Acqua Vitae

CONCEPTTHE HUMANIZATION OF NATURE

Acqua Vitae is born from a love story between a man and the sea. Through a series of letters written by Breogán to Naida, the collection follows a relationship that begins in childhood, shaped by admiration for an untouched ocean, and gradually transforms alongside it.

Naida represents the ocean: an almost human figure, beautiful and ever-changing, with whom Breogán maintains a connection throughout his life. The letters move from the nostalgia of their first encounter to the pain caused by pollution, the guilt of exploiting the sea, and finally the longing to be reunited with it.

The collection translates this story through forms, textures and materials inspired by water and its transformation. The looks evolve alongside the narrative, moving from a pure and luminous representation of the ocean towards darker, damaged and fragmented elements, before finally returning to a sense of calm and hope.

Acqua Vitae therefore turns fashion into a correspondence between body and nature, a story about what we love, what we damage, and what we continue to long for even after it has been lost.

ANALYSIS AND TECHNICAL DESCRIPTIONTHE FIRST LETTER

This first letter introduces the beginning of Breogán and Naida’s relationship: a memory shaped by innocence, fascination and the overwhelming beauty of the sea. Naida is perceived almost as a person rather than a landscape, a presence capable of hypnotising, moving and awakening emotion. The ocean becomes an idealised figure, remembered through light, movement and colour.

The first look translates this admiration through lightness, fluidity and organic detail. The structured white corset contrasts with the softness of the blue crepe georgette skirt, creating a dialogue between the human body and the movement of water. Recycled plastic flowers cover the corset, transforming discarded material into something delicate and beautiful, while the Camariñas lace gradually emerges along the skirt, evoking waves and the organic richness of the sea.

The satin scarf and algae-inspired cord extend this connection beyond the garments, introducing movement and natural references. Together, the elements construct Naida as Breogán first remembers her: radiant, delicate and untouched.

ANALYSIS AND TECHNICAL DESCRIPTIONTHE SECOND LETTER

The second look translates the sudden transformation of the sea from something beautiful and vibrant into something dark and contaminated. The resined black satin top creates a glossy, damaged surface, while the decorative feathers introduce movement and an almost distressed quality.

The half-circle satin skirt, structured internally with wires, gives the silhouette a distorted and unstable shape. Over it, the recycled plastic overskirt becomes the clearest representation of the pollution: a material originally associated with waste is transformed into a dark, almost liquid layer that disrupts the body.

The dyed Camariñas lace appears across the back, connecting the look to the sea while losing the delicacy and purity associated with the first outfit. The black Mary-Jane shoes, finished with feathers, reinforce the darker and more dramatic character of this stage.

The same ocean that was once admired for its beauty is now transformed into something unfamiliar, contaminated and threatening.

ANALYSIS AND TECHNICAL DESCRIPTIONTHE THIRD LETTER

The third look explores the contradiction between necessity and destruction. The exaggerated proportions of the poplin jersey, with its structured collar and oversized sleeves, evoke the scale and intensity of industrial fishing, while the poplin corset top covered in dyed Camariñas lace brings the sea back into direct contact with the body.

The washed silk trousers, crossed by cords and synthetic seaweed, create a tangled, almost restrictive effect, suggesting the accumulation of fishing lines and the traces left behind by human intervention. The contrast between the controlled structure of the upper body and the fluidity of the trousers reflects Breogán’s own conflict: he continues to participate in an activity he knows is causing harm.

The patent leather boots reinforce the utilitarian and industrial character of the look, grounding the silhouette in a heavier, more imposing presence.

The sea is no longer simply threatened from the outside, the character himself has become part of its destruction.

ANALYSIS AND TECHNICAL DESCRIPTIONTHE LAST LETTER

The final look represents Breogán’s idealised vision of the ocean, the version of Naida he has carried within him throughout his entire life. After the darkness and contamination of the previous looks, the silhouette becomes lighter, fluid and luminous, evoking an untouched sea suspended between memory and fantasy.

The iridescent organza captures the changing reflections of light on the water, while the asymmetric blue chiffon skirt recalls the movement of waves. The wire cardigan covered in recycled nylon threads creates an ethereal, almost floating structure, suggesting the organic forms of the sea.

Camariñas lace appears once again on the yoke, connecting the garment to the ocean and to the craftsmanship that runs throughout the collection. At the hem, manipulated iridescent organza evokes pearls, reinforcing the idea of an untouched and precious underwater world.

The recycled plastic necklace takes on a new meaning: a material associated with the destruction of the sea is transformed into something beautiful, belonging to the idealised world Breogán longs to return to.

This is not necessarily the ocean as it exists, but the ocean as he remembers and imagines it. untouched, radiant and eternal.