks Bar — Day Two: @betsycoquetelaria Catering — Day Two: @melogranoeventos Cake — Day Two: @doces_patisseriemimus Vendor Gifts: @ateliercompoesia Fabric Draping: @dcore_fechamentos Flower Girl & Ring Bearer Attire: @trajes_princessandprince Venue Lighting: @uplux_decorluz Cacau Show Fondue: @csnoseueventoemcwb Live Watercolor: @juliavieira.art Celebrant: @jsanchez.psi