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



At Gucci, things were a little different. After Frida Giannini left the brand in 2015 due to several years of mixed reviews, decrease in sales, and conflicting relations between her, her husband who also resigned from the position of CEO at Gucci and the Kering Company, a total makeover was needed. The new appointed creative director was a relatively unknown figure in the fashion industry by the name of Alessandro Michele. Despite his presumed anonymity, Michele had been working at Gucci since 2002. While Slimane’s approach on rebranding Saint Laurent resembled that of an architect, strategically restoring the brand, Michele’s approach resembles that of a cartographer. As Tim Blanks described him in an article, he is “a cartographer, mapping emotion”, his collections – “a moving topography of desire”.


Michele works in Rome, at the Gucci’s headquarters in the Palazzo Alberini in a room “layered with a patchwork of antique Persian and Oushak rugs”, as it is described in an interview for Vogue. His work environment is his retreat from the everyday reality. In today’s world we sometimes seek to escape the insecurities, the pollution, the noise, the political and economic worries, and what we escape into is often sometimes that we connect with luxury.


What he did first was to reflect on the idea of femininity and beauty in today’s world. If Tom Ford’s success at Gucci in the 90’s was due to his understanding of women’s desire to be empowered by the freedom to reveal their sexuality, Michele’s success has to do with the creation of a new Gucci woman. Light make-up, uncombed hair, wearing clothes that seem to have been taken out of her grandparent’s closet, and embellished with brooches and patches, and scarves found in the local flee market, the new Gucci woman has a Lolita mixed with Simone de Beauvoir attitude. Her sexuality is subversive, wrapped up in a romantic veil. She is an underground bourgeois, trying to find connections between semiotic theories and snapchat. What Michele succeeded in such a short time is to infuse coolness and desirability into a brand whose identity is so widely forged that it’s only remaining power was to mimic the illusion of luxury. Michele’s “remapping” also regarded the brand’s logo, its accessory line, the menswear universe, and also the stores display. After only a few seasons since Alessandro Michele has been appointed creative director at Gucci, the brand’s sales started to improve consistently, proving that his eclectic and gender bending aesthetic resonates with today’s luxury consumers.



Saint Laurent Paris  Fall-Winter campaign 2014

During his tenure as creative director of Saint Laurent, Hedi managed to raise a series of questions inside the fashion industry; he started controversies with his collections among critics and clients alike, as well as with his whole approach on rebranding the YSL universe. Despite the lack of appraisals from fashion journalists, Hedi’s collections were instant favorites of the public, and of the members of the Slimane “cult”. Since 2012, Saint Laurent, the rebranded ready to wear line, has doubled its sale revenues, becoming one of the most profitable brand of the Kering Luxury Group. But how did he do it? What were the ingredients of Slimane’s success at Saint Laurent? First of all I think it was Hedi Slimane’s name; but in the words of Shakespeare’s Juliet – “what’s in a name”? Well, in Hedi’s case, his name is linked to the success he had at Dior Homme (his first Reform project) with his adoption of a skinny silhouette that ended up changing the landscape of menswear, his connections with the art world and with the intricate and exclusive world of celebrities, and his intimate and visually delicate portraits from his photographic era.


But why the need to change the name of the brand? At the beginning, some people felt that dropping “Yves” from the label was a sign of disrespect. But in fact this was merely going back to the original branding that Yves had used when he first introduced ready-to-wear. The return to the original name was also a part of Hedi’s strategy which included the transition from a loud branding strategy focusing on logo to a more quite one focusing on subtle tailoring details, and the launch of a permanent collection composed of signature pieces that are available season after season. He managed to reintroduce timeless products in an era governed by seasonal “IT” items. And isn’t this what luxury is supposed to be about? Hedi’s intention was to protect the name of Yves Saint Laurent which will be used for the Haute Couture line Hedi envisioned, which should have been launched this year, but with Slimane departure from the brand a few months ago, the future of this project is currently uncertain.

Valery Kaufman_Fall Winter Campaign 2014_photo Hedi Slimane

Another interesting thing Hedi did, which yet again resembles Yves understanding of modernity, was to find inspiration for his collections on the streets, thus questioning the exclusivity of luxury. He also launched a series of projects which aimed at reigniting the brand’s relationship with rock stars, and the music scene (the collaboration with Daft Punk, the Saint Laurent campaign in which music stars such as Kim Gordon, Courtney Love, Marilyn Manson, and Ariel Pink were shot by Hedi himself).


As a matter of fact, all of the visual campaigns for the Saint Laurent collections were shot by Slimane in his recognizable black and white style. Such collaborations have been at the core of the house since its earliest days, when Yves Saint Laurent was dressing the likes of Marianne Faithfull, David Bowie, and Mick Jagger.  Saint Laurent at the Palladium was the creative director’s last show, and what a show it was. Held at the Palladium concert hall on Sunset Boulevard, the 2016 Fall/Winter collection was a parade of sleek and polished rock and roll ensembles, with a touch of youthful ennui wrapped up in vintage nostalgia. For the designer, L.A. is a perfect observatory of popular culture and of inspiring sub-cultures which have influenced every one of his collections for Saint Laurent.

Saskia de Brauw_Spring 2013 menswear _ Saint Laurent Paris

Slimane designed for Saint Laurent a universe for the type of customer who desires perfectly executed, impeccably made and literally ready to wear clothes which offer a glimpse into another kind of luxury.




Into the Woods with Juergen Teller

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Juergen Teller is unsettling us with each new photo, collaboration, campaign. His latest, the F/W 2015 Ad Campaign for Sonia Rykiel is another proof of his ability to twist our preconceived ideas of what beauty is. And for this, he teams up with the new artistic director of Sonia Rykiel, Julie de Libran who has previously worked with Louis Vuitton and Prada. Since she took the artistic helms of the brand, she has managed to handle Sonia Rykiel’s large legacy and to infuse it with modernity and a little bit of edge.

What I particularly like about this fashion film, besides Georgia May and Lizzy Jagger, is Teller’s clever play on image and sound. If you watch the video on mute, there is a kind of a dark sweetness emanating from the images, but if you turn on the sound, composed of the looped laughter of the sisters, the whole scenery turns into an eerie visual composition where the fantasy of luxury and the fascination of the natural unknown come out to play.


How Not to Get Bored (of Fashion) on Weekends

For me, the best way to relax on weekends is to watch movies. Sometimes, they can be the best remedy for fatigue, stress, boredom, sadness, and other such feelings that accompanied you throughout the week. So I’m thinking of sharing with you, each week, one movie that helped me detach from reality, and helped me enrich my visual repertory.

For this week, I chose Air Doll, a movie directed by Hirokazu Koreeda.



As in many Japanese movies, the plot synopsis is either hard to put into words, or (if you manage that) the words don’t do it justice, so please bear with me.  The movie is about a sex doll, named Nozomi, who is the sole companion of a middle aged man. He treats her as a human being, and one day, as he is away at work, the doll starts to come to life. And from here on, the weird delicate beauty of the movie unravels, but you will have to experience that on your own.


Air Doll is a tender visual metaphor about the unbearable lightness of life, and love, and human connection. Koreeda’s dreamy visual style captures Nozomi’s coming to life, her discovery of love and suffering in a world where people are so afraid to experience such emotions that they isolate themselves. They replace humanity with inanimate objects so they can protect themselves from pain. The director’s camera is floating through typically Japanese settings at a leisurely pace, mostly observing, sometimes even wandering, and it allows us, the viewers, to rediscover reality through Nozomi’s eyes. The soundtrack is composed by World’s End Girlfriend and it goes so well with the atmosphere of the movie that it merges you deep into Koreeda’s magical realism.

air doll 39BnHk


The female character of the movie, impeccably interpreted by Bae Doona, has a limited wardrobe, composed mainly of fetishistic costumes (housemaid costume, nurse costume), due to her initial nature. They reminded me of Marc Jacobs collaboration with Richard Prince, way back when Marc was designing for Louis Vuitton, and of Murmur’s “Roleplay” collection.

74fe9c25a9713597974d243f6b942907Nozomi’s outfits, when she starts coming to life, become innocent, resembling a young girl’s wardrobe, in pale colors and fluid materials. Her style can easily be described as eerie, and fragile, as her existence.  


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

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

Style Yourself

“Style can be cultivated along the way, or it can be mimicked. With a little skillfulness, you can simulate style. But the ones that truly have style are usually the ones who don’t care much about clothes. They are comfortable with themselves, and know themselves well, so style comes naturally to them. And this kind of easiness is something you are born with.” This is one of the many interesting and consistent statements that Ovidiu Buta, one of the most preeminent figures from the Romanian fashion industry has made throughout his career. His vast knowledge in the industry is confirmed by every creative project he initiates or takes part in. This is why the opportunity to meet and interact with him during the event organized by Vestige in Cluj-Napoca is something to look forward to.

Style Yourself is a compact styling course where Ovidiu Buta will share the most interesting and important styling tips and tricks, used by the industry’s specialists. Those who register to the event will have the chance to find out how to properly use colors, lengths, accessories, fabrics, and specific clothing items in order to highlight their natural beauty, as well as how to efficiently organize their wardrobe, and many more interesting facts.

The styling courses will take place this Friday and Saturday, starting from 6:00 pm at the new Vestige beauty center, Vestige Centre Ville, in the center of Cluj-Napoca. For more information, and for reservations, you can call these numbers: 0364 110 220 / 0364 102 914.

See you there!1461019_962470537118577_3979384866563592542_n

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.




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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).

Fashion is dead, long live fashion


1aThe more I think about today’s fashion, the more I realize it’s defined by a kind of fear of empty spaces, or horror vacui in fancier terms. From the number of shows/year, the number of pieces in a runway collection, the number of people attending the shows, or lurking outside the shows, the infinite number of tweets, retweets, to the absurd number of clothing items displayed in stores, the fashion industry is desperately trying to feed us content, to fill every inch of our news feed with its creations. Not a single pixel left unused. It almost seems as if it is trying to keep us distracted from what is actually happening…the end of fashion as we know it.

Li Edelkoort, one of the most prominent trend forecaster published recently an Anti_Fashion manifesto in which she argues why she believes the fashion industry “is going to implode”. Throughout the ten chapters that constitute the manifesto, she tackles different issues of the fashion industry, like the educational system, manufacturing, designers, consumers, marketing, and others.  Unfortunately I didn’t have the chance to read the manifesto in its original form, but in the article published on, there was a phrase that caught my attention: “Clothes will become the answer to our industries’ prayers”, due to the marketing’s demand for sellable products, not innovation, or experimentation in the field of fashion design. Slaves to financial institutions, hostage of shareholder interest, designers are recycling trends from the past, fearful of not disappointing the brand owners, and being replaced.

This perspective sheds light on the curious case of Hedi Slimane and his current success in rebranding the YSL brand. In a recent article published on Business of Fashion we are informed about the commercial success of his Saint Laurent experiment. According to recent analysis on sales at different major department stores and multi-brand boutiques, the brand has more than doubled its sales revenue in the three years since he took the creative reins. Despite the negative feedback of fashion critics, Hedi Slimane’s collections proved he has the ability to create clothes that sell. The secret behind this success? “It’s luxury but super basic items such as tailored jackets, bikers, bombers, denims”. Slimane seems to have been a designer ahead of his times, realizing what his consumers want: digestible fashion, perfectly executed, impeccably made ordinary clothes.2aBut where does this change in fashion leave designers that are still trying to innovate, not generate products? Li Edelkoort predicts that couture will make a comeback. “After all it is in the atelier of couture that we will find the laboratory of this labor of love. Suddenly the profession of couturier will become coveted and the exclusive way of crafting couture will be inspiring all others.” It’s almost like an overweight fashion system is slowly realizing that fast fashion is not the answer to its problems, and it’s willing to try a detox program. I really hope it succeeds, and I really hope Li Edelkoort’s predictions will come true: “This is the end of fashion as we know it. Fashion with a big F is no longer there. And maybe it’s not a problem; maybe it’s actually a good moment to rethink. Actually the comeback of couture, which I’m predicting, could bring us a host of new ideas of how to handle the idea of clothes. And maybe from these ashes another system will be born.”FotoFlexer_Photo

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A Cloakroom of One’s Own

Olivier Saillard, one of the most renowned fashion historians and curators, together with the talented Tilda Swinton have orchestrated a new fashion performance. It premiered a few months ago in Paris during the Festival d’Automne à Paris, and was staged for the second time in Florence, during the Pitti Immagine Uomo event. Entitled “Cloakroom – Vestiaire Obligatoire”, the performance represents a visual reflection on the importance of personal interaction between clothes and their wearers.  In order to do that, Saillard separated the clothes from their owners, and used as symbolic space the cloakroom. The cloakrooms from theaters, restaurants, and clubs are temporary spaces, ephemeral places where clothes are kept while their owners are away. They are, in a way, heterotopic spaces, where clothes can gain new meanings. Alienated from their wearer, and from any status or affiliation with a specific brand, clothes become anonymous canvases waiting for someone to give them meaning. Cloakroom_3

Cloakroom_33Tilde Swinton and Olivier Saillard are the cloakroom keepers. But they do not only watch over the clothes while their owners are gone, they interact with them at a very emotional level. Tilda whispers secret words into the pockets of a coat; she gently caresses a scarf, and tries to resuscitate the meaning out of a blue blazer. Olivier sits quite in the background and subtly intervenes in the performance when he is needed. He is sometimes guiding her, other times helping her, and most of the time just watching. His presence is more subtle than Tilda’s, while her improvisation is almost hypnotizing. The artistic dynamic between the two of them is impeccable, and their performance is not at all pretentious. As Tilda said in an interview, “it is something quite ephemeral, you can’t quite describe it, you can’t write about it, although it’s nice for people to try and write about it, it’s an hour spent in a space…playing”. As I am writing this article, and listening to Tilda’s words, I’m realizing that she is actually right. Sometimes words are just not enough, they just disturb a more meaningful silence. Cloakroom_12


Cloakroom_31Through his performances, Saillard has always tried to tackle different aspects of fashion. Whether it’s “The Impossible Wardrobe”, or “Eternity Dress”, his focus seems to be on the importance of clothes perceived as bearers of history, identity, and personal stories. With “Cloakroom – Vestiaire Obligatoire” he wanted to remind us the importance of humanity in fashion in a time when we are witnessing the objectification of objects through commerce. The fast paced life of a contemporary garment does not allow it to acquire identity, to form a relationship with its wearer, because there is always a new and more interesting garment waiting to be bought and consumed. Olivier Saillard and Tilda Swinton are trying to offer the clothes a space where they can rest, where they can be pampered and talked to, where they can be more than simple commodities.

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Dear readers, I would like to take a few minutes of your time to talk about myself…

This is a sentence that pretty much sums up the discourse of many personal fashion blogs. All those women and men who are willing to offer you exclusive access into their glamorous lives. And you, the reader, the spectator, are happy to take part, on an almost daily basis, in the prefabricated realities of the “ordinary” people like you. Marc – Alain Descamps, a French philosopher and psychologist, resumes the psychological implications of fashion by stating that it is “An overdetermined phenomenon which expresses at the same time the individual, the society, the unconscious and one’s own personal evolution”. But in this process of personal evolution, how does the individual who freely accepts to expose his/her life to the public feel?

I have been scrolling down pages of personal style blogs for more than 4 years now. I’ve been browsing them for different reasons: some of them for styling inspiration, some of them for research, some of them for the love of procrastination, and some of them for the same reason I enjoy reading celebrity magazines: for gossip. Sometimes I envied their lifestyle and their fame, other times I admired their professionalism and their determination to succeed in a world where they are still viewed as mere intruders. But no matter what my feelings towards them were, I have always felt a subtle sense of anguish taking over their personal blogs. What are the psychological implications of a stylized personal experience?

Could the pursuit of a distinct personal experience of fashion, and a distinct style of living cause dissociation in the personality of the blogger?


Could the constant reinvention of the self-image lead to depression?


Or in some cases even depersonalization?


Can the stress of everyday updating, social networking, endorsing brands, and meeting new people lead to anxiety?


Can a fast-paced lifestyle induce an exaggerated enthusiasm for every little aspect of their everyday lives?


Or can it just turn them into apathic individuals?


Once you’re at the top, the fear of losing your social status, your followers, your connections, your friends, can put pressure on your mental and physical health.


But I guess there will always be some hope left for those that try to see things out of the proverbial box. Otherwise all mental institutions would be full of rich, famous and stylish bloggers.


gifs taken from rubyetc tumblr

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.

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ATELIER – The New Online Shopping Experience

This week, during the Romanian Fashion Trends and Brands Salon, a revolutionary application was presented for the first time to the public. ATELIER is an online application which provides a new way of discovering and experimenting with fashion styles. Tulemod, the company that envisioned and created this application is specialized in digital services, whose mission is to create a platform that uses cutting edge technology, from 3D scanning to database analytics, to re-imagining how users, designers, and retailers connect with fashion. Tulemod is a Romanian start-up company having research and development departments in Cluj-Napoca and Seattle.

ATELIER is basically a virtual fitting room where the customer with the help of a 3D avatar can access a wardrobe available for purchase. After trying on different products, the customers can also share their favorite outfits on different social networks, asking  their friends for advice before purchasing the clothes. ATELIER also allows you to see how the outfit moves on your body, it shows a more accurate fit, offering you a more reliable online shopping experience.22ATELIER is more than a virtual fitting room, because it also provides market insight for industry’s professional who can access stats, trend forecasting and predict forensics based on the customer’s preferences. The app can be used by online customers, as well as designers and supply chains. By using this app and selecting different items from the ones that are available on stock, the customer takes part in the decisional process and offers the distributor, or the designer the advantage of knowing which products have a higher demand, thus minimizing the investment risks.

Tulemod has teamed up with the online boutique Molecule F, the first online shop selling exclusively Romanian designs, to offer their customers a brand new shopping experience. This collaboration will offer the Romanian fashion designers the opportunity to interact in a new and strategic way with their potential clients, and hopefully it will increase the demand for Romanian designs among fashion consumers. I am anxious to try the ATELIER shopping experience, and I hope it will succeed in reinventing the dialogue between consumer, fashion, and technology.

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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Fashion: Connecting people

Luna aceasta se anunta a fi una interesanta pentru iubitorii de moda clujeni. Pe langa targurile de hand-made, vintage, evenimentele glossy si intalnirile informale ale fashionistelor, ma bucur sa aflu ca exista o mana de oameni care incearca sa abordeze fenomenul modei dintr-o perspectiva formala, profesionista. Pentru a evolua, micro-sistemele modei care se creeaza in jurul unui nucleu puternic (in cazul Clujului, avem sectia de design vestimentar din cadrul UAD), este nevoie de o evaluare periodica. E necesar sa privim mersul lucrurilor din exterior si sa analizam rolul pe care il joaca moda clujeana in sistemul modei romanesti. O modalitate prin care putem face asta e  prin prisma interesului pe care unele dintre persoanele care au influentat intr-un fel sau altul schimbarile din moda romaneasca a ultimilor ani il acorda acesteia.

Comunicarea reprezinta unul dintre cele mai eficiente instrumente in consolidarea sistemului modei, iar seria de conferinte la care vom avea ocazia sa participam in zilele urmatoare ne va ajuta sa intelegem mai bine cum putem folosi acest instrument in interactiunea noastra constanta cu lumea modei.


In perioada 12-13 octombrie, in cadrul Festivalului TiMAF va avea loc prima editie a evenimentului Fashion Garden – Wear Romanian Designs. „Evenimentul are ca scop promovarea fashion design-ului autohton alaturi de educarea publicului in privinta acestuia, definind un eveniment dinamic care include expozitie cu vanzare powered by Molecule-F, conferinte si un decor inedit. Speakerii evenimentului – Marian PalieMirela Bucovicean, Elena Basso Stanescu, Liana Martin si Lucian Broscatean vor propune sambata discutii despre moda din Romania, valabile pentru un public general, iar duminica stundentii si tinerii designeri sunt invitati sa discute despre sistemul modei si viata de dupa facultate, dar si despre elemente care infuenteaza designul vestimentar.

Evenimentul va fi gazduit de Casino Cluj, Centru de Cultura Urbana si va incepe sambata, 12 octombrie, ora 12:00

Mai multe detalii legate de eveniment puteti gasi AICI si AICIafis hotspot fashion


In data de 26 octombrie, in cadrul expoconferintei TeCOMM, eveniment dedicate comertului electronic, va avea loc prima editie a evenimentului dedicat fashion ecommerceului, Hotspot Fashion: Retail Meets Ecommerce.

Acest eveniment se adreseaza oamenilor care au reusit sa faca profit si sa isi consolideze un brand online, celor care se gandesc sa deschida un eshop, vand deja pe grupuri, sau colaboreaza cu magazine online. “Programul evenimentului este astfel construit incat cei care participa in data de 26 octombrie sa fie introdusi in lumea fashion ecommerce-ului de la baza unui business plan, la dezvoltarea magazinelor spre internationalizare, cunoasterea tipurilor de consumator si metode de promovare prin continut. Prima parte a dupa-amiezei este orientata spre partea de business, dezbatand trendurile pietei de ecommerce, facand radiografii la tipurile de consumatori, stabilind strategii de dezvoltare a magazinelor. In a 2-a parte vor fi in fata cele care creaza continut, bloggerite, style iconuri la care apeleaza brandurile, magazinele online pentru promovare. Continutul pe care ele il produc duce la clickuri si vanzari. Va fi un debate despre platformele sociale care merita atentia magazinelor, despre cum se construieste o legatura puternica cu cei care pot promova produsele.”

Speakerii evenimentului vor fi: Mirela Bucovicean – fondatoare Molecule F, Alin Stanciu – fondator & MD Fashion Up, Petru Chiriac – fondator si managing partner Il Passo, Ana Morodan – Fashion blogger si consultant imagine, Vicki Nicola –,, The Group.

Evenimentul va fi gazduit de localul Ragaz, str. Decebal, nr. 22-24 si va incepe de la ora 12.30, in data de 26 octombrie.

Inscrierile la conferinte se fac AICI

Mai multe informatii legate de eveniment puteti gasi AICI si AICI

Paradoxul Ioanei Ciolacu Miron

Cu ceva timp in urma povesteam in cadrul unui interviu cu designerul Ioana Ciolacu Miron despre sinergia dintre moda si arhitectura. Aceasta intalnire cordonata intre doua domenii artistice, in aparenta diferite, i-a oferit Ioanei o fundatie solida pe care acestea continua sa isi cladeasca un traseu coerent in lumea modei. Astfel ca, la inceputul lunii iulie, in cadrul concursului organizat de Peek & Cloppenburg Dusseldorf si Fashion ID, designerul Ioana Ciolacu Miron a fost desemnata castigatoare a premiului Designer for Tomorrow. Dincolo de recunoasterea pe plan international pe care a primit-o designerul prin participarea si castigarea acestei competitii, beneficiile practice oferite de organizatori sunt gandite in așa fel incat sa sustina si sa supervizeze in continuare cariera castigatorului.

“I found the DfT (Designer for Tomorrow) award’s aim of long-term support particularly impressive, because success is not only a matter of design skill and creativity, but also of understanding how the business works,” declara Stella McCartney care a fost anul acesta mentorul participantilor la concurs si membru al juriului.

Compania de retail Peek & Cloppenburg KG, Duesseldorf a inteles importanta pe care un program durabil de finantare si promovare o poate avea in procesul creativ si in dezvoltarea tinerilor designeri. Astfel a luat nastere concursul international Designer for Tomorrow, in cadrul caruia din anul 2009 si pana in prezent se premiaza si se sustin talentele emergente din designul vestimentar.

La concursul Designer for Tomorrow  pot aplica toti cei care au terminat, sau sunt pe cale de a-si finaliza studiile in domeniul designului vestimentar, cat si cei care detin dovezi ce atesta participarea la cursuri de profil in ultimii doi ani. Dintre toti cei care aplica, se aleg 5 designeri (Ioana Ciolacu Miron -Romania, Katy Clark -Scotia, Jamie Wei Huang – Taiwan, si designerii Germani – Hannah Kuklinski si Annalena Skörl Maul, anul acesta) care au sansa sa isi prezinte colectiile in fata juriului si in fata publicului prezent la show-ul din cadrul Mercedes-Benz Fashion Week Berlin. In urma show-ului de anul acesta, dintre cele 5 colectii a fost aleasa cea a Ioanei Ciolacu Miron care a obtinut astfel titlul de Designer for Tomorrow. Juriul a fost compus din specialisti din domeniul designului vestimentar, atat din online cat si din offline. Pe langa membrii juriului, mentorul ( “the patron”), care anul acesta a fost designerul Stella McCartney, va fi in continuare alaturi de castigator, invitandu-l pe acesta la show-ul sau din cadrul Saptamanii Modei din Paris.

DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show

Castigarea premiului Designer for Tomorrow inseamna pentru Ioana Ciolacu Miron vizibilitate internationala, recunoasterea talentului si creativitatii sale, dar si o sansa de a-si pune bazele unei afaceri de viitor. Așa cum spuneam si mai devreme, unul dintre beneficiile majore ale participarii la acest concurs este acela de a primi sustinerea financiara care, combinata cu talent pot ajuta un tanar designer sa se integreze in, si chiar sa influenteze sistemul modei. Ioana C. Miron va primi fondurile necesare pentru a-si deschide si echipa un atelier, va primi sponsorizari si suport tehnic pentru realizarea urmatoarei sale colectii care va fi prezentata intr-un show individual in cadrul Saptamanii Modei din Berlin in primavara lui 2014.

Colectia Ioanei Ciolacu Miron care i-a adus titlul de Designer for Tomorrow a avut ca inspiratie elementele contrarii care ii formeaza existenta. Procesul sau creativ se transforma astfel intr-o explorare a propriei identitati: feminina si tomboy, timida si extrovertita, tehnica si sensibila. Backround-ul sau in arhitectura, perioada petrecuta in Londra studiind in cadrul London College of Fashion, cat si elemente ce provin din viata de zi cu zi au ajutat-o pe Ioana sa isi stabileasca reperele colectiei sale care a ajuns astfel sa fie intitulata „Paradox”.


2 3 4 5Si daca ne uitam cu atentie la piesele care constituie colectia Ioanei, contradictiile care ii definesc experienta personala se reflecta in suprafetele materialelor – structurate si fluide. Ea a ales sa lucreze si cu materiale neconventionale precum plastic transparent, sau sa experimenteze cu un material spumant  care este folosit in mod normal in arhitectura pentru a izola fonic spatiile (termenul tehnic cred ca este cel de spuma poliuretanica). Designerul a transformat acest material industrial combinandu-l cu lana pentru a putea construi diferite structuri pe suprafetele pieselor vestimentare. Tot la nivel de materiale, Ioana creeaza imprimeuri realizate de ea manual, care sunt transferate prin tehnici digitale pe suprafata materialelor. Atentia acordata detaliilor capabile sa ii insufleteasca povestea este cu siguranta unul dintre motivele pentru care Ioana a ajuns sa fie castigatoarea premiului Designer for Tomorrow.

DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show

Styling-ul colectiei a fost unul degajat, potrivit unei persoane creative si outgoing din mediul urban. Diversitatea pieselor vestimentare prezentate ne demonstreaza capacitatea designerului de a se gandi, dincolo de partea conceptuala, la nevoile persoanelor care ii vor purta creatiile. Elementele contradictorii ce ii definesc Ioanei Ciolacu Miron universul creativ au conlucrat pentru a evidentia talentul si perseverenta designerului, calitati atat de necesare unui Designer for Tomorrow.

DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show DfT Hosted By Stella McCartney - The Fashion Talent Award By Peek & Cloppenburg Duesseldorf And Fashion ID - Show


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Mary Katrantzou: Inovatii tehnologice in moda

Ritmul alert in care tehnologia evolueaza pare sa interfereze cu schimbarile ce au loc in sistemul modei. Intilnirea celor doua domenii era inevitabila, iar secolul 21 s-a dovedit a fi momentul propice in care intersectarea acestora sa genereze o noua modalitate de exprimare artistica captivanta, datorita complexitatii pe care o implica.  Fie ca ne referim la instalatiile avangardiste ale lui Hussein Chalayan sau la reprezentatia poetica de la sfarsitul show-ului colectiei regretatului Alexander McQueen in care vesmantul purtat de modelul Shalom Harlow este tranformat in panza pe care doua maini robotice acopera cu stropi de culoare suprafata imaculata a materialului, suntem fara indoiala martori ai schimbarilor produse de interventia tehnologiei in lumea modei. Aceste schimbari nu au fost folosite doar in scopuri artistice, ele contribuind considerabil la facilitarea procesului creativ. Tehnica serigrafiei, folosita in trecut pentru a imprima suprafata materialelor, a fost inlocuita recent cu tehnica imprimarii digitale. Aceasta noua tehnica ofera designerilor o libertate creativa aproape nelimitata si constituie un avantaj pentru intreg procesul industrial si comercial la nivelul sistemului de productie al modei.

1Procesul prin care se realizeaza imprimarea digitala consta in prelucrarea imaginilor prin intermediul diferitelor programe de editare si transferarea acestora pe tesaturi  cu ajutorul unei imprimante cu jet de cerneala.  Primii care au facut aceasta tehnica vizibila pe podiumurile internationale si au atras atentia asupra potentialului sau a fost duo-ul creativ britanic Christopher Brooke si Bruno Basso care, in anul 2004, au prezentat o colectie ce a explorat posibilitatile oferite de folosirea printurilor digitale.  Acestora li s-au alaturat alti designer precum Alexander McQueen, Peter Pilotto, Erdem Moralioglu si Mary Katrantzou care, prin abordarea inedita a tehnicii digitale, au dat nastere treptat unei „revolutii” a imprimeurilor digitale care au invadat podiumurile ultimelor sezoane.

Dintre cei care s-au incumetat sa exploreze posibilitatile oferite de tehnica digitala, designerul de origine greaca Mary Katrantzou surprinde, prin viziunea sa deopotriva elementara si complexa, baroca si minimalista, comerciala si conceptuala. Crescand intr-o familie in care mama e designer de interioare si tatal designer de textile, drumul pe care Mary Katrantzou a pornit in cautarea propriei vocatii profesionale a ghidat-o inevitabil inspre un spatiu artistic. Cocheteaza pentru o perioada cu arhitectura, studiind-o in cadrul scolii de design din Rhode Island, dar se transfera la sectia de design textil din cadrul prestigiosului Central Saint Martins. Lucreaza pentru o perioada pe partea de design textil pentru obiecte folosite in decoratiuni interioare, dezvoltandu-si treptat un interes pentru moda. Colectia de absolvire a masteratului din cadrul aceluiasi Central Saint Martins a functionat ca o rampa de lansare transformand-o pe Mary Katrantzou intr-una din tinerele sperante ale designului britanic.

25Picnik collagemary-katrantzouInca de la colectia sa de debut, imprimeurile digitale au constituit un instrument principal in demersul sau creativ. Sticlute de parfum, bijuterii supradimensionate, interioare surprinse in fotografiile lui Helmut Newton si Guy Bourdin, detaliile baroce ale faimoaselor oua Faberge, masini de scris sunt reinterpretate de catre Katrantzou prin intermediul tehnicii de imprimare digitala si transformate in piese vestimentare aflate la granita dintre arta si produs.

***Acest articol face parte din seria de articole publicate in cadrul revistei online Art Act Magazine. In fiecare luni va voi prezenta fragmente din aceasta serie de articole pe care le-am scris cu mare placere, articole prin intermediul carora am avut ocazia sa aprofundez zona de interferenta dintre moda si arta.