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

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

Another kind of Visual Kontakt

Experimentele, indiferent de natura lor, au capacitatea de a genera noi modalitati de percepere a realitatii. In mediul artistic, curajul celor care se incumeta sa experimenteze necesita implicit o asumare a unui posibil esec si, in acelasi timp, curajul de a infrunta impedimentele pentru a putea transforma experimentele in ceva concret.

Asociatia Visual Kontakt este o organizatie non-profit cu sediul in Oradea care isi propune sa sustina artisti, indiferent de domeniul in care acestia activeaza, dandu-le ocazia sa isi manifeste creativitatea intr-un spatiu in care nu sunt restransi financiar. Samizdat, extensia in format de revista a experimentului curatorial Visual Kontakt, este o publicatie  in tiraj de 1000 de exemplare, distribuita gratuit in orasele Oradea, Cluj-Napoca si Debrecen. Revista lunara de arta contemporana reuneste reflectiile unor participanti la fenomenul artistic asupra evenimentelor culturale si artistice, asupra schimbarilor ce au loc in perceptia asupra artei, revista devenind astfel un soi de “galerie scrisa”, un laborator in care experimentele vizuale intra in contact cu pagina.

In ultimul numar al publicatiei, un shooting realizat intr-o locatie neconventionala mi-a atras atentia si m-a determinat sa va dezvalui in cateva randuri ceea ce consider a fi un proiect care indrazneste sa abordeze creativitatea cu sinceritate si indrazneala.

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Designeri: Astrid Tirlea, Diana Flore, Teodora Visinescu

Fotograf: Emil Costrut

Model: Silvana Radu

Locatia: Biserica greco-catolica “Buna Vestire”, Vadul Crisului

Pentru mai multe poze si informatii in legatura cu proiectele Visual Kontakt, accesati , … 


In luna aprilie a acestui an va dezvaluiam surpriza placuta ce m-a asteptat intr-o mansarda din Cluj – Napoca, unde cinci tineri masteranzi ai UAD (Carmen Cherecheş, Florina Fărcaş, Diana Flore, Alexandra Ivaşcu şi Raluca Popa) si-au reunit fortele creative pentru a forma grupul M17 Designers. La data respectiva, cele cinci se lansau in aceasta formula punandu-ne la dispozitie pentru achizitonare atat piese din colectiile individuale cat si produse ale colectiilor de grup.

Urmatorul pas a venit cumva inevitabil, ca o confirmare si o conturare a identitatii grupului: M17.01

Prima colectie M17 Designers este, dupa cum ne spun componentele grupului “o colecţie cruise, pentru un public masculin ce prezintă produse purtabile. Accentul pe detalii, alăturarea de texturi inedite şi jocurile de structuri textile sunt elementele definitorii ale colecţiei.  Colecţia vizează siluete simple, oscilând între caracterul funcţional şi detalii conceptuale. Piesele vestimentare reflectă fuziunea dintre cele două genuri cu scopul de a feminiza personajul fără a- i elimina caracterul masculin.”  Personajul conturat in aceasta prima colectie evoca simplitatea omului contemporan, capabil sa combine elementele moderne cu cele traditionale.

Fotograf: Mihai Andrei Popa

Chiar daca toamna ne bate la usa, unele dintre piesele propuse de designerii M17 pot fi cu usurinta adaptate noului sezon.

Cum vi se pare prima colectie a grupului M17Designers?

Mansarda la Cluj cu vedere spre viitor

Un loc ascuns (deocamdata), intr-o cladire noua, protejata de trecutul unei cladiri vechi, o dupa masa schimbatoare de aprilie, o litera (M) si un numar (17)…toate aceste mici indicii, care par a nu avea legatura intre ele, ofera intrarea intr-un spatiu si intr-un concept gandit de sase fete talentate care ne ofera povestea unui inceput de drum.  Carmen Chereches, Florina Farcas, Diana Flore, Alexandra Ivascu, Raluca Popa si Sabrina Rusu, absolvente ale Universitatii de Arta si Design din Cluj Napoca si-au unit fortele si talentul in cadrul proiectului M17 Designers prin intermediul caruia doresc sa ne prezinte propriile lor colectii (vestimentare si de accesorii) chiar in spatiul in care acestea sunt gandite si traite…in mansarda in care locuiesc.

Evenimentul care a avut loc sambata nu s-a vrut a fi unul grandios, asa cum ne si marturisesc fetele, a fost mai mult un prilej prin care doritorii de frumos si nou sa poata patrunde in universul celor sase. Unele dintre creatii sunt chiar rezultatul lucrarilor de diploma, altele sunt proiecte personale recente, toate putand fi achizitionate la comanda. Exista si o pagina dedicata proiectului care poate fi accesata pentru mai multe detalii

O mini-afacere, un posibil concept store, o platforma de promovare, acestea ar fi unele din variantele de extindere pe viitor ale showroom-ului si ale proiectului prezentat de indraznetele locuitoare ale mansardei cu numarul 17. Orice s-ar intampla pe viitor, eu nu pot decat sa ma bucur ca exista artisti care nu se ascund dupa diploma de absolvire si care inteleg ca talentul pentru a fi descoperit, trebuie sa fie in primul rand expus. Felicitari fetelor si sper sa ne re-vedem cat de curand intr-o alta Mansarda cu vedere spre viitor.

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