10 Ingredients for a New Generation of Designers

The current state of fashion was described by some as overabundant, redundant, and obsolete in a way. These words weigh heavy on the designers and challenge them to come up with a plan to resuscitate the curiosity and excitement of the fashion crowd. Some have focused on the story, some on the heritage, some on innovation, some on product. A similar mood and a desire to refresh the “current state of fashion affairs” was felt during this year’s UAD Gala, an event celebrating its 21st edition. From the unconventional venue where the event was held, to the soundtrack of each collection, every little detail was smartly orchestrated and managed to infuse a sense of optimism and ease.

26 collections belonging to this year’s graduate students of the Fashion Design department walked down the catwalk, a catwalk specially designed for the event on the halls of the modern Sala Polivalenta in Cluj-Napoca. The BA collections were coordinated by Prof.Univ.Phd. Elena Basso Stănescu and Lect.Univ.Phd. Lucian Broscățean, while the MA collections were coordinated by Prof.Univ.Phd. Elena Basso Stănescu and Prof.Univ.Phd. Anca Pia Rusan.

As in every year since I’ve been attending the UAD Gala as fashion aficionado, supporter of the event, or as member of the Henkel jury (from which I had the pleasure of taking part this year), my first reaction after watching the collections was one of admiration towards the talent of the graduate designers, but also towards the collective involvement of those who guide, and support their talent. What follows next is a period of a few days in which I revisit my first impressions of each collection. I look at the photos, I read my notes, I try to make up stories that can narrate what some of the collections managed to convey. But this year, thinking about what I told you at the beginning of the article, I felt the need to try a new approach and think of the “ingredients” that made this year’s UAD Gala an invigorating event.

  1. Optimism

Aliz Simon – Nouvelle Ere

Mixing with ease the minimalism of colour combinations and experimentation with shapes, Aliz Simon managed to portray a personal view of a new age, as the title of the collection announces. The association of hard and soft materials reveals a modern type of femininity. The woman she envisions belongs to present times, is not afraid to experiment, and manages to maintain her innocence through a sophisticated play on details. Her optimism and wits when it comes to the reinterpretation of symbols and sophistication convinced me and the other members of the Henkel jury to reward her with the Perwoll Young Designers Award.

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  1. Interdisciplinarity

Diana Ilea – Untitled

Blurring the lines between art and fashion, Diana Ilea plays with the concept of abstraction. Inspired by modern art, her collection reflects the search for meaning through simplicity. The minimalist lines of the garments are destabilized by violent strokes of red and abstract insertions of ‘untitled” doodles. The association of materialities infuse energy into the designs.

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  1. References

Linda Szabo – Parallels

Referencing the feminine lines characteristic of Dior’s “new look” and combining them with the hardness of elements belonging to military apparel, Linda Szabo’s collection reveals her interest in the historical investigation of fashion. The softness of the colour pallet is contrasted by the toughness of the harnesses, the asymmetric tailoring, and the wadding volumetries. A certain metaphorical struggle can be sensed in Linda’s investigation of the parallels between war and peace, austerity and aesthetical indulgence.

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  1. Reinterpretation

Bianca Negrea – Fuse

The story of a collection is composed of separate points of reference and it takes a skilled narrative tailor to sew them together. Bianca Negrea found inspiration in a zoomorphic folkloric ritual which takes place in winter in some parts of Romania, and is known as “Fools Day”. This ritual implies dressing up in a bear suit, people covered in mud and lard, so it seems kind of crazy of Bianca to choose such an inspiration for her collection. But this is where her collection stands out, due to the designer’s ability to reinterpret a story and infuse it with new meanings. By extracting only the relevant aspects of this story and filtering them through her own esthetic perspective, Bianca Negrea managed to present us a very cool, urban and extravagant collection…which is a long way from lard and mud.

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  1. Social commentary

Regian Frolich – “Rising Weapons”

Besides their aesthetic function, the purpose of clothes is to protect the wearer from the aggressions of his surrounding environment, be it climatic, social, or human aggressions. Regian Frolich’s collection, entitled “Rising Weapon” seems to tackle a sensitive aspect of our present: the impending threat of war generated by the ongoing conflicts from different parts of the world. Inspired by military attire, his clothes are designed to shelter our physical body from the destructive social nature. The pieces composing the collection are layered through styling in order to resemble a textile shield which renders the feeling of safety, without ignoring the functional aspect of such attire.

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  1. Deconstruction and Reconstruction of Folkloric Heritage

Nadejda Iacubina – “Marita-ma mama!”

When it comes to deconstructing Romanian folklore, many would roll their eyes and tell you that nothing new can be said or done about the subject. Nadejda Iacubina begs to differ, and I salute her for that, because I think that in order to consume ones curiosity regarding a certain subject, one should revisit it, deconstruct and reconstruct it until you assimilate what you were meant to learn and discover. It is a kind of ritual of self-discovery, and the idea of ritual stands at the core of Iacubina’s collection. From a spiritual perspective, the ritual of marriage represents a union between two individuals, who become one. Focusing on the reinterpretation of traditional male attire, the designs symbolise a renunciation of all preconceived ideas regarding gender differences and reveal a visual union of the couple. The clothes were made out of raw cotton, leather, and wool with graphic insertions of gold, harmoniously combined. The accessories were inspired by dowry chests, revealing the designer’s attention to details.

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  1. Meditation

Magdalena Butnariu – “Spirit Amara: “an harm it none, do what ye will”

The fragile nature of creation offers it a unique beauty. Magdalena Butnariu’s collection investigates this kind of beauty attributing it to nature, celebrating its ability to detach itself and those that embrace it from a mechanized existence. As the models came down the runway in their perfectly starched ensembles, I couldn’t help imagining them as members of a cult, a secret society living in a dystopic reality which has lost its contact with nature, carrying on their backs the remains of a lost world. Eager to save the last traces of humanity, they carry in their wooden and glass backpacks the last specimens of plants, hoping they will find a way to save them. They also hide between the perfectly cut and pleated folds of their garments, as in a herbarium, their favourite flowers which still bare the smell of grass, and trees, and rain. The detached beauty of the garments bore a kind of nostalgia which invites you to meditate on the importance of nature and memory. Through her story, designs, accessories and the mood her collection generated, she managed to impress the Henkel jury and was rewarded with the Perwoll Young Designers Award for best MA collection.

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  1. Eclecticism

Ancuta Sarca – “Eleganza”

One of the reasons I enjoyed this year’s UAD Gala was the fact that I got to see some of the BA graduates from two years ago, who were now presenting their MA collections. One of those designers is Ancuta Sarca whose funky “Ghetto Superstar” collection from two years ago made me think of running away to join the La S.A.P.E sartorial gang in Congo. During these two years Ancuta had the chance, through a scholarship offered by the University, to work as an intern in the Meadham Kirchhoff design studio in London. This experience did not change her aesthetic approach, but enriched it with a pathological desire to experiment. Her BA collection entitled “Eleganza” is an eclectic composition mixing 18th century opulence with 20th century subcultures. For me it had a New Romanticism feel which certainly had to do with the uninhabited joy and decadence of mixing colors and textures. Ancuta Sarca had fun designing her collection, from her rollercoaster ride through history and aesthetics, until the styling details like the shoes which were hand-made by her, or the abstract print strokes that covered some of the garments which were painted by Andreea Tivadar. ”Eleganza” can easily function as fashion manifesto for a youth subculture whose members enjoy contemplating the thought of drinking tea and eating cake with Marie Antoinette in a Candy Crush castle.

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  1. Irony

Alina Morar – Fara Numar

Alina Morar chooses to explore the manele subculture focusing on the fashion choices of those embracing it in order to raise questions regarding prejudices, differences, and the aesthetical value of kitsch. The distinct features of the manele fashion style are opulence, an attraction for oriental embellishments, logo display, western affordable luxury clothing brands, and flashy jewellery. Alina uses all these elements of a distinct fashion style and reinterprets them in such a way that it tricks us into liking a style which we despised for its lack of consistency, refinement and good taste. But how does she manage to do that? She uses elements from the manelist wardrobe such as suits, flashy jewellery, robes and sportswear and reinterprets them through different tailoring techniques to give them a modern and unconventional edge. Her irony is subtle and witty.

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  1. Introspection

Andreea Castrase – Rites of Passage

Having as sources of inspiration myth, ritual, ceremony, transition, Andreea Castrase’s collection distinguished itself through a certain detachment. Her introspective approach on the analysis of concepts allowed her to create garments which carry with them the beauty of ideas while being able to stand alone as functional and wearable items of clothing. The designer uses natural fabrics which she embellishes with lace to create the illusion of dimension, and metallic buckles to give weight and offer closure. Clothes can sometimes function as intimate symbols of personal transformation, and Andreea Castrase understands that. The items composing her collection have the ability to become timeless pieces, carrying with them  the stories of many rites of passage.

For her creativity, the use of concept and modern sewing and cutting techniques, Andreea Castrase was rewarded with the Syoss Award for innovative design.

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Photos by Emil Costrut

A Sneak Peek of the UAD Fashion Design Collections @ Expo Transilvania Exhibition

A long title for a short blog post, but the fact is I want to save all my fancy words for a long blog post with a short title in which I will tell you more about my favorite collections from this year’s UAD Gala. Until then, I have some images for you from the UAD Exhibition at Expo Transilvania which opened this Sunday and includes the graduation works of students from every University department.

This year, the Fashion Design department chose to present the works of the students through a photo editorial shot by Emil Costrut which was displayed on the walls of the exhibition hall. The photos represent stylized outfits of the graduates collections and offer us a glimpse of what the designers were trying to reveal through their designs. Some of my favorite collections were:

Aliz Simon

Aliz Simon

Bianca Negrea

Bianca Negrea

Nadejda Iacubina

Nadejda Iacubina

Alina Morar

Alina Morar

Ancuta Sarca

Ancuta Sarca

Andreea Castrase

Andreea Castrase

Magdalena Butnariu

Magdalena Butnariu

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.


345sursa imagini:

A 19-a calatorie a Galei UAD

Existenta noastra poate fi definita printr-o serie de calatorii ce pornesc dintr-un punct „a” cu scopul de a ajunge intr-un punct „b”. Reperele pe care ni le stabilim de la inceput, bagajul pe care ni-l pregatim cu meticulozitate, cat si scopul final precis sunt elemente esentiale ce asigura un traseu coerent, un traseu real, un traseu exact. Ce nu realizam la inceputul calatoriei e ca spatiul creat de noi in momentul in care ne delimitam traseul intre cele doua puncte „a” si „b” e un spatiu imaginar. El devine real odata cu parcurgerea sa de catre noi, cei care il generam, cei care il construim.

Motivul pentru care am ales sa vorbesc despre calatorie ca act creativ nu este deloc intamplator pentru ca odata pe an, de patru ani incoace, mi se ofera ocazia sa imi intersectez propria calatorie cu cea a Galei Universitatii de Arta si Design din Cluj-Napoca, si implicit cu cea a absolventilor sai. Calatoria Galei UAD a inceput in urma cu 19 editii, cand „bagajele” mele si a multor altor calatori care au ajuns sa isi intersecteze drumul cu cel al acestui eveniment, erau departe de a fi impachetate. Calatoria Galei UAD nu a fost, cu siguranta, una lipsita de peripetii, de popasuri, de momente petrecute la rascruce de drumuri. Ea simbolizeaza calatoria inspre maturitate a unei entitati creative care a constientizat, inca de la inceput, ca atingerea punctului „b” va necesita rabdare, perseverenta, consistenta, talent si dedicare.

De-a lungul celor patru editii la care am luat parte, am fost martorul unei evolutii reale, atat la nivel de organizare, cat si la nivel de creativitate, evolutie care mi-a confirmat ca pasiunea si perseverenta sunt elemente esentiale in bagajul oricarui calator autentic.

Profesionismul de care au dat dovada cadrele didactice in colaborarea cu institutii si organizatii cu care au construit de-a lungul anilor un dialog consistent, s-a reflectat inevitabil si in rezultatele absolventilor care si-au prezentat colectiile de diploma. Selectia acestora a fost riguroasa, punandu-se accent pe relevanta creatiilor in moda actuala, pe inovatie la nivel de tesaturi si styling. Am avut parte de mai multa culoare decat in anii precedenti, de diversitate la nivel de materiale folosite, de o defilare dinamica si concisa. Studentii au inteles ca pe langa importanta explorarii conceptului de la care pornesc in realizarea colectiei, construirea unei identitati proprii, recognoscibile si distincte e la fel de importanta. Datorita acestei constientizari, unele dintre colectiile prezentate au conturat portretul unor designeri despre care am dori sa auzim pe viitor.

Astfel ca, in seara zilei de 29 iunie, 24 de absolventi ai Universitatii de Arta si Design, sectia Moda – Design Vestimentar, si-au prezentat colectiile de diploma. 20 dintre ele au fost colectii ale studentilor la nivel de licenta si 4 colectii au fost semnate de masteranzi ai aceleiasi sectii. Dintre aceste 24 de colectii, cateva mi-au atras atentia in mod special. Selectia este una strict personala, bazata in mare masura pe rezonanta cu propria mea „calatorie”.

ANCA BELBE  si a sa colectie inspirata din ecranizarea romanului Colectionarul de John Fowels a constituit prima confirmare a relevantei selectiei facuta la nivel de licenta de catre  lect.univ.dr. Elena Basso Stanescu si prep.univ.drd. Lucian Broscatean. Piesele create de Anca Belbe confera privitorului si – cu siguranta si purtatorului – protectie. Volumetriile sustinute de materialele vopsite manual invaluie corpul fara a-l sufoca. Styling-ul curat si mix-ul de imprimeuri realizate prin vopsire shibori ( o tehnica de vopsire a materialelor, realizata prin innodarea, plierea, acoperirea anumitelor zone ale materialelor ce urmeaza sa fie vopsite) confera colectiei autenticitate.

DSC_5681 DSC_5689 DSC_5701 DSC_5709ANCUṬA SARCA a inteles ca unul dintre cele mai importante aspecte ale unui demers creativ solid e capacitatea de a crea conexiuni neasteptate, sustinute de un bagaj cultural consistent. Ea a combinat elemente regasite in microuniversul ghetto-urilor americane si miscarea La S.A.P.E din Congo. Cu ghetto-urile americane am intrat in contact prin intermediul culturii pop, dar despre miscarea La S.A.P.E trebuie sa marturisesc ca nu detineam foarte multe informatii. Société des Ambianceurs et des Personnes Élégantes este o miscare culturala, cu radacinile in Brazzaville, capitala Republicii Congo, care adopta comportamentul social si stilul vestimentar al dandy-ului colonial sub forma unei revolte impotriva sistemului. Colectia Ancuței Sarca intitulata Ghetto Superstar se foloseste de aceste doua repere culturale pentru a regandi identitatea vestimentara a unui personaj „wanna be Superstar”, un personaj alternativ, preocupat de propria infatisare, caruia ii place sa epateze. Acest personaj se foloseste de propria vestimentatie pentru a lupta impotriva prejudecatilor cu amuzament si lipsit de inhibitii.

DSC_6064 DSC_60741044274_657781040915952_458215004_nDSC_6089CĂTĂLIN VĂLEAN construieste prin intermediul colectiei sale identitatea vizuala a unui grup care prin vestimentatie isi exteriorizeaza libertatea interioara “dobandita printr-un proces complex de maturizare spirituala”. Folosind elemente ce provin din subcultura neo-punk-ului, piesele create de Cătălin Vălean nu cauta sa zdruncine sistemul, ci isi propun sa se infiltreze inteligent si subtil in acesta pentru a-i juca ulterior feste. El se foloseste de piese cheie din garderoba masculina pe care le deconstruieste, le suprapune si le imprima cu simboluri fantastice. Membrii grupului astfel creat devin mai mult decat membrii unei subculturi hibride, ei devin imaginea omului contemporan aflat in cautarea echilibrului dintre fantezie si realitate.

DSC_6436 DSC_6445 DSC_6454 DSC_6465ALINA MORAR vorbeste si ea despre o cautare. Cautarea personajului colectiei “Cu cheia la gat” este una identitara. O subcultura, poate nu la fel de percutanta ca cea a punk-ului, sau a neo-punk-ului, subcultura “cu cheia la gat” reflecta frustrarea unei generatii supusa la conformism. Exercitiul creativ al Alinei Morar se foloseste de elemente provenind din universul adolescentei, al orelor in care discursul anost al profesorului te obliga sa evadezi din sala de clasa, iar liniile caietelor te indeamna sa construiesti spatii imaginare in care orice e permis. Folosindu-se de print-ul digital, print-ul serigrafic si print-ul prin transfer, Alina Morar reuseste sa insufle personalitate colectiei sale. Nostalgia are foarte putin de a face cu piesele create de aceasta, designul lor fiind actual si purtabil, cheia de la gat devenind astfel un accesoriu “statement”, si nu o povara a unui trecut gri.

DSC_6543 DSC_6553 DSC_6571 DSC_6578ANDREEA CASTRASE livreaza o colectie poetica in care “experienta calatoriei devine un proces narativ al propriei identitati”. Motivul “calatoriei”, mentionat de mine la inceputul articolului se dovedeste din nou un motiv esential in descifrarea acestei editii a Galei UAD. Calatoria simbolica a studentilor, indrumata de cadrele didactice, se reflecta in creatiile lor. Calatori in colectia Andreei Castrase nu sunt doar indivizii, ci si piesele vestimentare care se alungesc si isi strabat pe verticala purtatorii. Liniile pieselor sunt atent gandite, la fel ca intreg traseul orchestrat de Andreea Castrase. Ansamblurile vestimentare aproape monahale au fost accesorizate cu valize, accesorii nelipsite din garderoba unui calator. Transparenta lor, permitandu-ne sa tragem cu ochiul in dulapul enigmaticelor personaje gandite de Castrase, devine un act aproape fetisist.

DSC_6669 DSC_6679 DSC_6690 DSC_6703ANA-MARIA GAL: “Explorand granita dintre arta traditionala si designul vestimentar, colectia Meltin’ Pot abordeaza multiculturalitatea prin prelucrarea unor motive folclorice din diferite zone ale Romaniei. Acestea sunt transformate si reinterpretate, integrate in spatiul contemporan.” Colectia Ana-Mariei Gal se alatura designerilor care se folosesc de elemente din portul traditional romanesc  pentru a-si gasi o viziune proprie, autentica, relevanta pentru prezent. Ana-Maria Gal isi incepe astfel calatoria  promitator.

DSC_6124 DSC_6143 DSC_6152FLAVIA DAROCZI manuieste cu inteligenta demersul realizarii unei colectii. De la alegerea inspiratiei, tabloul Fetita cu basma rosie, semnat de Nicolae Grigorescu, la capacitatea de a diseca imaginea de ansamblu pentru a selecta elementul cheie de la care porneste colectia: basmaua, la demersul creativ propriu zis, executia pieselor si prezentarea finala, Flavia Daroczi isi construieste cu meticulozitate universul creativ. Suprafata patrata a basmalei a fost pliata si impaturita in cat mai multe variante, generand forme inedite. O colectie care, la prima vedere, poate parea simpla, dar la o analiza mai atenta demonstreaza ca ascunde o complexitate atent gandita.

DSC_6485 DSC_6503 DSC_6519Atentia pentru inovatie la nivel de textile a putut fi observata in colectia LIGIEI TARCEA si in cea a IOANEI DAVIDOAIA. Ligia Tarcea, cu proiectul sau de licenta intitulat Golden Age exploreaza arta bizantina la nivel de volumetrii, inspirandu-se din motivul cupolei, acordand o atentie deosebita suprafetelor materialelor. Texturile acestora, realizate manual, amintesc de mozaicurile bizantine. Ioana Davidoaia exploreaza in schimb o zona de inspiratie organica pe care incearca sa o transpuna pe suprafata creatiilor vestimentare.

DSC_6331 DSC_6348 DSC_6360DSC_6933 DSC_6946 DSC_6952Colaborarea dintre Gala UAD si brand-ul International de lenjerie Jolidon este una dintre cele mai longevive colaborari din istoria evenimentului. Jolidon a fost inca de la prima editie alaturi de absolventii sectie de Moda si Design Vestimentar pe care i-a ajutat la realizarea colectiilor, le-a premiat meritele si le-a oferit posibilitatea de a lucra in cadrul brand-ului. Si anul acesta, Jolidon a contribuit la crearea colectiile absolventilor. Colectia PATRICIEI TOROK, realizata in colaborare cu Jolidon exploreaza manifestarea suprarealismului in moda contemporana. Patricia propune costume de baie/body-uri fanteziste, accesorizate cu paltoane supradimensionate. Umorul elementelor de styling completeaza ansamblurile vestimentare.

DSC_5791 DSC_5815 DSC_5827Pentru a sustine si promova creativitatea tinerilor designeri aflati la inceputul calatoriei lor creative, persoane specializate din industria modei autohtone au fost prezente la eveniment pentru a oferi premii si oportunitati de colaborare pentru viitor. Henkel Romania, aflat la cea de-a patra participare in cadrul Galei UAD a inmanat  „Premiului Perwoll pentru Tineri Designeri” Alinei Morar si lui Catalin Valean. Radiana Bratu si Miruna Micsan din partea platformei online andreearaicu.ro i-au oferit Ancai Sarca oportunitatea de a semna grafica noii colectii de tricouri Tssshirt by Andreea Raicu. Adina Necula le-a premiat pe Alina Morar si Toth Imola a caror creatii vor fi expuse intr-un concept store bucurestean. Businesstexin a premiat colectia Ingai Bragaru, oferindu-i oportunitatea de a participa in cadrul RFTB, eveniment ce va avea loc in perioada 25-28 septembrie la Bucuresti. Alin Galatescu a oferit Andreei Castrase si Alinei Morar invitatia de a participa la urmatoarea editie a Galei Avanpremiere.

Credit foto: Daniel Robu