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The actor from Pará plays a civil police officer in the production directed by Mauro Mendonça Filho, which blends melodrama and suspense in a story set among Rio de Janeiro’s elite; the series is scheduled to premiere in 2026 Photos Disclosure Press After taking part in an international production, Phellipe Marques turns his attention back to a Brazilian story. At 48, the actor from Pará is part of the cast of “Dom de Iludir,” Netflix’s new series, which features Marieta Severo, Alice Wegmann, and Nanda Costa in the leading roles. The streaming platform officially announced the production this month. “Dom de Iludir” is scheduled to premiere sometime in 2026, although Netflix has yet to announce an exact release date. In the series, Phellipe plays a civil police officer and becomes part of a storyline built around family relationships, appearances, secrets, and power struggles. The new project arrives at an important moment in the actor’s career, following his recent appearance in “Man on Fire,” an international Netflix production filmed in Mexico. A Story Where No One Seems to Be Exactly Who They Appear to Be With Mauro Mendonça Filho serving as the general director, “Dom de Iludir” blends melodrama and suspense, centering on a family from Rio de Janeiro’s elite. Marieta Severo plays Lúcia Rossetti, an art collector who has a turbulent relationship with her daughter Maíra, portrayed by Alice Wegmann. The arrival of Irina, played by Nanda Costa, disrupts this dynamic and sets the stage for a series of mysteries, conflicts, and twists. In addition to the three leading actresses, the cast includes José de Abreu, Felipe Camargo, Luciana Paes, Laila Garin, Heloisa Jorge, Yanna Lavigne, Giovanna de Jesus, Rosanna Viegas, Allan Souza Lima, Rui Ricardo Diaz, Jonas Bloch, José Mata, Thiago Justino, Hamilton Dias, and Laura Vick. For Phellipe, being part of a cast that brings together names from different generations of Brazilian audiovisual productions also enriched his experience throughout the project. “Regarding ‘Dom de Iludir,’ I still can’t reveal much. But I can say that when I received the news that I had been selected, I noticed a difference. ‘Man on Fire’ hadn’t even premiered yet, but the fact that the production was already part of my résumé seemed to give a different weight to my work and to the way I was viewed professionally,” he says. Phellipe Plays a Civil Police Officer in the Series Still surrounded by the secrecy that comes with the production, the actor cannot reveal details about his character’s role. He does, however, share that his experience behind the scenes was marked by working alongside professionals he admires and under the direction of Mauro Mendonça Filho. “I also had the opportunity to meet and work alongside professionals with very significant careers. I worked with Vera Ferreira and Aramis Trindade, and I met Iran, Iran Meu Nego, with whom I became friends. It was a very enriching experience,” he says. His relationship with the director also left a lasting impression on the actor. “Being directed by Mauro Mendonça Filho was especially important. He manages to be charismatic and demanding at the same time. I could feel the responsibility and expectations that came with the project, but at the same time, I felt welcomed by the direction and production teams. For an actor, that combination is incredibly valuable,” Phellipe says. From Theater in Belém to Streaming Although “Dom de Iludir” represents a new showcase for his work, Phellipe’s career began far from major streaming productions. In Belém, he built an important part of his training in theater and spent more than a decade performing in “Cabanos — Uma Viagem no Tempo,” in which he portrayed Eduardo Angelim, one of the leaders of the Cabanagem revolt. Years later, he moved to Rio de Janeiro to pursue his artistic career and even worked as a rideshare driver while seeking opportunities in the audiovisual industry. His journey took on a new dimension when he was cast in “Man on Fire,” an international series starring Yahya Abdul-Mateen II and also featuring Alice Braga. Now, “Dom de Iludir” once again places the actor in a high-profile production, this time immersed in a distinctly Brazilian story. The series is produced by Conspiração for Netflix, with Amaia as an associated production company. It was created by Diane Maia and Mirna Nogueira, who also serves as head writer. Alongside Mauro Mendonça Filho as general director, Gabriela Amaral Almeida and Daniela Carvalho are also part of the directing team. The production’s atmosphere also carries a distinctly Brazilian musical signature. Liniker recorded a new version of “Dom de Iludir” especially for the series, the Caetano Veloso composition that gives the production its title. For Phellipe, stepping into this universe represents more than simply adding another title to his résumé. After years of building his career through theater, auditions, and smaller productions, “Dom de Iludir” offers him the opportunity to showcase his work alongside some of the most recognized names in Brazilian drama. “When the opportunity comes, I want to be ready,” the actor says, summarizing the phase of his career he is currently experiencing.

Released this Wednesday (17), the track was inspired by a romantic experience from the singer’s own life and features a music video filmed inside a car, capturing the feeling of being trapped in a relationship without knowing where it was headed. Photos Disclosure What if you were in a relationship without knowing where it was going, but also unable to leave it? It was from this feeling that Malu created “Passageiro,” a single released this Wednesday (17) that marks a new phase in the singer’s career. Available on digital platforms, the track was inspired by a real-life romantic experience and previews the artist’s upcoming original album, which will bring together stories of love and heartbreak drawn from her own experiences. In the song, Malu explores the feeling of being emotionally invested in a relationship in which she could not see reciprocity or a clear destination. Like someone sitting in the passenger seat of a car without knowing where the next stop will be, she found herself moving on “autopilot,” trapped in a story she did not know how to end. “I felt like I was on autopilot, simply following a script, without knowing where this love was headed and without any expectations. Even so, I was trapped in that relationship and couldn’t get out of the car, stuck in the passenger seat,” Malu says. The concept didn’t remain confined to the lyrics. The singer brought the metaphor behind the song’s title to the visual narrative: being in the passenger seat of a car, temporarily, without knowing where the journey is taking you. That idea gave rise to the music video, filmed inside a car and directed by filmmaker Matt Miraj, Malu’s creative partner on previous projects. The video explores precisely the ambiguity of the word “passenger”: someone who is inside a vehicle, as well as something that is not permanent. “I wanted to be in that car temporarily, without knowing how to get out or where it was going. I think both meanings fit the song and the visual narrative perfectly,” she explains. From Trying to Please the Audience to Finding Her Own Identity More than just a new single, “Passageiro” represents a shift in the way Malu sees herself as an artist. The singer says that, during part of her journey, she tried to gravitate toward styles she believed would be more widely accepted by her audience. Now, she has decided to take the opposite approach: starting from what she genuinely loves. “This is the first time I’m making a musical style that I know truly represents me. If I connect with it, other people will connect with it too,” she says. Her new identity embraces R&B with vintage elements, synthesizers, and references to the sounds of the 1980s. The drums maintain a steady rhythm throughout the track, while the harmonies and vocals help create a more intimate and sensitive atmosphere. To develop this sound, Malu drew inspiration from different artists. Olivia Jean was a particular reference for the use of drums and synthesizers. Taylor Swift influenced the construction of the vocals and harmonies, while Ariana Grande, her main vocal inspiration, shaped her interpretation. The result is a different direction from the singer’s previous work, which leaned toward an R&B sound closer to pop. A Song Made by Many Hands The production of “Passageiro” brought together songwriter Dartanhã, who has worked with Malu on previous songs, and producers Drew and Nith, from ETP. The collaboration also led to an unexpected experience: the producers, known for work connected to trap, began developing a more vintage and delicate R&B approach. Malu was actively involved in different stages of the track’s creation, including the mixing process, offering suggestions on elements such as vocal levels. The multiple harmonies featured throughout the song also reflect a characteristic that the singer considers important to her work. “It’s a project that makes me very proud. I worked with people I really admire and was able to be involved in the entire process,” she says. “Passageiro” as the Gateway to the Album Choosing the track as a single was no coincidence. Among the songs featured on the album, “Passageiro” is one that Malu considers particularly important in introducing the project’s new identity. The intention was for the first release to serve as a gateway into the album’s universe, introducing audiences to its aesthetic, sound, and, above all, the singer’s personal artistic vision. The project was built around real-life emotional experiences and moves through different moments in her romantic journey. “Passageiro” is, therefore, just one chapter of this story. The release also marked the beginning of a new dynamic in Malu’s career. For the first time, the singer began working with a professional career management team dedicated to developing the strategy behind her releases. After years of handling much of this planning on her own, she says the new structure has brought greater confidence to this stage of her career. “I always planned my release strategies on my own, and it was always a major challenge for me. Having talented people with such important successful track records made me feel confident and supported throughout this process,” she says. With “Passageiro,” Malu is not simply introducing a new song. She is opening a new chapter in her career, one in which her own experiences, references, and choices take the lead in shaping her artistic path. And this time, she seems to know exactly who is behind the wheel. “Passageiro” is now available on digital platforms: https://sym.ffm.to/passageiro

Free to love, desire, and be desired, Thaís Carla embraces a new chapter of sensuality, self-discovery, and freedom, learning to experience love — in all its forms — through a new version of herself STARS COVER EDITION - SEPTEMBER 2026 ISSUE Photos: Ronan de Jesus Nascimento - @ronnanascimento / Beauty: @paulolimabeauty / Styling: @tovivant There are moments when a woman does not need to start over. She simply needs to bloom. It is from this place that Thaís Carla emerges in the new Stars edition of Hooks Magazine: a woman moving through a phase of discovery, freedom, sensuality, and, above all, a deeper relationship with love. “I feel more loved than I ever have before.” The phrase captures a moment that, for Thaís, goes far beyond romantic love. It is about recognizing affection in different places and, above all, realizing that self-love can transform the way we receive everything that comes from the outside world. For this edition, Thaís is presented as a contemporary Aphrodite. Not one shaped by the gaze of those who observe her, but a woman who understands that her beauty, desire, sensuality, and power of attraction belong, first and foremost, to herself. “I feel like an Aphrodite. Not because someone chose me, but because I finally allow myself to experience love, desire, and beauty with freedom,” she says. There is a particular lightness in the way Thaís speaks about the phase of life she is experiencing. She does not describe this moment as a definitive transformation, nor as a break from who she once was. There is, in her words, an understanding that a person can change without having to erase previous versions of themselves. “I’m getting to know people, getting to know feelings, and, above all, getting to know a woman within me whom I may not have had the opportunity to experience before.” This discovery seems to be one of the forces shaping her present. After years of taking on responsibilities, building a career, being a mother, and occupying an important space in the conversation around representation and fatphobia, Thaís allows herself to experience curiosity once again. She speaks about having new firsts, about being able to surprise herself, change her mind, and discover new places within herself. “It’s beautiful to realize that I’m still discovering myself.” There is something almost adolescent about this feeling — the anticipation of the unknown, the pleasure of meeting new people, the possibility of falling in love with life. But there is also the maturity of someone who has learned to set boundaries and recognize what she wants. This combination of curiosity and self-awareness is one of the most striking characteristics of Thaís that we encountered in this edition. Her sensuality also emerges from a different perspective. For a long time, within traditional standards of representation, fat bodies were associated with the need for correction, restraint, or justification. Thaís has helped challenge this narrative by publicly defending the idea that fat people have the right to dignity, respect, accessibility, love, and desire. Today, that advocacy continues to exist, but it meets an even more personal dimension. “I never had to lose weight to be desirable. I was a fat woman, sensual, desired, powerful, and fully in control of myself, and no change to my body can erase that story.” The statement establishes an important distinction. Individual changes do not have to be interpreted as a rejection of one’s own journey. A body can go through different phases without defining a person’s worth or invalidating a collective struggle. “My body does not need justification to take up space, experience pleasure, be photographed, or be admired. I do not ask for permission to exist. I exist in my entirety.” It is precisely within this freedom that the image of Aphrodite gains its power. The photographs accompanying this edition work with white, water, translucency, flowers, skin, and delicacy. The aesthetic creates an almost mythological atmosphere, yet the woman at its center remains entirely contemporary. There is no attempt to turn Thaís into an unreachable character. On the contrary. The image works because there is a sense of naturalness in her presence. She is not trying to prove that she is sensual. She simply is. And perhaps this is one of the greatest changes in her relationship with her own image: sensuality is no longer a statement, but an experience. “Today, I look in the mirror wanting to know what I feel, not what people expect me to feel.” This sentence could also define the spirit of this new phase. Looking at yourself before looking at external expectations. Desiring without guilt. Being desired without apologizing.Changing without having to explain. Living without turning every experience into a promise of the future. Thaís speaks about love with a breadth that goes beyond any romantic narrative. When asked what most represents the woman she is today, among beauty, pleasure, desire, love, and the power of attraction, she chooses love. But for her, love is everywhere. It is in her daughters, in the woman she has built, in her body through all its phases, in the life she still longs to live, and in her ability to remain connected to herself. “My greatest power of attraction comes from being connected to myself.” It is an answer that shifts the traditional idea of magnetism. Attraction does not come solely from appearance, approval, or another person’s desire. It comes from the relationship someone builds with themselves. Perhaps that is why this Thaís feels so different without needing to become someone else. She remains the woman who advocated for bodies outside conventional beauty standards. She remains a mother, an artist, and a public figure who learned to occupy spaces that, for a long time, were not made available to women like her. But now there is also a freedom to live what she has always defended. “My fight has not changed. What has changed is that today I also allow myself to live everything I have always stood for.” Perhaps this is the essence of the new Aphrodite. A woman who does not need to choose between strength and delicacy, between conviction and sensuality, between transformation and permanence. A woman who can advocate for an idea collectively while, at the same time, allowing her own life to be complex, contradictory, and constantly evolving. Thaís does not seem interested in figuring out what the ending of this story will be. She wants to discover how many versions of herself still exist within her. “How many versions of myself are still there when I allow myself to live without fear?” It is this question that remains after the photographs, the interview, and the words. Because perhaps blooming is precisely this: not arriving at a definitive version of yourself, but finally understanding that there is no obligation to arrive. In this Stars edition, Thaís Carla does not appear as a woman who started over.She appears as a woman who allowed herself to live.And by doing so, she discovered that love can be everywhere — including in the place where everything begins: within herself. Exclusive Interview with Thaís Carla: 1. You described this moment by saying, “I feel more loved than I ever have before.” What changed within you that allows you to receive, recognize, and experience love in such a different way today? I think that, first, I learned to love myself in a different way. Today, I listen to myself more, respect my desires and my boundaries, and I’m not afraid to choose myself. I’m a mother, I’m a woman, I have an entire life happening around me, but I understood that I also need to make myself a priority. I feel more loved than I ever have before because, before anything else, I’m loving myself in a way I had never experienced before. 2. Our cover presents you as a kind of contemporary Aphrodite: a woman free to desire, be desired, and experience her own sensuality. When did you realize that you no longer needed to see your body through the eyes of others, but through your own desire? I spent many years showing other women that they could love their bodies. At some point, I realized that I needed to keep doing that for myself, too. My body has changed, my life has changed, but my sensuality has never depended on a number on the scale. Today, I look in the mirror wanting to know what I feel, not what people expect me to feel. To me, being this Aphrodite means exactly that: belonging to my own body. 3. Is there anything this new version of Thaís has discovered about herself that surprised you? I discovered that I still have many firsts left to experience. Sometimes, when we become mothers, work a lot, and take on so many responsibilities, it feels like we are supposed to have all the answers. I discovered that I can still surprise myself, fall in love with life, change my mind, and discover new places within myself. It’s beautiful to realize that I’m still discovering myself. 4. For a long time, fat women were confronted with the idea that their bodies needed to be corrected, hidden, or justified in order to be considered desirable. Today, you are occupying that very space of magnetism and desire. What does it mean to you to claim this space without asking for permission? I never needed to lose weight to be desirable. I was a fat woman, sensual, desired, powerful, and fully in control of myself, and no change to my body can erase that story. What I am experiencing today is a new phase, not a correction of who I was. My body does not need justification to take up space, experience pleasure, be photographed, or be admired. I do not ask for permission to exist. I exist in my entirety. 5. If Aphrodite symbolizes beauty, pleasure, desire, love, and the power of attraction, which of these words most deeply represents the woman you are today — and what do you still want to discover about this new phase of your life? Love. But not just romantic love. The love for my daughters, for the woman I have built, for my body through all its phases, and for the life I still want to live. Today, I understand that my greatest power of attraction comes from being connected to myself. And perhaps that is what I most want to discover from this point forward: how many versions of myself still exist when I allow myself to live without fear. Buy your printed magazine of the edition with Thaís Carla on the Cover, by clicking below. Global Shipping:

London became more than a setting for Alexander McQueen’s latest chapter. Under Seán McGirr, the city became the collection’s pulse — restless, contradictory, rebellious and unmistakably alive. Images Courtesy of Alexander McQueen There was something almost inevitable about Alexander McQueen returning to London. While Paris has long been central to the fashion house’s international identity, the British capital remains deeply embedded in its DNA: chaotic, theatrical, uncompromising and constantly capable of transforming darkness into creative energy. For the latest collection, Seán McGirr brought the house back to its point of origin, presenting inside the atmospheric Undercroft of Lincoln’s Inn Chapel. The historic architecture created a striking tension with the collection itself. Ancient stone, Gothic vaults and centuries of history became the backdrop for a vision that moved between the sacred and the rebellious. That collision was at the heart of McGirr’s proposition. The designer looked simultaneously toward religious imagery and London’s rave culture, finding a common language in their intensity. Piero della Francesca’s The Baptism of Christ, a work McGirr encountered during his early years in London, became one of the collection’s artistic references, while the raw energy of the city’s nightlife provided an entirely different form of inspiration. The result was a McQueen collection built around contradiction. Tailoring was particularly important. Structured suits featured shoulders shaped with the suggestion of folded angel wings, introducing an almost celestial quality to sharply constructed silhouettes. The tailoring was developed with Huntsman, the historic Savile Row house closely connected to Alexander McQueen himself, and echoed the disruptive spirit of Tommy Nutter, another legendary figure in British tailoring. But McGirr did not allow traditional tailoring to remain entirely respectable. Leather collars, harnesses and exaggerated proportions pushed the precision of the suits toward something more rebellious. The disciplined world of Savile Row collided with the uninhibited atmosphere of a nightclub, transforming classic British tailoring into something charged with movement and attitude. The same tension appeared in the eveningwear. Grand gowns arrived with unexpected interruptions: harnesses created with Shaun Leane, sculptural distortions across satin, open-backed corsetry and deliberately destabilized silhouettes. Rather than treating glamour and rebellion as opposites, McGirr allowed them to coexist within the same garment. There was also an unmistakable fascination with light. Colors appeared as though affected by the visual afterimage of a night spent beneath stroboscopic lights. Patterns became distorted, jacquards were layered and disrupted, and surfaces appeared to approach the point of visual collapse. Metallic leaves were scattered across garments almost randomly, creating the impression that they had been caught by a sudden gust and deposited onto tailoring and dresses. Then came the harder edge. Mesh, perforated leather and sporty knitted pieces introduced elements of ravewear, bringing the collection closer to the streets and dance floors of London. One of its most striking moments came through a dress constructed from interconnected hand-embroidered metal skulls, each skull individually distinct, creating a powerful relationship between the human body and an object associated with mortality. The skull, of course, carries particular weight within McQueen’s visual history. But here, darkness was not treated simply as something sinister. Instead, it became a source of energy. That distinction feels essential to understanding McGirr’s direction for the house. Rather than attempting to recreate Alexander McQueen’s past, the designer appears interested in understanding the emotional mechanisms that made the house so powerful in the first place: beauty against brutality, precision against chaos, elegance against rebellion. London provided the perfect environment for that conversation. The collection suggests a designer increasingly comfortable with contradiction — with allowing refined tailoring to exist beside rave culture, religious references beside nightlife, and beauty beside images of death. McGirr described the philosophy simply: darkness can enter the work without being allowed to dominate life. And perhaps that is precisely where this McQueen collection finds its greatest sense of freedom. The darkness is there. It is visible in the skulls, the leather, the distorted silhouettes and the nocturnal references. But it is not the destination. The destination is euphoria. In returning McQueen to London, Seán McGirr did not simply bring the house home. He revisited the contradictions that make the city — and McQueen itself — so creatively restless. Between the chapel and the nightclub, the angel and the demon, Savile Row and the rave floor, McGirr found a new vocabulary for a house that has always understood that the most beautiful things can emerge from the collision of opposites.

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