CONSTRUCTION EVOLUTION

BEIRA pursues an ongoing exploration of garment construction, patternmaking, stitching, and inside-out design. Elements normally concealed within garments become part of their design. This language emerges from everyday experimentation in the atelier and the dialogue between design, patternmaking, and the expertise of the seamstresses.

Initiated in 2014, the research into triple stitching evolved from its first applications to the construction of entire garments using the technique. In 2019, BEIRA began developing and commercializing garments with reversed triple stitching, bringing the formation of stitches and threads normally concealed on the inside to the outer surface.

This development involves adaptations and adjustments to three-needle sewing machines, thread testing, and specific assembly sequences to work with curves, cuts, and delicate fabrics such as silk. The stitching follows the patternmaking, reveals the joins, and contributes to the shape, drape, and movement of each garment.

The research extends beyond joining the different parts of a garment to the creation of original textile surfaces. Developed and crafted by hand in the atelier using reversed triple stitching, these surfaces combine repeated stitches, cuts, overlapping layers, and thread manipulation to create patterns, textures, volumes, and structures.

From garment construction to the transformation of fabric, reversed triple stitching has become a signature of BEIRA. Each new development builds upon the knowledge cultivated collectively in the atelier, opening new possibilities for the brand's artisanal research.

2014

THE ATELIER, THE THREE-NEEDLE SEWING MACHINE, AND EXPLORATIONS OF INSIDE-OUT CONSTRUCTION

Since 2014, BEIRA has brought together design, patternmaking, and sewing in its own atelier. The proximity between these stages allows for experimentation with materials, adjustments to shapes, and close attention to garment construction, from the first tests to the finishing details.

The acquisition of an industrial cylinder-bed sewing machine with three needles and six threads became part of the atelier's technical development. The first applications of triple stitching to sections of garments were accompanied by testing and machine adjustments to work with fine fabrics such as silk.

During this period, the inside of garments was already presented in the brand's texts as a way of revealing their construction. Seams, cuts, and internal details began to be explored as elements of a design language connecting the appearance of a garment to the way it is made.

"We would like them to be seen inside out, allowing the stitching to guide the wearer towards an understanding of how the garments are constructed." — BEIRA, introductory text, 2014. Translated from Portuguese.

2015

FIRST DELIVERIES AND CONTINUED RESEARCH

In 2015, the first collection deliveries accompanied the development of patternmaking and applications of triple stitching. The technique appeared in sections of garments, including pure silk pieces, while everyday work in the atelier allowed for a deeper understanding of materials, assembly, and finishing.

Photographs from this period show the cylinder-bed sewing machine alongside the cut fabric pieces of a brown silk ensemble, connecting the documentation of the equipment to the garments under development.

In the brand's introductory texts, stitching and inside-out construction remained ways of understanding how garments are made. The research developed through continuity: each collection revisited previous shapes, materials, and solutions, opening possibilities for future pieces.

2016

EQUIPMENT, PRECISION, AND ATELIER DEVELOPMENT

Research into garment construction was accompanied by improvements in the atelier's technical resources. In 2016, the three-needle cylinder-bed sewing machine remained part of the atelier's equipment, while new accessories and adjustments supported other sewing operations.

Among these developments, a laser guide was incorporated into the bartacking machine to improve precision in stitch placement. These were specific improvements developed according to the requirements of each garment.

Experimentation involved both material selection and the way each machine was used. Technical consultations, adjustments, and testing formed part of this process, bringing design intentions closer to the possibilities of execution.

2014

2015

2016

2017

TRIPLE STITCHING IN COMPLETE GARMENT CONSTRUCTION

In 2017, BEIRA expanded the use of the cylinder-bed sewing machine and developed a silk coat constructed entirely with triple stitching in contrasting colors. Still without reversing the stitch, the threads highlighted the joins and cuts, becoming part of the garment's design.

This comprehensive application represented a new stage of research, while different construction methods continued to coexist within the collection. Machine adjustments and refinements accompanied tests with materials and patterns.

In the material prepared for the application to the Hyères Festival in France, photographs, descriptions, and samples presented triple stitching as a construction technique. The selection included garments made with a three-needle sewing machine and a jersey T-shirt constructed without overlocking.

Stitching began to be explored throughout the entire construction of selected garments, extending its presence beyond localized applications.

2018

EXPANDING THE TECHNIQUE AND RECOGNITION OF THE BRAND'S CONSTRUCTION LANGUAGE

BEIRA expanded the applications of triple stitching and developed new prototypes, including experiments with knitwear in Peru. The work involved assembly instructions, adjustments to the cylinder-bed sewing machine, and testing to adapt the technique to different materials.

Research with silk continued, alongside the development of solutions that made stitching an increasingly integral part of garment construction. Pieces sold internationally featured the three parallel lines as a recognizable element of the brand's design language.

Inside-out construction was also explored through imagery and different ways of wearing garments: T-shirts began to be photographed with their interiors exposed, connecting this investigation to the presentation of the collections.

In October, Harper's Bazaar documented the deliberate choice of the three-needle sewing machine to emphasize the stitching.

"I preferred the cylinder-bed sewing machine, with its three needles, to really draw attention to the stitching." — Lívia Cunha Campos, Harper's Bazaar, October 24, 2018. Translated from Portuguese.

2019

REVERSED TRIPLE STITCHING ON THE RUNWAY AND IN INTERNATIONAL DISTRIBUTION

In 2019, BEIRA developed and presented reversed triple stitching as part of its construction language. At SPFW N47, black garments with contrasting threads brought the stitches and threads normally concealed inside the garment to the outer surface.

The contrast highlighted the patternmaking and the joins between different sections. The press followed this development, emphasizing inside-out construction and exposed seams as elements of the collection's design.

That same year, garments featuring reversed triple stitching reached Totokaelo in the United States. The development of production in Portugal introduced further technical challenges: curves, parallel stitching lines, and seam intersections required testing, adjustments, and technical refinement.

This experience reinforced the relationship between design and execution. Working with three needles and contrasting threads required careful attention to assembly sequences and the precision of each join.

"The threads from inside the garments emerged on the outside." — Pedro Diniz, Folha de S.Paulo, April 24, 2019. Translated from Portuguese.

2017

2018

2019

2020

CONSOLIDATING REVERSED TRIPLE STITCHING

In 2020, reversed triple stitching became firmly established in BEIRA's production and communication. Thread testing, machine adjustments, and assembly sequences expanded the possibilities of inside-out construction, particularly with delicate fabrics.

This development required close attention to the behavior of materials and the formation of stitches. Thread selection and the way garment sections were joined influenced both the finishing and the visual presence of the stitching.

In the brand's publications, the technique began to be explicitly described, connecting its execution to machine adaptations and the specialized expertise of the seamstresses.

"These pure silk pieces are constructed with triple stitching on the reverse of the fabric, with no overlocks or fast finishes." — BEIRA, Instagram, October 18, 2020.

2021

PATTERNMAKING, CUTS, AND STITCHING AS DESIGN

Reversed triple stitching became increasingly integrated into patternmaking decisions. Slits, cuts, and joins between sections were developed with consideration for their execution on the cylinder-bed sewing machine and the designs formed by the stitching lines.

The close collaboration between design, the patternmaker, and the seamstresses made it possible to evaluate solutions throughout development. A change to a pattern could improve assembly; a stitching test could suggest a different finish or a new approach to creating volume.

BEIRA publicly presented the manual adaptations made to its machines to work with curves, details, and delicate fabrics. Garment construction also became a recurring subject in the brand's newsletters.

The Adjustable Waistband Trousers, composed of 33 individual sections, exemplify this relationship: reversed stitching emphasizes the joins and contributes to the garment's volume.

"The Adjustable Waistband Trousers feature reversed triple stitching in contrasting colors." — BEIRA, Patternmaking Techniques newsletter, October 12, 2021. Translated from Portuguese.

2022

INSIDE-OUT CONSTRUCTION, VOLUMES, AND TEXTILE SURFACE DEVELOPMENT

The research expanded through experiments with triple topstitching, internal padding, and combinations of materials. A coat designed to be worn on both sides connected the exploration of inside-out construction to the development of reversible surfaces.

Samples, gathering, and color tests made it possible to evaluate which side of the stitching to reveal and how its application altered the volume and behavior of the fabric.

In September, the Green Swim exhibition at Ed. Varie gallery in New York presented reversed triple stitching as BEIRA's signature technique. The exhibition's communication described inside-out construction and the manual adaptations made to sewing machines to work with curves and delicate fabrics.

In the installation, neon lighting highlighted the stitching lines, inviting visitors to follow the paths that structure the garments.

"Beira's signature technique of reversed triple stitching." — Green Swim exhibition communication, Ed. Varie, September 2022.

2020

2021

2022

2023

ARTISANAL PATTERNS AND NEON THREADS

In 2023, BEIRA further developed textile surfaces using reversed triple stitching. Neon threads highlighted designs formed by diagonals, intersections, and grids of different dimensions.

The patterns were drawn, tested, and executed by hand in the atelier. Their placement took into account the flat pattern pieces and the intersections that would emerge after assembly, connecting surface design to the final shape of the garment.

The research was applied to trousers, tops, and accessories. For the Shopper Bag, cotton sections received stitched patterns before being arranged and joined to create the bag's volume.

In photographs and newsletters, these developments were presented as topstitched pieces, demonstrating the expansion of the technique from garment construction to the creation of patterns on fabric.

"Our triple stitching has evolved from garment construction to fabric pattern development." — BEIRA, Instagram, February 13, 2023. Translated from Portuguese.

2024

THREE-DIMENSIONALITY AND TEXTURES THROUGH REVERSED TRIPLE STITCHING

BEIRA deepened its exploration of textile surfaces, developing textures and volumes through reversed triple stitching. The research brought together cuts, gathering, and pleating, expanding the three-dimensional possibilities of fabric.

The selection of materials, threads, and assembly sequences took place in dialogue with patternmaking. Samples and fittings made it possible to observe how each intervention altered the surface, drape, and movement of the garment.

Developed by hand in the atelier, these constructions built upon the patterns explored in previous years, opening new possibilities for integrating texture and form within the same garment.

2025

TEXTURES, CUTS, AND HAND PLEATING

In 2025, BEIRA further explored the combination of hand pleating, draping, cuts, and reversed triple stitching. The research brought textile surface development closer to the decisions that define the shape and movement of garments.

Alongside contrasting and neon threads, tone-on-tone applications revealed another aspect of the technique: its contribution to the structure of the garment, even when the stitching pattern was less visible.

Thread selection, the evaluation of draping, and the refinement of cuts were carried out through dialogue between design, patternmaking, and sewing. Technical drawings, samples, and fittings accompanied this process.

Each development built upon the knowledge accumulated in the atelier, deepening the relationship between texture, volume, and artisanal construction.

2023

2024

2025

2026

TEXTILE CONSTRUCTION AND NEW DEVELOPMENTS IN REVERSED TRIPLE STITCHING

The research progressed into the construction of textile surfaces combining different shades of silk. Fabrics were cut, joined, and gathered by hand, creating color effects and patterns through the combination of the materials themselves.

Reversed triple stitching contributed to this construction alongside cuts and draping. Its application structured the joins and helped create textures, volumes, and three-dimensional forms.

Outward-facing darts and threads preserved in selected finishes visually extended the paths of the stitching. The chain of threads formed when removing a garment from the cylinder-bed sewing machine became part of its visual expression.

Developed and executed by hand in the atelier, these experiments continued the exploration of inside-out construction. The technique connected garment assembly to the transformation of fabric itself, opening new possibilities for BEIRA's construction language

2026