Bautti's Copacabana - An Affective Essay
By Ricardo Ferreira
-

Copacabana is the world — with all sorts of people, the poses, the vices, the many stories in the buildings, the smell of sea air, shrimp skewers. In Copacabana, one walks, one loves, one fans oneself. Copacabana is hot but it gets a bit chilly in July. Did you see? The thermometer on Cinco de Julho? Copacabana doesn't lie.

We talk about the chaos, but what about Copa Bauhaus: a habitat of crossed styles, so much color, so much form, what a school that Copa was until the sun set on the other side, the side of the Fort. The night is Sodom and Gomorrah, a vampire on every corner, debauchery, naked night, but hey, a class that continues.

It is in this Copacabana that Bautti delves into this affective essay that celebrates the memories of its founder, the Rio de Janeiro designer Caio Bahouth. Born and raised in this iconic neighborhood in the South Zone of Rio de Janeiro, Caio carries in his pen the corner of Santa Clara and Toneleiro, the bars of Figueiredo, the sidewalks that are avenues, all the icons, from the draft beer at Pavão to the crab cakes at Caranguejo, passing through all the fauna that lends the place something magical.

A tribute to the beginning. Jewelry has been in the designer's life since before he was born. When she was pregnant with him, his mother, the goldsmith Elaine Bahouth, was already guided by the profession that changed the family's course. Caio grew up in contact with Elaine's designs, the smell of oxidized silver in the atelier, which later expanded and became a workshop in the city center.

It was all there from the beginning. His experience as a furniture designer, however, was a stop along the path that unfolded next — once noted as one of the prominent names of the new generation of Brazilian furniture, Caio drew inspiration from the art of Sérgio Rodrigues, José Zanine Caldas, and Jorge Zalszupin, among others, to refine his own style, marked above all by the simplicity of his pieces. "Less design is better," said Dieter Rams, one of Caio Bautti's great references.

In the brand's new essay, aboard Carlos Cezar's (Caio's father) 1968 Volkswagen Karmann-Ghia, in which the family paraded so many times on Atlântica in the 2000s, the minimalism of the earrings, rings, necklaces, and bracelets are protagonists amidst the effervescence of a Copacabana that never stops, it is Fausto Fawcett's Copacabana, Hugo Carvana's, Aldir Blanc's, João de Barro and Alberto Ribeiro's "Princesinha do Mar" (Little Sea Princess). As if so many years of bohemianism could fit on a finger, a neck, a wrist.

Interview with Caio Bahouth

How did your journey in jewelry begin, and how was Bautti born?
I was born and raised in Copacabana, and my mother started studying jewelry while pregnant with me. I grew up watching my family work with jewelry, and it was always something very familiar, very affective, which is why I can't associate jewelry with luxury. The first piece of jewelry I designed was a Batman ring; I made it when I was 5 or 6 and sold a version to a teacher. I studied Design at PUC-Rio, fell in love with furniture and architecture design, and that influenced my approach to jewelry. With the Bautti brand, I was finally able to express myself individually and showcase my creations. During the pandemic, I organized everything and launched the brand, which eventually became my main activity.

What concepts guide the brand?
For me, jewelry goes far beyond luxury; it tells a story and has an affective connection. Each piece is created with a purpose, without superfluous elements. I seek minimalism and functionality, simplicity. The brand values the permanence of the pieces, without being tied to seasonal trends. I want each creation to be timeless, interesting today and always. Each piece is an extension of me and my evolution as a designer.

What is your creative process like?
We launch a larger collection and a capsule collection annually, with a development period of six to eight months. I work with slow design, without following industry standards or fashion trends. Each piece is designed to adorn the body in an unusual way and captivate the public. My creations are a consequence of my continuous study and life experiences. Each collection evolves from the previous one, making my work an unending project. The process focuses on history, form, and interaction with the wearer of the piece.

What are your main design references?
My references come from industrial design, architecture, furniture, and contemporary artists. Dieter Rams advocates "as little design as possible," and I try to apply that to my jewelry. Minimalist aesthetics and the intersection between beauty and functionality are central. I also learned from furniture design, where ergonomics and aesthetics are equally important. My creations unite these universes in a unique way.

What are your best childhood memories in Copacabana?
My childhood was between Santa Clara, Figueira do Magalhães, and 5 de Julho, always in Copacabana. I remember rides with my father in the Karmann-Ghia car, which he's had for over 20 years. I was little and helped him wash and polish the car.
We frequented restaurants in the area, like Caranguejo, where I discovered I was allergic to shrimp. These settings reflect my affective and cultural relationship with Copacabana. I grew up immersed in these places, which shaped my experiences and identity.

-

Photo: Priscilla Haefeli
Text: Ricardo Ferreira
Model: Tássia Leite
Beauty: Juliana Martins
Styling: Nurya Boni
Production: Maria Luisa Coelho
Design: Caio Bahouth