The objective of this research is to analysis fashionality of Brazilian modern art, focusing on the works of Anita Malfatti, Tarsila do Amaral, Emiliano di Cavalcanti, Rafael Silveira, and Camila Pinheiro. The study raises several questions. First, what are the Brazil’s racial and cultural attributes, and what multi-racial and gender characteristics can be extracted these attributes? Second, what characteristics and fashionality are found in the works of Malfatti, Amaral, Cavalcanti, Silveira, and Pinheiro, who all exemplify Brazilian modern artists using multi-racialism and gender in their content? Third, what multi-racial and gender fashionality aspects are seen in Brazilian modern art, and how do these attributes relate to each other? The study uses literature research and content analysis methodologies. As a result of the study, it is determined that Malfatti established expressive colors, reflecting her insecure ego, while Amaral combined nationality of “Afro-Brazil,” based on the concept of cannibalism and a Cubist style. Further, Cavalcanti expressed the lives of Afro-Brazilian women reinterpreted through analytical Cubism and Fauvism, while Silveira unraveled the subject of himself through iconography that reinterpreted surrealistic moments. Pinheiro conveyed the independent lifestyles of women using the colors of the town of Paraty in the viewpoint of Fauvism. In conclusion, fashionality in Brazilian modern art can be summarized as: “primeval surrealism,” reinterpreted as a modernistic exploration of primitive culture;, “symbolic egoism,” an expression of independent ego reflecting free will;, “existentialistic spirituality,” a substantiative exploration of Brazilians and their culture;, “dynamic decorative“ features, contrasted with the primary colors found in Brazilian nature; and “aesthetic lifestyle,” which captures contemplative views of the lives of Brazilian women.