This week I have stumbled upon an article announcing a very interesting exhibition which will be hosted by The Museum of Modern Art in New York, entitled Items: Is Fashion Modern? . In this article, its writers reference an older exhibition, bearing a similar name (Are Clothes Modern?) held in the same museum, curated by the architect and designer Bernard Rudofsky. In the exhibition’s press release, while trying to explain the importance of such an exhibition for the understanding of modernity, he states: “It is strange that dress has been generally denied the status of art, when it is actually a most happy summation of aesthetic, philosophic and psychological components. While painting, sculpture and dance have very definite limitations, dress at its best not only comprises notable elements of these arts, but its sovereign expressiveness through form, color, rhythm – it has to be worn to be alive – its intimate relation to the very source and standard of all esthetic evaluations, the human body, should make it the supreme achievement among the arts.”

The Romanian brand irina schrotter, since its rebranding, five years ago, when Lucian Broscățean became the designer of the brand, had as main focus the exploration of femininity through a constant questioning of what modern means for fashion. In the spring/summer 2017 collection, presented last week at MQ Vienna Fashion Week, the irina schrotter team, composed of Lucian Broscățean (who is now the Creative Director of the brand), Carmen Cherecheș and Diana Flore who are the designers, offered us a well-constructed exploration of femininity. The dress, which represented the central focus of this exploration, was deconstructed in such a subtle manner that it made me reevaluate its importance. Often times the dress is seen as a piece of clothing, embodying the fragility and the preciousness of a woman, but a dress can be much more than that. Its versatility and its aesthetical power were impeccably rendered in irina schrotter’s collection. Meticulously designed details were subtly placed on new types of silhouette, flattering volumes, and asymmetric shapes. The color pallet dominated by white, powder pink, ivory, and pearlescent shades was a very tricky choice made by the designers, because they tend to overwhelm the viewer, and can easily seem repetitive and flat. The fact that it did quite the opposite is an achievement in design and craftsmanship. I very much liked the laser-cut accessories made out of plexiglas, veneer and transparent foil, a very fresh attempt to introduce the logo of the brand in the styling of the collection.

The reason why I referenced Bernard Rudofsky’s quote at the beginning was not at all random. Although I don’t fully agree with his point of view on the matter, I find his approach interesting, and although his exhibition dates back to the 1940’s, his discourse is still very relevant today. His attempt to reexamine the importance of clothing in the artistic discourse seems to me similar to irina schrotter’s attempt to rethink the importance of the dress in the discourse about femininity/feminism in the 21st century. As clothing still struggles to obtain its autonomy in the art world, the dress still struggles to become more than an accessory of a romanticized view on femininity, when in fact it is much more than that.

Creative Director – Lucian Broscățean
Designers: Diana Flore & Carmen Cherecheș
Technical Department Coordinator – Aurora Gongescu
Fashion Show Stylist – Ovidiu Buta
Make-up Artist – Alexandru Abagiu
Accesories – Diana Flore în colaborare cu Woven Atelier
Shoes – Ego
Music – Blanilla
Photos – Raluca Ciornea


Over the years The UAD Gala has established itself as a platform whose aim is to promote young graduates of the UAD Department of Fashion Design. Through the graduates’ fashion show, which involves very complex logistics, innovative collections are presented to specialists and representatives of the creative industries. The collections always try to be relevant for the 21st century fashion landscape, through themes that are focused on specific issues of contemporary lifestyle, a thorough study of volumetries and clothing morphologies generating novel interventions on textile surfaces, the relationship between body and garment, and an elaborate styling.

The implication of the Department of Fashion Design in the educational process of their students is rewarded by their professional achievements. Thanks to scholarship programs, the UAD students were able to apply and be accepted in internships at international brands such as: Ann Demeulemeester, Craig Green, Ann Sophie BACK, Nasir Mazhar, BLESS, Erdem, Marios Schwab, Meadham Kirchhoff, Barbara i Gongini, Ashish, Michael Sontag, HAAL, H&M. Two of last year’s Gala graduates have obtained important results: Andreea Castrase now works for the department of creation at H&M, and Ancuta Sarca was one of the finalists of the international competition, Designer for Tomorrow.

This year’s collections were living proof of the educational and professional development that takes place within the Department of Fashion Design. With the didactical support of Elena Basso Stanescu, Lucian Broscatean, and Anca Pia Rusan, the students designed versatile, functional, and modern collections. There were collections that stood out immediately, and collections that were more subtle in their artistic approach. But each and every one of the 27 collections had something particular, something creative, and personal. The 10 collections I chose to analyze represented, for me personally, aspects of the fashion universe that interest me. The way they were portrayed in these collections offered me the chance to explore those aspects from a different perspective.


Ramona finds inspiration in Romania’s recent past, and delivers a collection that is nostalgic in a playful manner. During the communist years, the uniform played an important part in people’s lives. From kindergarten, until employment, the uniform gave its wearer a social identity. Ramona Manghiuc reinvents the notion of the uniform by playing with its characteristics. She uses simple shapes, primary colors (referencing the colors of the Romanian flag) in order to orchestrate contemporary ensembles that revolt against an oppressive system, whose days are over, but whose cultural repercussions are still present. The styling of the collection uses symbols of bravery, badges of honor which she transforms in simple embellishments, esthetical objects without any historical meaning for those that did not live during the communist years. Even the title of the collection speaks of a loss of meaning, a blissful historical amnesia: Ceau, an abbreviation of the fearful communist leader’s name, becomes a cordial form of greeting.

Ramona Manghiuc


Bogdan Druta’s revolt is also connected to the idea of identity, but in his case it is a physical, not a social one. He seeks freedom in constraint, acceptance in discrimination, vulnerability in intolerance. The designer’s unisex rendering of shapes reveals his desire to blur the physical boundaries between sexes. The garment’s earthly tones represent his visual statement against contrasts. His protest is a subtle one, but his clothes are powerful enough the stand alone.

Bogdan Druta


The road to self-discovery is paved with ambiguity. Liliana Timis invites us on her personal journey of identitary exploration. Her monochromatic visual composition is an introspect reflection on the concepts of androgyny, identity, and the ambiguity of such concepts. The rigid surfaces of the black garments are invaded by unexpected transparences. The play on surfaces and textures is sometimes intriguing, and the consistent styling communicates harmoniously with the musical arrangement of the collection, Bernard Herrmann’s composition for Hitchcock’s Psycho.



One has to re-tie the knots with tradition from time to time, and Adriana Timofti felt this need, so she transformed it into a subtle reinterpretation of ethnicity through her collection. By using traditional symbols, she designed well-tailored minimal pieces that evoke an archaic world in such a way that it looks contemporary. Her combination of different textures, bound by zippers, and accessorized with geometric- shaped designer objects seemed to be a smart approach to the symbolic signification of the knot.

Adriana Timofti


The auditive enhancer that first caught my attention, a track from Kubrick’s Eyes Wide Shut soundtrack,  was part of Nicoleta’s device to lure us into a world of utopia, decadence, narcissism, and illusions, a world that might seem a little too similar to the world of fashion. Her well-tailored garments are not simple pieces of clothing, but personal statements of opulence and social status. They are revealing the body, but are protecting the wearer by communicating her belonging to a privileged group. Though the intangibility is only a mask, the frailty of what’s behind it is always intriguing.

Nicoleta Botnaru


Anamaria Put delivered a clean and functional collection, composed of desirable modern pieces. The woman who would wear her designs, her future client, surely is someone who knows who she is, she wants her clothes to be versatile, and offer her freedom of movement. She likes her clothes to be subtle in order to enhance her personal aura of mystery. She is a traveler, collecting new meanings in each journey she takes, as her clothes do.

Ana Put


An “all black” collection is mistakenly considered by some as something easy and safe. A monochromatic collection can become repetitive, boring and pretentious really fast. But not Carla’s collection. Her non-color statement is emotional, bearing something eerie within it. The smartly placed brooches, and necklaces makes one think of ritualic objects which, if positioned accordingly, have the ability to offer access to its wearer into an imaginary space, a supernatural realm where the conscious intertwines with the subconscious. But despite this visual metaphor, the clothes are strong enough to function on their own. They are well tailored, wearable, and functional.

Carla Put


In our present times, the existence of subcultures is a subject up for debate. The short life of trends, the uncontrollable desire for what’s new, and a predisposition for scrolling through social groups makes the process of consolidating a subculture almost impossible. If today’s culture is focused on individuality, then maybe the subculture that derives from it is that of an individualism of excesses. Its members are those who cultivate a lifestyle of hedonistic excesses. Their weapon of choice is narcissism. Luis Drajan’s collection offers us a glimpse into such a subculture. The clothes that he designs may well function as uniforms for the sympathizers of a radical narcissism. Always ready for party, seeking attention through self-irony, they prefer to detach themselves from reality and live their augmented lives within online social platform. The “nostril bleeders” as the designer nicknames them are aware of their addiction, and because they expose it in such a detached manner, they make us uncomfortable, and question our own hidden addictions.

Luis Drajan


Sabina Pop’s collection is inspired by women who have influenced the art world. Artists such as Judith Chicago, Louise Bourgeois, and Vanessa Beecroft were her muses, their art functioning as background for Sabina’s exploration of the idea of emancipation. Throughout her collection she experiments with different patterns, textures, in a colorful juxtaposition. The woman she envisions finds liberation in reappropriation. The way she uses color blocks and geometries communicates, at a visual level, the daring nature of the wearer and her preference for a modern wardrobe. Like her muses, who succeeded in liberating themselves through their art, Sabina offers us the possibility to dare and experiment with our wardrobein a liberating manner.

Sabina Pop


Like your favorite scene from a movie, or a song that you like so much you play it on repeat for two days, a memorable fashion collection haunts you. It sticks to your retina and travels with you until it becomes a memory, and a benchmark for future aesthetical references. But like memory, fashion can sometimes play tricks on you. Because it is such a powerfully visual medium, in many cases the image can be more powerful than the message, but not in the case of Emese Bako’s collection. Her inspiration comes from the idea that “attitude becomes form”. Her aesthetical analysis of this idea becomes an in-depth exploration of the transformation of concept into object. For her, fashion is a trickster, the crystal embellishments she applies on the garments play with our perception, their movement and sparkle seduce us, and trigger our imagination. The purple velvet used in some of the pieces induces a dreaming state, and the shiny surfaces, elegantly reveal the transparencies. Her understanding of fashion is mature because her designs are not artistic experimentation with form; they are functional objects of desire. Together with the styling of the collection and the haunting soundtrack (Skeeter Davis – The End of the World), Emese Bako’s collection truly stands out.

Emese Bako

Our present is governed by rupture. It exists in the enormous differences between social classes, in financial inequalities between countries, in the way media communicates different events, in the way we communicate with each other. Current socio-political events force us to find ways of escaping reality, hoping that this way all that’s bad will go away. But nothing good can ever come out of such an approach. What we can do is find ways of fighting against these ruptured times. Together, with their own means, within the walls of the University of Art and Design from Cluj-Napoca, the department of Fashion Design, composed of students and their professors managed to find the perfect “weapon” for fighting against troubled times: creativity.  Fashion is not a secluded domain; it does not rely on solitary elements, it is dependent on communication, collaboration, and interdisciplinarity. It may not solve diplomatic conflicts (although I’m sure that it helps in some ways), or stop world hunger, but it will keep on asking questions and try finding answers through creativity.

Photo credit: Emil Costrut, powered by QSmile, Claudia Corega


Povestea unei transformari de look / The Story of a Makeover

Schimbarile, mai ales cele radicale, nu au prea facut parte din viata mea de pana acum. Din diferite motive, sau poate doar din comoditate, am ales mereu sa urmaresc si sa analizez schimbarile din jurul meu distantandu-ma de ele. Treptat, mi-am creat un spatiu privat in care ma simteam in siguranta, cu care ma identificam, in care puteam sa ma dezvolt in ritm propriu. Acest tip de spatiu cred ca e mai cunoscut sub denumirea de  „zona de confort”.

Astfel ca, invitatia din partea echipei Vestige de a deveni noua lor imagine a insemnat pentru mine o provocare, din mai multe puncte de vedere. A fost o provocare din punct de vedere estetic (aceasta e prima data cand ma despart de culoarea mea de par naturala, e prima data cand am ocazia sa experimentez atatea tipuri diferite de machiaj si de coafura), a fost o provocare din punct de vedere al modului in care comunic si ma comunic exteriorului, si nu in ultimul rand, a fost o provocare din punct de vedere personal (am avut ocazia de a-mi deconstrui „zona de confort”).

Am acceptat aceasta provocare in primul rand pentru ca a venit din partea unor profesionisti in care am incredere. Daca cititi acest blog, stiti foarte bine ca am urmarit inca de la inceput activitatea salonului Vestige Atelier des Beaux Arts. Vestige este un proiect conceput de cei doi fondatori ai sai, Simina Cheteles si Raul Tisa din pasiune, dedicare, si dorinta de a impartasi celor interesati o altfel de viziune asupra frumusetii, o frumusete privita ca un atribut al personalitatii. Este de asemenea primul salon din Cluj care a fost alaturi de tinerii designeri clujeni oferindu-le un spatiu in care isi pot expune creatiile vestimentare spre cumparare (showroom-ul a fost inaugurat odata cu salonul Vestige Atelier des Beaux Arts, iar acum s-a mutat in cel de-al doilea salon Vestige, Vestige Centre Ville). Aceasta fiind doar una din multele colaborari frumoase dintre salon si zona designului vestimentar. Printre colaborarile de seama ale sale se numara colaborarea cu Gala UAD, cu Festivalul de film TIFF, cu cele mai de seama reviste de specialitate, ELLE si Harper’s Bazaar, participari la concursuri nationale si internationale workshop-uri tinute de experti din domeniul modei.

Al doilea motiv pentru care am acceptat provocarea de a deveni imaginea lor a fost transparenta de care au dat dovada in promovarea acestei imagini. Daca alte saloane aleg sa apeleze la modele profesioniste, Vestige a riscat de la inceput si a preferat sa reinventeze frumusetea neexplorata a unor femei obisnuite. Astfel ca, schimbarea de look devine ceva mai mult decat o simpla schimbare de look, ea implica o schimbare de atitudine si induce curajul de a explora diferitele ipostaze ale propriei feminitati. Cu ajutorul Siminei Cheteles care mi-a compus frumoasa nuanta de blond pudrat rose, al Lidiei Gligor care mi-a scos in evidenta feminitatea, prin machiaj,  purtand creatiile talentatului designer Ovidiu Pop, accesorizate de bijuteriile unicat create de Raluca Buzura si gentile semnate INDEE, am intrat in pielea unor diferite tipologii feminine. Pe parcursul acestei transformari am avut ocazia sa joc diferite personaje, realizand in final ca fiecare dintre ele contribuie la construirea propriei mele identitati. Pot fi seducatoare, romantica, gingasa, rafinata, creativa, sofisticata. Descoperindu-mi aceste noi ipostaze, am realizat ca feminitatea poate fi cea mai subtila arma a unei femei, pentru ca ea confera frumusetii puterea de a deveni atemporala.

(scroll down for the english version)



Concept and Hairstyling  – Simina Diana Cheteles

Make-up – Lidia Gligor

Fashion Designer – Ovidiu Pop

Jewellery Designer – Raluca Buzura

Bag Designer – INDEE

Photographer – Emil Costrut

Changes, especially radical ones, have never been an important part of my life. For various reasons, or just out of convenience, I always chose to follow and analyze the changes around me by distancing myself from them. Gradually, I managed to create a private space where I felt safe, a space in which I found myself, and where I was able to grow at my own pace. This kind of space I think it’s better known as the “comfort zone”.

So, the invitation that came from the Vestige team, to become their new image represented a challenge for me, from different aspects. It was a challenge from an aesthetic point of view (this was the first time I changed the color of my hair, the first time I experience such a wide range of hairstyles and make-ups), it was a challenge for the way in which I usually communicate my identity to the world, and last, but not least, it was a challenge from a personal point of view (I had the opportunity to finally deconstruct my comfort zone)

I accepted this challenge first of all because it came from a team of professionals in whom I trust. If you are followers of my blog, you already know that I have been following and supporting the activity of Vestige Atelier des Beaux Arts. Vestige is a project conceived by its two owners, Simina Cheteles and Raul Tisa, out of passion, dedication, and the desire to share a different vision of beauty, a beauty regarded as an attribute of personality.  It is also the first beauty salon in Cluj which supported young designers by offering them a space where they could showcase their designs (the designers showroom was open at the same time as Vestige Atelier des Beaux Arts, but it was recently moved and rebranded inside the second Vestige beauty salon,  Vestige Centre Ville). This is just one of the many special collaborations between Vestige and the fashion design domain. Among the most notable collaborations there is the collaboration with the UAD Gala, with the TIFF Film Festival, with ELLE and Harper’s Bazaar, participations in national and international competitions, workshops organized by the salon in Cluj, held by experts from the fashion field.

The second reason for which I accepted the challenge of becoming their image was due to the transparency they have shown in promoting their image in the past. If other salons turn to professional models for their campaigns, Vestige chose to take a risk, even from the beginning, and preferred to reinvent the unexplored beauty of an ordinary woman. Thus, a makeover becomes more than a simple change of look, it also implies a change of attitude and gives you the courage to experiment the different aspects of your own femininity. With the help of Simina Cheteles, who dyed my hair in this beautiful shade of powdered pink blonde, and of Lidia Gligor who highlighted my feminine features through make-up, by wearing the design pieces created by the talented Ovidiu Pop, accessorized by designer jewellery made by Raluca Buzura, and INDEE handbags, I managed to portray different types of feminine beauty. Throughout this transformation, I had the opportunity to play with different characters in which I discovered bits and pieces of my own character. I discovered that I can be seductive, romantic, delicate, refined, creative, sophisticated.  By discovering new facets of my own femininity, I realized that femininity can be women’s most subtle weapon, because it offers beauty the power to become timeless.

Architecturing Collaborations – Irina Schrotter spring-summer 2016

Last Friday, the Romanian brand Irina Schrotter presented its spring – summer 2016 collection during MQ Vienna Fashion Week. This is the third consecutive season in which the brand’s collection is showcased on the official schedule of this event. A soothing feeling of accomplishment transcended this collection because Lucian Broscatean succeeded once again to reinforce the brand’s identity. Relevance, consistency and emotion are the three concepts which represent the basis of Lucian Broscatean’s reconfiguration of the brand since 2012 when the Romanian avant-garde designer started his collaboration with Irina Schrotter.

Irina Schrotter SS16 (6)

There is a sense of easy at the heart of this collection. This may be due to the cleverly orchestrated play on textile surfaces, the use of a relaxed pallet of colors such as beige, ochre, white, navy blue, or the predominance of one – piece outfits which can function as standalone pieces or can be easily combined with other garments existent in ones wardrobe. By just looking at the collection one can easily identify the characteristics of the woman envisioned by Lucian Broscatean, together with his two assistant designers – Carmen Chereches and Diana Flore. She is sensitive and sophisticated, discreetly powerful, unapproachably sexy. She knows that clothes can have a functional side, but also an aesthetical one, that is why sometimes, when she is complimented on her outfit, she mentions the cultural and artistic references that her clothes carry within them: “I love this dress; it’s so functional, like a Bauhaus project”. The geometric cuts, the asymmetries which reshape the silhouette and the patterns which can be reconfigured through styling could be related with the Bauhaus movement, but more than a literal reference, it is the idea of a creative collaboration which may link Irina Schrotter’s collection to the movement. There were the shoes designed by Mihaela Glavan which is a long time collaborator with Irina Schrotter, and the two models promoting the collection in the campaign images – Larisa Citea (one of Irina Schrotter’s favorite model) and Fica Balancan (one of Lucian Broscatean’s favorite model), and the consistent input of Carmen Chereches and Diana Flore that have succeeded in creating a coherent and relevant collection.














Photos – Emil Costrut

Art & Fashion for Education

Among many qualities fashion has, one that is close to my heart is its power to change people through the stories it unfolds. Even though fashion design is based on individuality and how each designer reinterprets the world around them, the way in which their ideas, concepts and creations interact can generate a unique experience. Art and Fashion for Education is an event built around this idea of a special kind of interaction, an interaction between art, fashion and education whose goal is to raise funds for individuals with special abilities, but without financial possibilities. In order to achieve this noble goal, a series of Romanian designers were invited to create unique pieces of clothing inspired by renowned artists and their art works. The designers are: Smaranda Almășan inspired by Mike Kelley, Andreea Bădală by Méret Oppenheim , Lucian Broscățean by Joseph Kosuth, Ioana Ciolacu by Damián Ortega, Andrei Dudău by Apichatpong Weerasethakul , Răzvan Firea by Tamara Łempicka, Olah Gyárfás by Cy Twombly, Adelina Ivan by Antony Gormley , Irina Marinescu by Mircea Suciu , Marina Moldovan by Ben Vautier, Sabina Pop  by Nick Cave, Lucian Rusu by Gottfried Helnwein, Carmen Secăreanu by Maya Lin.

It was very interesting to see which were the chosen artists and how did the designers manage to translate art into clothing, to mix their individual aesthetic with the aesthetical universe of the artist they have chosen. In some cases I was able to guess the designer just by looking at his/her inspiration because I could sense the influence of a certain artist in a designer’s work. The entire story behind this event seemed to be a personal one. From the selection of the artist, to the choosing of the fabric, to the final display of the garment, each designer had the opportunity to recreate a work of art by infusing it with his/her personal touch.


So when Lucian Broscățean invited me to take part in his project, as model for the series of images accompanying his design for this event I was overwhelmed with excitement. First of all because I have been a fan and follower of his work for a long time, and have always admired his in-depth analysis of concepts, his unique designs, and his meticulously constructed universe, second of all because I have always been interested in the dialogue between fashion design and art so this was a unique opportunity to observe the way in which this dialogue can be created. Lucian’s inspiration was the work of Joseph Kosuth, one of the most renowned conceptual artists of the 20th century. His work is centered on the exploration of the production and role of language and meaning within art, and although his art may seem detached and stripped of personal meaning, it seduces the viewer at an intellectual level… just like Lucian’s designs. The photos were taken by Mihai Plătică, a talented photographer from Cluj who managed to capture the atmosphere and depth of Lucian’s design and concept.




Lucian Broscatean_Art & Fashion for Education_1

Lucian Broscatean_Art & Fashion for Education

Lucian Broscatean_Art & Fashion for Education_2

Art & Fashion for Education is a project initiated and curated by Pavilion Curatorial Office (Răzvan Ion, Eugen Rădescu and Gergő Horváth) and Bucharest Biennale – Bucharest International Biennial for Contemporary Art. The funds raised throughout this event will be used to buy PC’s which will be donated to talented underprivileged teenagers. The beneficiaries of the program will be selected with the help of ‘Noi Orizonturi’ Foundation.

The exhibition opened on the 14th of May and will go on until the 12th of June inside the Teatrul de Comedie in Bucharest (The Comedy Theatre). It will also take place in Timișoara at the Art Museum (June 23 – July 17, 2015) and in Cluj-Napoca at the National Art Museum (September 3 – 16, 2015).

Les femmes s’ennuient le dimanche

This week the Romanian brand MURMUR launched a new line of clothing, dedicated to a more private audience, MURMUR Roleplay. As those of you who are familiar with the brand may already know, the aesthetic explored by its designer Andreea Badala is centred on seduction, on sensuality and desire. The MURMUR woman is a strong woman because she knows how to explore her femininity through specific elements which define the feminine universe. Her private space is where she feels comfortable, and her clothes are her weapons of seduction.

With this new line of clothing, MURMUR Roleplay, Andreea Badala wants to explore the hidden corners of her woman’s private space. What she discovers is a place of escape from the everyday restrictions, from socially accepted norms which enclose her fantasy. MURMUR Roleplay explores this “forbidden” place and turns it into a playground for those willing to enter it, offering them an appropriate wardrobe for their secret fantasies.

This new clothing line is composed of outfits, and pret-a-porter pieces inspired by fantasies and roleplaying. Be it a sensual housewife, a seductive housemaid, an untamed athlete, a temptatious nun, or a naughty schoolgirl, all of these roles that a woman plays in order to allure the outside world into her private space are part of a process of self – discovery. All these different characters are hidden inside a woman’s subconscious. The trick is to know how and when to let them out to play.

The collection was launched in a nonconventional space – a hotel, as a performance where different models playing different roles were placed in separate rooms of the hotel. The performance was designed to resemble a peep-show where guests were invited to visually explore the phantasies orchestrated by the designer.

murmur roleplay

murmur roleplay

murmur roleplay

murmur roleplay

murmur roleplay

Photo: George Sandu

You can find the collection at:

Fashion Talks in the Fashion Garden

Last weekend I was invited at the Fashion Garden, one of the many events that took place during the Transylvania International Music and Art Festival (TIMAF) in Cluj. For four years now, this festival seeks to offer the public the chance to interact with different cultural fields and to create a coherent dialogue between the public and relevant figures that activate in these fields. Fashion Garden is at its second edition, and this year it was “planted” in the heart of Cluj-Napoca in a pop-up space which displayed pieces from the graduate collections of some of this year’s UAD students. Besides the thorough selection of designer pieces, the Fashion Garden hosted a series of Fashion Talks where important representatives from the Romanian fashion and beauty industries discussed different aspects of their professional journey.

Lucian Broscatean, who manages to focus on his own conceptual fashion brand, and teach at the University of Art and Design, talked about the importance of academic guidance for a young fashion designer. The University of Art and Design from Cluj-Napoca offers its fashion students the opportunity to apply for internships at international brands, where they can learn how to function in the world of fashion, to experience the making of a collection, to deal with the everyday pressures and deadlines, to interact with other designers and other fashion systems. Ioana Ciolacu, a young Romanian fashion designer, who recently won the international ”Designer for Tomorrow” contest, talked about her personal fashion journey, and about the many ways in which winning an international contest changed her professional path. Andreea Macri, a valued Romanian fashion editor, working for The One Magazine, and a well known international fashion photographer, revealed some of the “behind the scenes” secrets from the international fashion weeks. Her backstage and runway photos capture not only the clothes, but the beauty of fashion and the uniqueness of moments in time. Alexandre Eram, the creative brain of the cosmetic brand Melkior, offered us an interesting presentation about the mechanisms behind beauty, fashion and trends in the world of cosmetics while focusing on his own brand.  Last, but not least, two representatives from Farmec, one of the leading Romanian cosmetic brands, talked about the importance of inner beauty in relation to aesthetic beauty, offering us useful tricks on how to feel and look beautiful.

Raluca Popa, the one responsible for planting the first fashion seeds in the Fashion Garden, succeeded once again to bring together a handful of creative minds whose discourses tackled very interesting aspects of our fashion industry. The main subjects of every fashion talk were different, dealing with specific elements from the fashion and beauty system, but they all found common ground in their commitment towards building a coherent and functional system whose main goal is to support and promote beauty and craftsmanship, talent and professionalism, dedication and perseverance.

video made by

Displaced Dreams in Displaced Shapes

In the article entitled “Sign of the Time”, Cathy Horyn signals a change in today’s fashion: “If you accept that fashion reflects the times — and I do — then you have to concede that in this respect Slimane has been impressive, even prescient. His Saint Laurent collections perfectly capture the mood and values of the present. The need for simple messages. The triumph of branding.” She gives Slimane as an example because his clever move at the house of Saint Laurent will surely be mentioned in the future as an important moment in the shift from wearable ideas to wearable clothes. Hedi Slimane’s first collections for Saint Laurent were controversial because they weren’t desirable for the fashion critics and journalists, but they were extremely desirable for the public. And according to fashion journalist Cathy Horyn, the commercial desirability of fashion is a sign of our times.

I have always been a fashion spectator, observing fashion through a screen, or on the pages of magazines, and although the majority of my wardrobe consists of wearable and almost boring pieces, I always loved watching a collection that had a story behind it, a collection that made me dream or made me think. Maybe because I perceive fashion from a romantic point of view. But fashion is not only for dreaming; it is a functioning economic system that thrives on consumer’s dreams and succeeds in turning them into reality.

Irina Schrotter’s collection for spring/summer 2015 was presented during MQ Vienna Fashion Week. Her forth collection in collaboration with the Romanian conceptual designer Lucian Broscatean is entitled Displaced Shapes and intertwines in a process of assimilation the conceptual tools used by Lucian Broscatean in his personal collections with the commercial desirability of Irina Schrotter’s brand. The reason why I have referenced Cathy Horyn’s article is because I sensed in Schrotter’s collection a new type of modernity similar to the one discussed by the fashion journalist. The interplay between color blocking, black and white structures and digital prints compose easy-to-wear pieces that are desirable for women who do not seek meaning in their clothes but comfort and care-free elegance. The visual/cultural/artistic references on which Lucian Broscatean constructed or deconstructed the former collections for Irina Schrotter were not mentioned in this collection, but his solid background in those fields was still present. He understands that in the process of fashion democratization a hermeneutical approach seems somehow futile. Meaning is simplified so that it can reach a larger audience. The clothes have learnt how to speak for themselves. As for dreamers like me, the dream doesn’t have to end, it just has to become more lucid.irina schrotter SS 2015

irina schrotter SS 2015 (4)irina schrotter SS 2015 (1) (1)irina schrotter SS 2015 (8) (1)irina schrotter SS 2015 (24)irina schrotter SS 2015 (28)irina schrotter SS 2015 (34)

Designer – Lucian Broscățean

Print Design  – Carmen Cherecheș

Shoes – Mihaela Glăvan

Accessories – Carmen Cherecheș & Diana Flore

Hairstyle – Cristina Micu, Simina Cheteleș & Raul Tișa

Photo credit – Emil Costruț


Un unghi de vedere

In urma cu ceva timp, m-am intalnit cu designerul Smaranda Almasan in atelierul sau din cadrul Fabricii de Pensule si mi-a povestit pe indelete despre importanta pe care arta o are in procesul sau creativ. Uitandu-ma la imaginile si la materialul video realizate pentru cea mai recenta colectie a sa (toamna-iarna 14/15), imi vine in minte seria de fotografii realizata de fotograful Irving Penn in colaborare cu Marcel Duchamp. Decorul in care Penn a imortalizat portretele unor personaje emblematice pentru secolul 20 (Truman Capote, Georgia O’Keefe, Marlene Dietrich, Igor Stravinsky) a fost conceput de Duchamp: doi pereti alaturati care formeaza un unghi de 22,5°. Efectul vizual pe care acest decor reuseste sa il creeze ne transmite, dincolo de imagine, ideea de individualitate, de singuratate acceptata, de siguranta, de singularitate.

Nu sunt sigura daca experimentul pus la cale de Irving Penn si Marcel Duchamp are vreo legatura reala cu imaginile din colectia Smarandei Almasan, dar sunt sigura ca experimentul pus la cale de designer la nivel de concept, materiale si tipare functioneaza atat in imagini, cat si intr-o realitate in care unghiurile sunt de 90°.

Smaranda Almasan f/w 2014-2015Smaranda Almasan f/w 2014-2015Smaranda Almasan f/w 2014-2015Smaranda Almasan f/w 2014-2015

foto: Vlad Andrei Gherman
styling:Laura Firefly
hair&make-up:Laura Firefly
model:Alexandra M.
spatiu: Galeria Sabot , Fabrica de Pensule

Experienta Vestige

Recent deschis in Cluj-Napoca, Vestige Atelier des Beaux Arts nu este doar un centru de infrumusetare, este un proiect gandit de cei doi fondatori ai sai, Simina Cheteles si Raul Tisa, ca un spatiu in care frumusetea nu este privita doar ca un artificiu ci ca un atribut al personalitatii. Vestige Atelier des Beaux Arts este un proiect conceput din pasiune, dedicare, si dorinta de a impartasi celor interesati o altfel de viziune asupra frumusetii. Pe langa serviciile aferente unui salon profesionist de infrumusetare, salonul Vestige organizeaza periodic, in cadrul Vestige Academie, cursuri de coafor-stilist, manichiura, machiaj, cosmetica si ateliere pentru pasionatii de moda si vestimentatie. Salonul gazduieste si un showroom, singurul showroom de acest gen din Cluj-Napoca, in care sunt expuse creatii ale absolventilor sectiei de fashion design UAD cat si creatii ale designerilor care activeaza deja pe piata nationala si internationala. Ca sa aflati mai multe despre showroom-ul Vestige Pret-a-Porter am stat de vorba cu Teodora Baciu,  coordonator al echipei de designeri ale caror creatii (inclusiv ale Teodorei) le puteti gasi in showroom-ul de pe strada Constantin Brancusi, la numarul 126.

vestigeCum se integreaza Vestige Pret-a-Porter in conceptul Vestige/Atelier des Beaux Arts?

Vestige Pret a Porter vine la pachet cu tot ceea ce inseamna Vestige Atelier des Beaux Arts, este o completare fireasca in ideea in care ne-am dorit sa oferim servicii complete de beauty and fashion. Se simtea nevoia unui loc in care sa se gaseasca toate aceste servicii, scutind astfel mult timp si beneficiind de consiliere. Clientii vor putea beneficia oricand de consiliere gratuita atat pe partea de hairstyle si make-up, cat si pe partea de pret-a-porter. La fel cum in cadrul serviciilor de beauty va consiliaza profesionistul, la fel, un designer va va consilia in alegerea tinutelor potrivite, iar in asta consta plus-valoarea acestui serviciu. In fiecare zi un designer sta la dispozitia clientului. Vestige este atat un beauty center, cat si Academie, iar cei interesati sa descopere trucuri din lumea modei pot participa la atelierele adresate publicului larg, de coafor, make-up, dar si de moda si stil, unde clientele pot sa-si  completeze cunostintele despre dress code, despre cum sa se imbrace conform siluetei sau conform varstei, ori sa-si aleaga accesoriile in mod potrivit. Pe scurt, cu ajutorul acestor ateliere vor putea sa-si contureze mai bine imaginea.De subliniat este sinergia dintre ramurile atelierelor, care creeaza o identitate vizuala completa. Asadar, Vestige Pret a Porter se potriveste manusa pe acest proiect care se vrea a fi un atelier complet de frumusete.

Cum a fost facuta selectia designerilor a caror creatii pot fi gasite in concept store-ul Vestige Pret-a-Porter?

Selectia designerilor a fost facut in asa fel incat sa existe unitate in diversitate. Jumatate sunt proaspat absolventi ai sectiei de fashion design de la UAD  Cluj, iar cealalta jumatate este formata din designeri care lucreaza deja si sunt pe piata de cativa ani. Am dorit sa existe o baza de produse clasice reinterpretate, dar care sa fie condimentate cu piese fresh, avangardiste, de la newcomers. Astfel am creat un mix in care se vor putea regasi toti clientii.

vestige_1Pe viitor, veti mai adauga nume noi la lista designerilor prezenti in concept store?

Vom coopta  si alti designeri care au o viziune si o linie compatibila cu conceptul nostru, iar primele noutati vor veni din sfera accesoriilor, la inceputul acestui an.

Am observat ca multe dintre piesele expuse sunt unicat sau in serie limitata. Se vor putea achizitiona, prin comanda, piese extra si piese de diferite marimi pe acelasi model ca cel al pieselor expuse in concept store?

De la inceputul anului 2014 se vor putea gasi produse pe mai multe marimi,in general ne vom extinde pe zona de serie mica, ceea ce inseamna ca va fi produs un model pe maxim patru marimi. La unele produse se pot comanda deja marimi mai mari sau mai mici. Vom crea colectii capsula pe sezoane, insa nu vom crea foarte multe bucati din acelasi model deoarece clientii nostri tocmai pe asta mizeaza. Iar unele piese mai deosebite sunt create de la inceput ca sa fie unicat, produse in serie, acestea si-ar pierde din pretiozitate.

vestige_2Designul vestimentar “made in ro” incepe sa isi faca loc in tot mai multe garderobe ale iubitoarelor de moda. Si totusi, numarul celor care sunt familiarizati cu designul vestimentar autohton este unul destul de mic. Cum v-ati gandit sa promovati publicului larg acest spatiu si designerii pe care ii gazduiti?

In primul rand, insusi spatiul ales este o modalitate de promovare. Clientii care vin sa beneficieze de serviciile de beauty au acces acum la un spatiu pe care nu l-ar vizita in mod normal, dar acum , tocmai pentru ca este in cadrul familiar al salonului, se simt mult mai confortabil sa incerce, sa probeze haine. In plus, este un spatiu mult mai intim fata de cel al unui magazin obisnuit. Aici beneficiati chiar de consilierea designerului, a hairstylistului, si a tuturor celorlati specialisti din cadrul Vestige Atelier des Beaux Arts.

Ne promovam proiectul atat prin pagina de Facebook, dar ne vom dezvolta si un site si planuim cat mai multe editoriale si pictoriale prin care sa dezvoltam si sa propunem tendinte. De asemenea vom crea materiale de identitate in cadrul proiectului Vestige prin care vom face cunoscuti publicului designerii din proiect.

vestige 3vestige_5

sursa imagini:




Rochia calendar – Iarna

rochia calendar_iarna

In cadrul vizitei pe care am facut-o in atelierul designerului Calina Langa, aceasta mi-a povestit despre un proiect care va aborda atat creatiile sale vestimentare cat si conceptul de prezentare al lor intr-o maniera neconventionala. Imi vorbea despre cat de important este pentru ea ca hainele pe care le creeaza sa spuna o poveste, sa dezvaluie o parte din universul sau personal intr-un mod in care si cei care interactioneaza cu creatiile sale sa se regaseasca in ele. Dupa aproape 3 luni de zile, proiectul sau prinde viata si va fi prezentat publicului larg in week-end-ul acesta, in data de 21 decembrie.

„Rochia calendar – Iarna” este un eveniment de moda care doreste sa puncteze un moment si o stare speciala. Face parte dintr-un proiect amplu al designerului clujean Călina Ghiţulescu Langa, care include prezentarea a 4 mini-colectii compuse, corespondente celor patru anotimpuri. „Rochia Iarna” va fi prezentata in data de 21 decembrie 2013.” Data aleasa de designer nu este intamplatoare, eacoincide cu debutul astronomic al anotimpului cel mai rece din an, marcat de solstitiul de iarna.

„Piesele prezentate sunt expresia materializata a ”scanarii” unor stari pur subiective ale designerului la trecerea prin timp si anotimpuri. Motivul de inspiratie principal se afla in desenele complicate ale florilor de gheata incremenite pe ferestre, regasit intr-o cromatica minimalista compusa din griuri si greige-uri punctate de  accente aurii. Materialele folosite sunt stofe din lana naturala, piele, brocard, texturi peliculizate si paietate, iar captuselile vesmintelor sunt alese special pentru a crea purtatoarelor senzatia de catifelare si confort.

Evenimentul va avea loc sambata, 21 decembrie 2013, la ora 16, la Patinoarul din Piata Unirii. Călina Ghiţulescu Langa va invita sa credeti, alaturi de ea, in rochii care puncteaza stari si in stari care se reflecta in rochii.

Colaboratori de nadejde ai evenimentul de moda  „Rochia calendar – Iarna”sunt: agentia Euromodels condusa de Lili Mihalcea, graphic designer Ioana Popa, credit foto Crina Prida, make-up artist Sorana Molnar si hair stylist Angela Benke.


Mai multe informaţii:

Book Cover Tee – Cap. IV

Book Cover Tee IV Etajat

Biblioteca purtabila “Book Cover Tee” isi adauga in colectie inca 19 povesti personale spuse prin intermediul cartilor alese de catre participantii la jocul creativ initiat  de Noemi Revnic si al sau blog Placerile lui Noe. Cel de-al patrulea  capitol “Book Cover Tee” “este capitolul “perechilor” de prieteni buni, si a “marilor sperante, avand in vedere ca acest titlu se regaseste in doua variante minunate si diferite”, declara Noemi. Este totodata capitolul care ne prezinta pentru prima data doua coperti ale unor carti semnate de insasi purtatorii lor; cartea Loredanei Groza, “Sexting” si cartea lui Adrian Telespan, “Cimitirul”. Deasemene este capitolul in care pentru prima data, unul dintre creatorii copertilor este un tanar designer, proaspat absolvent al sectiei de design vestimentar din cadrul UAD-ului, talentata Anca Belbe care si-a ales deloc intamplator sa reinterpreteze coperta cartii “Colectionarul” de John Fowels (aceasta carte a stat si la baza inspiratiei pentru colectia sa de absolvire).

Book Cover Tee IV, Sirul 2 Web

Tiparul tricourilor (tricouri cu maneca lunga, potrivite pentru zilele friguroase de iarna, confectionate din tricot si fleece) este semnat de data aceasta de Razvan Firea aka Le Petit Indigent. In cazul in care inca nu v-ati hotarat ce cadou sa-i faceti persoanei dragi, puteti “rasfoi” capitolul IV din Book Cover Tee si puteti alege povestea care va este cea mai aproape de suflet. Mai mult decat atat, cumparand un tricou Book Cover Tee, ajutati la strangerea de fonduri pentru centrul de adoptii canine si feline “Inubirrre” si pentru un adapost de seniori fara ajutor.

Book Cover Tee IV, Sirul 1 Web“Book Cover Tee” este despre carti preferate ale unor prieteni si oameni dragi lui Noemi, care sunt invitati de aceasta sa spuna intr-o imagine o poveste purtabila, de doua ori pe an, vara si iarna. Cei care au acceptat invitatia de data aceasta sunt:

Ada Teslaru & Bob Toma – “Histoire D’O”, Pauline Réage.

Adrian Telespan – “Cimitirul” de Adrian Telespan

Anca Belbe – “Colectionarul”, John Fowles

Angelica Dumitrescu – “Jurnalul Fericirii”, Nicolae Steinhardt

Cerina Ratiu & Ciprian Vrabie – “Great Expectations”, Charles Dickens

Cristina Stanciulescu & Ovidiu Muresanu ( – “Nostalgia”, Mircea Cartarescu, cu grafica artistului Liviu Mihai.

Cristina Pop si Lili Misaila, Antz Communications & Eroiiromanieichic – “Un anotimp in Berceni”, Claudiu Komartin

Diana Tofan, H&M Romania – “Great Expectations”, Charles Dickens

Dhaniel Nora & Roxana Bllinder de la Purple Flowers – “Fleurs du Mal”, Charles Baudelaire

Ioana Chira ( Harper’s BAZAAR) & Cristina Mazilu (Mazilique) – “Love, ETC”, Julian Barnes

Ioana Dumitrescu &Marina Moldovan de la 1o9 – “Fuzz & Pluck”, Ted Stearn

Ioana Ulmeanu (Elle) & Robert Ratiu (Beau Monde) – “Pe bune / Pe invers”, Adrian Schiop

Loredana Groza – “Sexting” scrisa de Loredana Groza

Marius Concita, – “Faust”, Johann Wolfgang Goethe

Octavian Logigan, – “Scris pe trup”, Jeanette Winterson

Orly Yanay, – “Justine”, Marquis De Sade

Razvan Firea, Le Petit Indigent – “Party Monster”, James St. James

Tiberiu Capudean – “Le Petit Prince”, Antoine de Saint-Exupéry

Noemi Revnic –  “Rain and other South Sea Stories” a lui W.S. Maugham, cu o fotografie facuta in cea mai recenta vacanta, in Nevada.

Puteti sa cititi istoria fiecarui tricou povestita de autori si de Noemi pe

Book Cover Tee IV, Sirul 3 Web

Cele 19 coperti purtabile intr-o editie de 100 de tricouri pot fi achizitionate de pe sectiunea “KISS&TELL”/Vazut.Placut, de la Carturesti, Galateca, Libraria de carte engleza Anthony Frost si in curand si la The Place X. Pretul unui tricou este de 250 de lei.

Povestea “Book Cover Tee” nu ar fi fost posibila fara sprijinul celor trei branduri care au sustinut proiectul initiat de Noemi Revnic inca de la inceput: Henkel Romania, Philips si Stella Artois.







Is it a bird? Is it a plane?…No, it’s Kristina Dragomir’s Superheroes Collection!

Cand vine vorba despre palarii, gandul ma duce la Isabella Blow si la sumedenia de personaje excentrice protejate de borurile extravagantelor sale accesorii capilare. “I don’t use a hat as a prop, I use it as a part of me. If I am feeling really low, I go and see Philip (Philip Treacy), cover my face, and feel fantastic. Although, if I’m on a real low, it requires going to the doctor for a prescription.”()

Palariile create de designeri autentici inceteaza sa mai functioneze ca niste simple accesorii, asa cum sustine si Issie Blow, ele au capacitatea de a interactiona cu purtatorul pana la o contopire armonioasa cu personalitatea acestuia. Palariile create de Kristina Dragomir reusesc  acest lucru si o fac intr-un mod firesc, fara prea multe artificii, adaugiri si vorbareli inutile. Odata ce ai inteles moto-ul „Heads not hats”, ai inteles ca ceea ce Kristina Dragomir creeaza nu sunt obiecte, ci exprimari ale discursului estetic al fiecarei femei care ii poarta creatiile, ai inteles ca palaria si capul trebuie sa formeze un tot unitar, ai inteles ca pentru palariile sale e nevoie de o femeia careia nu ii este frica sa intoarca priviri, o femeie care isi asuma propria identitate, o femeie care cu siguranta are ceva de ascuns dar o face cu inteligenta, eleganta si nonsalanta.

Pentru o astfel de femeie, Kristina Dragomir creeaza colectia Superheroes. Colectia in editie limitata are ca inspiratie personaje din benzile desenate si filmele cu supereroi. Formele palariilor create prin modelarea minutioasa a designerului reinterpreteaza la nivel estetic personaje cunoscute atat de fanii genului cat si de cei mai putin familiarizati cu universul comics-urilor: Cat Woman, Invisible Man, Iron Man, Joker, Zorro, Hawkman (mie imi aduce aminte si de personajul Nite Owl din graphic novel-ulu Watchmen), Hulk, Dead Man. Daca personajele care ajung sa poarte aceasta titulatura de supererou se folosesc de masca pe care o poarta ca sa isi ascunda adevarata identitate, persoanele (sau poate cateodata personajele) care poarta creatiile Kristinei Dragomir se folosesc de acestea pentru a-si scoate in evidenta o trasatura specifica propriei identitati. Superputerea lor nu este de natura  extraterestra sau rezultatul unui experiment chimic, ci este capacitatea lor de a jongla cu diferete fatete ale feminitatii. Ele nu lupta sa salveze omenirea de fortele raului, purtand palariile create de Kristina Dragomir ele lupta sa salveze omenirea de la banal, de la conformism.

Colectia Superheroes este disponibila in Romania pe, de unde se pot comanda made-to-measure si international in magazinul online, in concept-store-ul Swinger International din Milano si Marc by Marc Jacobs din Bruxelles.

DeadMan.-Plarii-Superheroes-by-Kristina-Dragomir HawkMan.-Palarii-Superheroes-by-Kristina-Dragomir-e1380792097680 Hulk-Hat.-Palarii-Superheroes-by-Kristina-Dragomir-e1380792097467 InvisibleMan-Hat.-Palarii-Superheroes-by-Kristina-Dragomir-e1380792098333


fotografii: Iulian Nan
artistic direction: Marian Pălie
make up Elisabeta Făcaianu
model Ralisa Oprea

sursa poze:

Bend it like LANA

Toata lumea stie fotbal si moda (si politica, dar aceasta nu isi are locul in discutia noastra de azi). Toata lumea le consuma in cantitati moderate din surse mai mult sau mai putin credibile. Fiecare intelege ce vrea. Putini sunt insa cei care, folosindu-se de stereotipurile prin intermediul carora majoritatea acceseaza aceste domenii, le abordeaza dintr-o perspectiva diferita. Nu pot sa nu mentionez aici legendarul (fanii Monty Python stiu despre ce vorbesc) meci de fotbal dintre selectionata Germaniei si cea a Greciei in care echipele sunt formate  din filosofi de seama ai celor doua tari. Fotbalul devine astfel mai mult decat o alergatura inutila dupa o minge (preconceptie adesea utilizata pentru a defini acest sport). La fel se intampla si in cazul noii colectii pentru sezonul toamna-iarna semnata LANA.


F.C. LANA prezinta o echipa de artisti internationali si nationali atent selectionati de antrenorul/designer Lana. Terenul gazda e pentru a doua oara retailer-ul online MOJA.RO (prima colaborare dintre designer si retailer materializandu-se in colectia inspirata din Cimitirul Vesel de la Sapanta).

Astfel ca, noul sezon competitional de fashion debuteaza cu o colectie sporty & arty de finala a Ligii Campionilor Artei. Din componența neconventionala a echipei F.C. LANA fac parte:   Katsushika Hokusai, un ”Maradona” al graficii japoneze traditionale, Frida Kahlo, aceasta Messi a autoportretelor memorabile, Georgia O’Keeffe, aceasta Ronaldo a picturilor florare, Rene Magritte, un Pele al suprarealismului clasic, Ion Barladeanu, un Hagi al colajelor absurde. Ca orice echipa care se respecta, echipa LANA sustine tanara generatie de jucatori creativi, introducand in lotul final artistul timisorean Daniel Brici.

lana6 lana1 lana2 lana3 lana5 (1) lana5 (2)Stilul inconfundabil al designerului Lana se regaseste si in aceasta colectie. Print-ul digital este „asul din maneca”, iar seria de 7 rochii si 7 bluze printate cu opere usor recognoscibile apartinand jucatorilor de elita enumerati mai sus este perfecta pentru un echipament de iarna ALTFEL.

lana12 (2) lana7 lana9 lana10 lana12 (1)sursa informatii: comunicat presa

How to plant your fashion seed


Va vorbeam in urma cu cateva zile despre conferintele care vor avea loc in luna octombrie in Cluj-Napoca. Weekend-ul acesta am avut placerea sa particip la prima editie a evenimentului Fashion Garden – Wear Romanian Designs, realizat in colaborare cu TiMAF (Transilvania International Music and Art Festival).  Locatia aleasa de organizatorii evenimentului a contribuit la conturarea ideii de “gradina a modei”, Casino-ul nou renovat din Parcul Central transformandu-se pentru doua zile intr-o sera in care speakerii invitati, impreuna cu cei prezenti in sala, au incercat sa planteze seminte provenind din propria lor experienta si interactiune cu sistemul modei.

O intelegere exhaustiva a fenomenului modei implica o intelegere a elementelor din care acesta este compus, iar speakerii invitati in cadrul evenimentului Fashion Garden au reusit sa ne demonstreze ca fiecare element este relevant in felul sau, este necesar pentru ca designul vestimentar/ creatia vestimentara/ produsul vestimentar sa continue sa existe. Programul conferintelor a fost cu atentie gandit ca sa acopere 3 zone esentiale in circuitul modei: zona didactica/academica, zona creativa,  si zona comerciala/ de industrie a modei.

Prep. Univ. drd. Lucian Broscatean ne-a vorbit despre importanta unor platforme de promovare ale studentilor si absolventilor sectiilor de design vestimentar, folosind ca exemplu demn de urmat sectia de Moda si Design Vestimentar a Universitatii de Arta si Design din Cluj Napoca. Pe langa programa academica, studentii acestei sectii sunt sustinuti de catre cadrele didactice pe intreg parcursul programului de studii oferindu-le posibilitiatea de a aplica pentru internshipuri la diferite branduri din strainatate, de a participa la concursuri internationale de design vestimentar, de a aplica pentru burse de studiu. Castigarea unor competitii precum Arts of Fashion, Pasarela, Inspired, participarea la targuri internationale ( Targul International Igedo din Dusseldorf), sau aparitii constante in cele mai importante publicatii de profil din tara sunt cateva dintre rezultatele sustinerii constante pe care o ofera cadrele didactice ale sectiei de design vestimentar studentilor. Dintre toate aceste modalitati de promovare, Gala UAD este cea mai longeviva platforma de promovare a studentilor si absolventilor. Anul viitor aceasta va ajunge la cea de-a 20-a editie si in toti acesti ani a demonstrat ca dedicarea, munca in echipa si perseverenta contribuie la evolutia modei romanesti.

Lect. Univ. dr. Elena Basso Stanescu a continuat discutia avand ca subiect elementul academic si didactic al modei vorbindu-ne despre importanta unui feed back in munca depusa atat de cadrele academice, cat si de studenti si absolventi. Acest feed back vine din partea specialistilor din domeniu, a publicatiilor specializate, cat si a industriei, amintind de colaborarea longeviva dintre UAD si brandul Jolidon, si vorbindu-ne despre importanta participarii absolventilor UAD la Salonul profesionist Romania Fashion Trends and Brands care a avut loc saptamanile trecute la Bucuresti.

Doamna Liana Martin, jurnalist de moda, cu o experienta bogata in domeniul modei autohtone (si nu numai) completeaza discutia prezentandu-ne „o ecuatie cu doua necunoscute”: designer + investitor= industria modei. Daca „moda este o industrie facuta de artisti” cum pot artistii sa isi pastreze integritatea artistica reusind in acelasi timp sa se integreze intr-un sistem axat pe profit? Designerii trebuie sa realizeze ca pentru a face asta, trebuie sa invete sa isi divizeze atributiile. Ei trebuie sa intelegea ca pentru a functiona intr-un sistem, e necesar sa accepti rolul fiecarui element ce constituie acel sistem.

Mirela Bucovicean, fondator Molecule F, primul magazin online care vinde in exclusivitate design romanesc, abordeaza fenomenul modei din perspectiva investitorului si ne dezvaluie una dintre problemele majore ale sistemului modei romanesti: lipsa consumatorului. Multa lume promoveaza si sustine designul romanesc, dar foarte putini chiar il cumpara si poarta. Discursul sau puncteaza intr-un mod captivant importanta achizitiei designului romanesc pentru perpetuarea identitatii nationale, pentru economia locala, pentru existenta designerului. O componenta la fel de importanta in evolutia sistemului modei este reprezentata de selectie. Nu toti absolventii sectiilor de design vestimentar sunt automat designeri, nu toti ajung sa fie relevanti, iar Molecule F se ocupa inca de la inceputurile sale cu selectarea riguroasa a acestora. Cei ale caror creatii ajung sa fie promovate si vandute pe aceasta platforma sunt, din punctul de vedere al Mirelei Bucovicean, designerii capabili sa genereze o identitate recognoscibila a designului romanesc.

Marian Palie abordeaza fenomenul modei dintr-o perspectiva filosofica si spirituala pe care o ancoreaza in realitatea istorica prin intermediul catorva puncte de reper. Acestea ne-au ajutat sa intelegem verdictul aparent fatidic anuntat de titlul prezentarii sale „Sfarsitul modei”. Prima parte a prelegerii, “Pasi esentiali pentru “iesirea” din moda”, ne vorbeste despre necesitatea unei iesiri din moda unui prezent supraincarcat de moda (moda inteleasa ca tendinta sezoniera, ca produs estetic fara fond), o moda istoricizata care inceteaza sa mai creeze sensuri. Cea de-a doua parte, intitulata “De la utopia belgian-nipona la Papa Francisc” mi s-a parut a fi un studiu de caz axat pe “iesirile” din moda ale designerilor niponi si belgieni. Rolul Papei Francisc prinde sens in momentul in care este mentionat Conciliul Vatican II, influenta Papei Ioan Paul II si a Papei Benedict asupra modei italiene (si nu numai). Reintoarcerea la traditie, simplitatea materialelor, accentul pus pe mestesug, reprezinta solutii pentru iesirea dintr-o moda a exceselor, o moda pervertita.

“Gradina” din acest weekend a fost accesorizata cu piese vestimentare ale designerilor din portofoliul Molecule F si piese din colectiile absolventilor sectiei de design vestimentar pe care am avut ocazia sa le urmaresc in cadrul Galei UAD de anul acesta. M-am bucurat sa vad mai de aproape colectiile designerilor: Andreea Castrase, Ancuta Sarca, Alina Morar, Magdalena Butnariu.

Asteptam cu nerabdare urmatoarea editie Fashion Garden – Wear Romanian Designs.


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Smaranda Almasan: primavara-vara 2014

Designerul Smaranda Almasan ne propune pentru sezonul primavara-vara 2014 o garderoba in care elemente din vestimentatia masculina sunt mixate cu cele din vestimentatia feminina, imprimeurile exotice functioneaza ca antidot pentru o lume in alb si negru, iar asimetriile semnaleaza prezenta unei rupturi in realitatea cotidiana. Colectia prezentata in cadrul MQ Vienna Fashion Week are ca punct de pornire  romanul halucinant al lui Boris Vian, Spuma Zilelor. Elemente care sustin atmosfera suprarealista din cadrul romanului au fost folosite de designer cu scopul de a-si construi un univers care asculta de alte reguli, un univers intim, un univers in care hainele reflecta starea sufleteasca a purtatorului.

Lejeritatea ansamblurilor vestimentare, tuşele de umor contureaza o realitate fictiva prin intermediul careia designerul ne dezvaluie, intr-o maniera personala, propria noastra realitate.

smaranda almasan_1smaranda almasan_2smaranda almasan_3smaranda almasan_4smaranda almasan_5smaranda almasan_6Credit foto: Daniel Robu

Calatorii printre carari (i)luminate

Irina Schrotter a ales sa isi prezinte colectia pentru primavara-vara 2014 in cadrul Saptamanii Modei din Viena (MQ Vienna Fashion Week) continuandu-si astfel colaborarea fructuoasa cu designerul Lucian Broscatean, pe partea de design vestimentar, si cu Mihaela Glavan pe partea de design de accesorii.  „Lighted Paths”, numele dat colectiei, ne dezvaluie reperele simbolice pe care trebuie sa le luam in considerare atunci cand alegem sa descifram intelesurile presarate printre cararile (i)luminate.

Daca ramanem in zona de analiza simbolica putem realiza legatura armonios tesuta intre cele trei colectii ale Irinei Schrotter in colaborare cu Lucian Broscatean: „Shapes of Light” (colectia primavara-vara 2013) contureaza prin transparente identitatea unei noi feminitati, „Immersed Self” (colectia toamna-iarna 2013/2014) pare a fi o perspectiva introspectiva a acestei noi identitati, iar „Lighted Paths” devine astfel o calatorie initiatica la sfarsitul careia intregul proces de redescoperire, de reinventare, de regasire capata sens. 1

Calatoria pe care ne-o propun cei doi designeri este una ciclica, alegerea celor doua ansambluri vestimentare in intregime albe care deschid si inchid show-ul devin astfel chei de „lectura”. Ansamblurile nu sunt identice, pentru ca joaca subtila cu simbolurile nu este una manierista, ci este o joaca vizuala consistenta. Colectia are un ritm intern atent  masurat. Suprapunerile imaculate ale tinutelor de la inceputul prezentarii sunt acompaniate de solo-uri puternice de verde smarald, oranj, fuchsia, culminand cu invazia imprimeurilor luxuriante dirijate de mana artistei Agnes Keszeg. Detaliile minutioase ale matasurilor imprimate ne dezvaluie franturi dintr-un taram imaginar cu iz oriental. Acestea se unduiesc pe ritmurile adierilor de vant, ademenindu-ne simturile. Pana si pantofii, creati special pentru aceasta colectie de Mihaela Glavan contribuie la hipnoza indusa de miscarile naucitoare ale asimetriilor subtile. Baretele fine din piele se incolacesc pe gambele manechinelor, iar tocurile filiforme lasa in urma lor ecouri discrete ale pasilor tuturor celor care au strabatut aceste carari (i)luminate. 234

5Versuri dintr-una din poeziile lui Robert Frost imi revine mereu in minte la fiecare noua vizionare a colectiei: „Two roads diverged in a wood, and I, I took the one less traveled by, and that has made all the difference.” Colectia Irinei Schrotter realizata in colaborare cu Lucian Broscatean, accesorizata de Mihaela Glavan si pictata de Agnes Keszeg ni se dezvaluie a fi o calatorie creativa, initiata de individualitati aparte care ne impartasesc franturi din propriile lor trasee existentiale. Indiferent de drumul ales si strabatut de fiecare, intalnirea finala e cea care da sens calatoriei.   6

Credit foto – Daniel Robu

Calatorii moleculare

Calatoriile pe care le planificam an de an sunt o forma de escapism. Fie ca alegem sa evadam intr-un loc exotic, plin de agitatie si straluciri estivale, fie ca alegem sa cutreieram in liniste strazi anonime ale unor locuri fara rezonanta turistica, descoperirea unor noi spatii geografice ne ajuta mereu sa descoperim in noi insine „spatii” neexplorate. Dar calatoriile nu trebuie sa implice neaparat eforturi financiare. Escapismul este o forma de „turism” imaginativ, rezervat indeosebi persoanelor inzestrate cu abilitatea de a visa, cu rabdarea de a descoperi si cu dorinta de a reinventa in permanenta realitatea.

Noua colectie capsula semnata Lucian Broscatean, creata in exclusivitate pentru magazinul online Molecule F pare sa constituie garderoba perfecta pentru o calatorie imaginativa. In urma cu un an, Lucian Broscatean isi declina colectia Dream Map, colectie prezentata in cadrul Saptamanii Modei din Berlin, intr-o mini-colectie pentru acelasi magazin online. Cel de-al doilea capitol al povestii pe care designerul o contureaza pentru site-ul Molecule F se intituleaza Sliced Molecule si are ca sursa de inspiratie logo-ul creativ al site-ului.

1 logo, 8 piese vestimentare, minim 2 modalitati in care piesele pot fi reconfigurate, nenumarate posibilitati de evadare din cotidian.


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