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The 80s (too) were like this

by ace
The 80s (too) were like this

"If you remember the 80's, you didn't live them." This is also a very dear phrase to night owls who, in the late 1980s, lived the nightlife of Lisbon with the full intensity that was inherited from the "sex, drugs and disco sound" era. In terms of customs, it can be said that night was the epicenter of our "move" *, in parallel with the arts and fashion. Almost everything happened or converged in the capital. By the time Maxima hit the newsstands in 1988, Lisbon night had already resumed the glamor that had been ravaged by the upheaval of post-25 April. Fourteen years had passed since the Revolution and two years after the entry into the then EEC, and all that brilliance contributed to the youth living in the 1980s believing that they had the future in their hands, that everything was possible and that we would all be happy forever. Not even the serious political and economic crises have shaken this sentiment.

In a wink of an eye at the Spanish "movida", especially in Madrid, and the artistic upheaval in London, our capital seethed as soon as the sun went down. Bairro Alto was the center of everything and purged the times of decay with new restaurants and bars driven by the visionary examples of Fernando Fernandes and José Miranda, mentors of the restaurant Pap'Açorda, and Manuel Reis, creator of the Bar Fragile, spaces, these, which gave the city a new cosmopolitanism. When the neighborhood ended, it was headed for Cais do Sodré, for the alternative world of bars, for Príncipe Real, for gay and lesbian nightclubs, or for S. Bento, for the multicultural musical environment. A well-lived night ended at three o'clock in the morning and a night of madness at six, when you enter a nightclub today, when there were still no aggressive "security guards" at the door, even though admission wasn't easy in certain places. Let us say what one suffered from entering the Fragile, especially in the era dominated by Margarida Martins (founder of Embrace and today president of the Parish Council of Arroios) who was highly selective.

The teenagers did not go out freely at night with their friends, as they now do, and there were scheduled times to return home. It was even believed that the strategy to get home at dawn was to do it from the back, because if the parents were awake you could always say that you were leaving. He smoked a lot, drank even more, and there was no shame about sex or drugs until AIDS dramatically changed the landscape. This was the upheaval side of the night, for the supposedly right side, with clubs like Banana Power or Stones in Lisbon, or Frolic in Estoril, and restaurants like the stunning Alcântara-Terra, with the Alcântara-Mar disco attached , it brought together the bourgeoisie of the capital and the Estoril line and those who wanted to imitate them. It was from the construction of these plagiarizing characters, dating back to the 1960s, that the aliases of "aunts" and "uncles" were popularized at the time, terms that are still used to disparage new rich and petty bourgeois with voices and affected modes that intend to provincially copy the English posh.

The starting point for the night was The Brazilian, in the middle of Chiado, where was who was or who wanted to be people. No meetings were scheduled because the exciting thing was to leave home and meet new people at random, as was sex. Still, there were those who didn't give up on dinner and dinner a week in advance, and almost everyone did. There was no imposition to reserve tables in restaurants, as it happens today, a habit that came up with Pap'Açorda. There were no cell phones either, so selfies and photographs were not constantly being taken with plates of food, no talking on the phone at the table, and people cohabiting cheerfully and civilly with one another rather than with technological devices that exude social apparatus. Instead, she wanted to shine more than her friends or friends, so she dressed, paved, combed, scented, and made up like there was no tomorrow. The men also had their glamorous dictates. The outfit for the night (something that is out of favor) was bold, in our own way, for the onslaught or for the unforgettable parties at Fragile, Rock Rendez-Vous or Trump's, and those who wanted to look as if they had left. Le Palace in Paris, or from Studio 54 in New York, went to second-hand clothing stores or movie or theater wardrobes, dressing in the most imaginative way, the lack of bold men's fashion.

Today is what you see. The "uniform" made up today of jeans, blouses or T-shirts and sneakers had not imposed itself, even though they were ubiquitous pieces mixed with more glamorous ones, and the sneakers had not replaced the shoes. Fashion consumption was not yet democratized and massified and the Portuguese had not awakened to the cult of brands. Ready-to-wear was growing by heart. In women's clothing, the coats had very wet shoulders, the masculine-inspired suit reigned, the tweed and knit were viral, the ruffles, the skirts very short and the maxi jackets resurfaced, the colors bordeaux, dark brown, black , gray and red in more designer clothes anticipated the minimalism that would emerge in the 1990s. The shoes were flat, buttoned or not too high heels and worn with bright or very dark tights. The accessories glittered with hats, berets, gloves, headbands, wide belts, bracelets with many charms and several rings in one hand.

In 1988 came the first quality women's magazines that contained fashion productions: Maxim, Elle and Marie Claire. These magazines contributed to the dissemination of new talent in the fields of photography and fashion production, as well as models and other professionals related to the sector, such as producers, makeup artists and hairdressers. Moda already gained status, with Ana Salazar at the front line and also with the talents of Manuel Alves and José Manuel Gonçalves, Mário Matos Ribeiro and Eduarda Abbondanza, Jose Antonio Tenente, Helena Redondo, Manuela Gonçalves, Antonio Augustus, Karen Ritter, Helena Kendall, Jose Carlos, Zignio and Paulo Matos. Those who wanted to walk in the latest fashion scream bought in stores that were a reference in the capital, such as Ana Salazar's Apple, Manuela Gonçalves's Loja Branca, Battaglia, Loja das Meias, Rosa & Teixeira, Charlot, Ayer, Carnation and Cinnamon. Resisting Porphyry Contrasts that, since the 1960s, gave a breath of possible modernity to city youth. Even though the fashion studios and tailors were becoming extinct, the shops selling cloth by the meter resisted, especially in Baixa, Chiado and Avenida de Roma. Thirty years ago modeling agencies were embryonic. American Bryan had a career with a modeling school where he taught how to fashion. Two models were furious: Dalila Martins and Yolanda (Groom). Tó and Mi Romano models were in contact with the best abroad, having created the first modeling agency in Portugal, Central Models. In beauty, the makeup prevailed in light tones and the hair gained volume with the perms. Perfumes exuded strong compositions and, in 1988, there was a passion for women's fragrances Giorgio Beverly Hills and Montana, by Claude Montana, and endured Anaïs Anaïs and Loulou, both from Cacharel, Azzaro 9, Louis Azzaro, Poison, Christian Dior, and O persisted from Lancome, from Lancome, L'Air du Temps by Nina Ricci, and Calèche from Hermès. The decor followed the dictates of the English classics and abounded with the vines, the peels, the many moldings, the bulky curtains, the "Japanese", the bibelots, the old adultery (to pretend to be family heirlooms), the rugs and carpets. with the Arraiolos point and the Vista Alegre porcelain. The culinary fad (in the days when chefs were not all chefs) were cream, whether in the famous cod-oven dish or in the so-called "aunts" food, ladies who were usually family mothers, with Portuguese Red Cross volunteers, who successfully opened decorated spaces like their homes, where they served food at table or by weight, as they did in private life. They traveled abroad and the favorite destinations for those looking for a greater "breath of fresh air" were London and Madrid due to counterculture, which was also driven by credit opening at travel agencies and the democratization of credit cards. . One traveled by plane dressed almost to precept (who would say!) And in economy class there was still space between the chairs to trace the legs. Three decades ago, there were only two television channels and we all watched the same programs and talked about the same series and soap operas and watched the increase in the production of Portuguese series and soap operas, the novel Passerelle, with Ana Zanatti, a sensation in 1988. Due to the absence of the film, spectacle, sports and fashion industries (which persists), we lived, as we still do, as television presenters who were the Portuguese celebrities, to which the soap opera actresses are added today. There were 37 theaters, most with their doors facing the street, and we discovered multi-room theaters, such as the Alfa Triplex (11 theaters), Fonte Nova and Gemini that competed with the "old" Apollo 70 and Quartet. In music, the female was disparate with singers such as Teresa Salgueiro, Eugenia Melo and Castro, Lena d'Agua, Xana (Radio Macau), Pilar Homem de Melo, Ne Ladeiras, Candida Branca Flor, Ana or Linda de Suza. In season…

. (tagsToTranslate) 80's (t) cinema (t) music (t) fashion (t) culture (t) shops (t) restaurants (t) discotheques (t) Lisbon (t) Porto (t) Portugal

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