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

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

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

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


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

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

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


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

Ramona Manghiuc


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

Bogdan Druta


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



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

Adriana Timofti


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

Nicoleta Botnaru


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

Ana Put


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

Carla Put


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

Luis Drajan


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

Sabina Pop


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

Emese Bako

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

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


Architecturing Collaborations – Irina Schrotter spring-summer 2016

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

Irina Schrotter SS16 (6)

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














Photos – Emil Costrut

Art & Fashion for Education

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

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


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




Lucian Broscatean_Art & Fashion for Education_1

Lucian Broscatean_Art & Fashion for Education

Lucian Broscatean_Art & Fashion for Education_2

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

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

Book Cover Tee 6


Book Cover Tee is a creative project, which I have been following since its beginning. Created by Noemi Meilman, one of the most thoughtful and dedicated persons I have ever met, through her personal blog – Placerile lui Noe, in collaboration with a talented Romanian fashion designer, and a handful of her close friends, Book Cover Tee is a project dedicated to a noble cause, raising money for the animal shelter Iubirrre.

The 6th chapter of the Book Cover Tee is a very special chapter for me, first of all because I am a fan of the project, and I was extremely happy when I found out that Noemi had invited me to take part in it, and second of all because I had the chance to work with Lucian, one of the most talented people I know, and re-imagine a book cover for one of our favorite novels: If On a Winter’s Night a Traveler by Italo Calvino.  Lucian Broscatean is also the designer invited to create the pattern for this edition’s T – shirt, which makes this Book Cover Tee chapter even more exciting.


“Conceperea T-shirt-ului negru cu un singur accent minimalist alb e ca o extensie a tipurilor de morfologii vestimentare pe care le-am construit in colectiile mele. Forme versatile, volume geometrice, cordoane incorporate fac din T-shirt o piesa care poate fi purtata in multe feluri. Mi-a placut mult ideea lui Noemi de a imprima Book Cover-urile pe spate si asimetric, astfel colaborarea nostra a inclus si implicarea ei creativa in designul final.” – Lucian Broscatean (Designing the T-shirt black, with a single white minimalist accent represents an extension of different types of fashion morphologies existent in my collections. Versatility, geometric volumes, embedded straps transform the T-shirt into a piece of clothing that can be worn in many different ways. I really liked Noemi’s idea of printing the Book Covers on the back, in an asymmetric way, this way our collaboration also included her creative input in the final design, t.n.)

Cartolina Oana Stan & Lucian Broscatean BCT6

If on a Winter’s Night a Traveler, Italo Calvino’s novel which Lucian and I have chosen to occupy a place on the shelf of the imaginary Book Cover Tee “library” is, among other things, a novel about a journey. The journey of the main character is sinuous, fractured, sometimes mystical, introspective and interconnected. If one tried to map this journey, it would reveal a fractured space where an inexperienced traveller could easily feel lost.

The reason we’ve chosen this novel is that we both identified our creative paths with those created and discovered by Italo Calino’s characters. For Lucian was the reconnection with the Nomad character, a recurring character in his collections, a character that crosses the imaginary spaces, exploring their conceptual dimensions in order to finally unravel his own purpose. For me it was a personal connection with the main character of the novel. Like the character from the novel, I am also “reading” fashion with the same curiosity and wonder with which the Reader reads If on a Winter’s Night a Traveler. But just as the reader discovers along the way that things are not as he expected them to be, I keep on discovering new facets of this eclectic creative field, fueling my desire to continue the journey I have started, even if on a winter’s night a traveler would try to convince me otherwise.

Book Cover Tee, chapter 6 was a very special experience for me, a creative experience shared with talented people with whom I share enthusiasm and passion for all things authentic.

Lucian si Oana Stan spateLucian Broscatean si Oana fata

You can buy our T-shirt here

And you can find the rest of the Book Covers imagined for this edition here

Photos by Emil Costrut

Make-Up: Lidia Gligor & Oana Pinte, Vestige Atelier des Beaux Arts

Hairstyle: Simina Diana Cheteles & Dragos Liss, Vestige Atelier des Beaux Arts

Partners: Henkel Romania – Perwoll, Sephora Romania, and Stella Artois

Fashion Talks in the Fashion Garden

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

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

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

video made by

Displaced Dreams in Displaced Shapes

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

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

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

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

Designer – Lucian Broscățean

Print Design  – Carmen Cherecheș

Shoes – Mihaela Glăvan

Accessories – Carmen Cherecheș & Diana Flore

Hairstyle – Cristina Micu, Simina Cheteleș & Raul Tișa

Photo credit – Emil Costruț


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:

Calatorii printre carari (i)luminate

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

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

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

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

Credit foto – Daniel Robu

Calatorii moleculare

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

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

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


sursa poze:

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 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

The Rest is Tomorrow

Pe 28 februarie galeria de arta aplicata GALATECA deschide publicului expoziția The Rest is Tomorrow, precedata pe 27 februarie de un eveniment exclusivist dedicat profesionistilor modei si oamenilor de cultura.


Expozitia de modă The Rest Is Tomorrow, initiata de ICR Londra si sponsorizata de galeria de arta aplicata GALATECA, a fost nominalizata la premiul “Emerging Talent Award 2013”, acordat de British Council si British Fashion Council. Romania a obtinut locul doi, din 27 de tari participante la International Fashion Showcase, aflandu-se pe lista scurta alaturi de tari precum  Argentina, Austria, Estonia, Olanda, Portugalia, Scandinavia (Danemarca, Norvegia, Suedia) sau Elvetia.Ceremonia de decernare a premiilor a avut loc pe 17 februarie la prestigioasa Somerset House, sediul London Fashion Week.  Sectiunea International Fashion Showcase este dedicata proiectelor nationale organizate de institutele culturale straine din Londra, iar cel mai bun proiect este premiat de catre un juriu de specialisti din lumea modei. ICR Londra participa pentru a doua oara in cadrul acestui proiect, dupa ce a debutat programul de promovare a designerilor romani in Marea Britanie in 2010, prezentand pana in prezent aproximativ 15 designeri romani la Saptamana modei de la Londra.

Designerii romani Andreea Bădală (Murmur), Lucian Broscăţean, Irina Schrotter, Dinu Bodiciu, Doina Levintza si Carla Szabo, impreuna cu designerul expozitiei Attila Kim, au fost apreciati superlativ de juriul competitiei, care a intrunit nume celebre ale criticii de specialitate internationale: Sarah Mower (Vogue US), Julian Roberts (editor BBC Blast online, fashion designer si profesor la Royal College of Art), Anna Orsini (expert British Fashion Council), Tamsin Blanchard (critic de moda Telegraph) si Oriole Cullen (Victoria and Albert Museum).

”Expozitia Romaniei a fost foarte impresionanta si atent gandita. Conceptul de backstage al unei defilari pe podium a fost prezentat extrem de imaginativ, iar creatiile designerilor au fost curajoase, dramatice si originale, cu o executie impecabila si tipare inovatoare. L-am remarcat in special pe Lucian Broscăţean, cu o colectie exceptionala.”– a declarat Julian Roberts.

Galeria de arta aplicata GALATECA este sponsor si partener al proiectului. Astfel, prin bunavointa ICR si a designerilor premiati, expozitia s-a mutat la Bucuresti, in cel mai nou spatiu cultural al Capitalei. Incepand cu 28 februarie 2013 si pana pe 31 martie The rest is tomorrow va asteapta la GALATECA, pentru a admira creatiile designerilor romani intr-o scenografie aparte. La incheierea expozitiei, o parte din piesele premiate de juriul exceptional al manifestarii vor fi disponibile spre vanzare, pentru publicul pasionat de moda si piese unicat.

(informatii preluate din comunicatul de presa)

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Immersed Self – Irina Schrotter by Lucian Broscatean

Rola de film este atasata de aparatul de proiectie cinematografica prin perforatiile de pe margine ale peliculei. Legatura de interdependenta dintre cele doua elemente genereaza, la nivel simbolic, intalnirea dintre imaginar si realitate, dintre visare si trezire. Scurgerea repetitiva a imaginilor invita privitorii la un spectacol al iluziilor. Procesul de receptare al acestor iluzii implica de cele mai multe ori o dedublare, o transformare a celor care accepta sa patrunda dincolo de imagine. Acelasi consimtamant tacit se poate stabili si intre corp si vesmant, unde vesmantul devine o pelicula prin care individul se proiecteaza exteriorului.

“Immersed Self” colectia Irinei Schrotter realizata in colaborare cu Lucian Broscatean si prezentata in cadrul Saptamanii Modei din Berlin pare sa analizeze, la nivel conceptual, repercusiunile unei dedublari generate de interactiunea dintre individ si vesmant. Dedublarea aici nu cauzeaza o pierdere a identitatii ci dezvaluie complexitatea unei femei contemporane. Datorita provocarilor venite din exterior, femeia moderna nu isi mai permite sa joace un singur rol ci trebuie sa insumeze diferitele fațete ale unei noi feminitati. Ea este senzuala si inocenta, riguroasa si flexibila, cerebrala si imprevizibila. Hainele pe care alege sa le poarte trebuie sa ii permita sa isi exploreze diferitele aspecte ale personalitatii fara a o dezvalui in totalitate.

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Suprafetele transparente sunt protejate de cele opace, drapajele reimagineaza formele anatomice iar franturile de acces la piele – incita: lungimea pantalonilor ce dezvaluie glezna, decolteurile adanci ale rochiilor si vestelor, transparentele dungilor, umarul dezvelit.



Confruntarea dintre diferitele identitati ale femeii contemporane este exprimata vizual in aceasta colectie si la nivelul materialelor. Blana  de miel, matasea, stofa de lana, pielea, tricoturile, neoprenul, se confrunta,se intretaie si se completeaza intr-un dialog coerent al carui subiect face aluzie la dedublare si reconfigurarea identitatii. Piesele statement de la sfarsitul prezentari, executate prin manipularea ingenioasa a neoprenului par a re-invalui trupul care ne-a fost dezvaluit pana acum, finalizand astfel incursiunea in spatiul dintre piele si vesmant. Culorile predominante sunt albul si negrul, antagonismul dintre cele doua fiind „imblanzit” de griuri, bejuri, nuante terne de liliachiu.

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Garderoba construita in colectia Irinei Schrotter in colaborare cu Lucian Broscatean este complexa si adaptabila, rezonand cu realitatea cotidiana a femeii contemporane. O astfel de femeie, alegand sa poarte piesele propuse de cei doi designeri, opteaza pentru o imersiune in sine, o explorare a limitelor propriei identitati.


Colectia este intregita de accesoriile statement realizate de Carla Szabo, de incaltamintea semnata de Mihaela Glavan si de styling-ul de efect realizat in colaborare cu Marian Palie si Maurice Munteanu.

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Raising the bar…again


Delegatia Designerilor Romani va participa in cadrul Saptamanii Modei de la Berlin pentru a 5-a oara consecutiv. Aceasta participare constituie o noua performanta pentru designul vestimentar autohton si o dovada a potentialului creativ existent. In data de 15 ianuarie va avea loc prezentarea de grup a designerilor Stephan Pelger, Adelina Ivan si Andra Clitan iar in data de 18 ianuarie Irina Schrotter in colaborare (pentru a doua oara) cu designerul Lucian Broscatean isi va prezenta colectia pentru sezonul toamna – iarna 2013.

Show-ul colectiv al designerilor romani ii are de data aceasta ca protagonisti pe:

Andra Clitan – cu prima colectie prezentata in cadrul Berlin Fashion Week

Adelina Ivan – prezenta pentru a doua oara consecutiv pe podiumul berlinez


Stephan Pelger – care a participat la editiile precedente ale Berlin Fashion Week cu un show individual iar in acest sezon se alatura grupului de designeri romani.

Irina Schrotter isi continua colaborarea creativa din sezonul trecut cu Lucian Broscatean intr-un show individual. “Immersed Self” este numele ce il poarta colectia iar inspiratia din spatele ei provine din tulburatorul imaginar al regizorului Ingmar Bergmann.

Le uram succes tuturor si asteptam cu nerabdare sa vizualizam rezultatul muncii lor creative.

andra_clitan_blogadelina ivan_blog


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Mihaela Glavan + Lucian Broscatean

Proiectul TouchedBy initiat de Mihaela Glavan in anul 2009 a reusit sa stranga in cei 4 ani de existenta colaborari cu nume importante din industria artistica autohtona. Printre cei care au fost implicati in acest proiect se numara: Adelina Ivan, Alina Botea, Ana Alexe, Carla Szabo, Carmen Secareanu, Catalin Botezatu, George Neagu, Irina Marinescu, Irina Schrotter, Lena Criveanu, Ovidiu Buta si Stephan Pelger.

Ce propune proiectul TouchedBy? Realizarea de mini colectii de accesorii concepute de persoane din mediul artistic in colaborare cu Mihaela Glavan. Designul colectiilor apartine in totalitate celor care le semneaza, iar consultanta tehnica si productia sunt asigurate de atelierul Sepala.

Noua editie a proiectului TouchedBy este semnata de designerul Lucian Broscatean. Accesoriile create in colaborare cu Mihaela Glavan pastreaza elemente ce definesc universul creativ al lui Lucian Broscatean. Provenind dintr-o zona a avangardei, care ii caracterizeaza si creatiile vestimentare, inspiratia ce a stat la baza conceperii colectiei capsula ne este  dezvaluita in cateva cuvinte chiar de catre designer:

“Sliced Patterns e un proiect care se inscrie in dimensiunea conceptuala ce caracterizeaza item-urile din colectiile pe care le-am realizat. In cadrul proiectului TouchedBy am conceput un experiment morfologic altfel. Detalii dislocate, piese hibrid, insertii si incizii, asimetrii ciudate si jocuri de texturi sunt elementele care au stat la baza modelelor executate din piele ecologica”


Accesoriile apartinand colectiei capsula TouchedBy in colaborare cu designerul Lucian Broscatean vor putea fi achizitionate timp de o luna (incepand cu 26 octombrie) in magazinul Sepala  de pe strada Franklin, Nr. 9, Bucuresti.

Irina Schrotter by Lucian Broscatean: Shapes of Light


Anul: 2012

Evenimentul: Mercedes Benz Fashion Week

Sezonul:  primavara-vara 2013

Designer: Lucian Broscatean

Brand: Irina Schrotter

Colectia: Shapes of Light

O colaborare, indiferent de natura ei, de domeniul in care aceasta se concretizeaza, presupune o intalnire a doua identitati in care acceptarea alteritatii este necesara pentru ca deznodamantul acelei intalniri sa potenteze ambele identitati. Colaborarea dintre Irina Schrotter al carei brand este martor al traseului modei autohtone de mai bine de 20 de ani si viziunea inovatoare a designerului Lucian Broscatean a demonstrat ca riscurile pe care o astfel de interactiune le implica pot genera un discurs creativ coerent in care potentialul creativ a lui Lucian Broscatean reuseste sa scoata eleganta dintr-o zona de confort.

Parametrii occidentali in interiorul carora brand-ul Irina Schrotter opera sunt reinterpretati, fiind infuzati de elemente ale universului asiatic. Calatoria in cautarea unor noi forme atat la nivel conceptual cat si la nivelul executiei tiparelor exploreaza profunzimea suprafetelor, o profunzime cerebrala si poetica in acelasi timp. Personajul invesmantat in materiale fluide emana eleganta unei femei pentru care hainele pe care le poarta nu sunt doar o necesitate sociala ci o modalitate de a-si explora propria identitate.

Nuantele discrete de alb, bej, roz pudra, accentele puternice de oranj, fac trecerea de la o tinuta de zi la una de seara iar diferitele piese ce constituie ansamblurile vestimentare nu elimina posibilitatea experimentarii unor noi combinatii.  Versatilitatea este cu siguranta o trasatura caracteristica acestei colectii. Accesorizata impecabil de pantofii semnati Mihaela Glavan, genti semnate Otilia Flonta si bijuterii semnate Carla Szabo, colectia conceputa de Lucian Broscatean pentru brand-ul Irina Schrotter ne prezinta un nou mod de percepere a feminitatii si a elegantei. Situata la intersectia a doua universuri creative, colectia Shapes of Light traseaza peste umbra indoielii noi forme ale viitorului.

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Pe cei de la ALL HOLLOW ii urmarim de ceva vreme si ne place modul lor de abordare al fenomenului artistic local si international. O gura de aer curat intr-un mediu online supra-accesorizat in care continutul se pierde printre pop-up-uri, reclame sclipitoare, poze personale, instagrame si ode aduse propriei persoane. Printre primele proiecte realizate de echipa ALL HOLLOW care ne-au atras atentia a fost fashion film-ul realizat in colaborare cu designerul Lucian Broscatean, urmat de colaborarea cu brand-ul Murmur. Pe langa aceste doua realizari care par sa dezvaluie talentul si viziunea neconventionala a echipei din spatele proiectului ALL HOLLOW, un sir lung si cel putin interesant de alte colaborari si proiecte par sa legitimizeze parcursul lor in mediul online si nu numai. Sa publici o revista in ziua de azi pare, pentru unii, un gest demn de o diagnosticare psihiatrica, dar pentru noi este o dovada de curaj. Dupa un an de prezenta in mediul online, ALL HOLLOW va patrunde in tumultosul spatiu al  print-ului. Editia pilot care, incepand cu 9 iulie este disponibila in librariile din toata tara, va fi distribuita impreuna cu Decat o revista.   Din luna septembrie insa, odata cu aparitia numarului 1, revista va fi editata trimestrial, pe format mare de 240x340mm, fiind completata de care isi va continua activitatea deja inceputa in mediul online, furnizand articole si continut tangent revistei.

Numarul pilot ne dezvaluie pe coperta o Monica Barladeanu fresh, rebela, un mix dozat perfect intre the American girl si frumusetea balcanica misterioasa, urmat de un interviu cu actrita, un photoshooting nud cu modelul Veronica Pascu si un editorial foto + interviu cu Bogdan Serban, realizatorul emisiunii Guerrilla Logout.

Ce isi propun urmatoarele numere ale revistei ALL HOLLOW sa realizeze: „…sa cureze intr-o noua directie continutul din mediul artistic si cultural, fiind un agregator al artistilor deja consacrati, precum si o publicatie care isi propune sa genereze foarte mult continut local, original si relevant din domenii precum moda, muzica, film, design, literatura, etc.”

“All Hollow este o revistă deschisă colaborărilor și își propune să devină un loc de manifestare artistică și culturală, găzduind atât contribuții cu subiect local, cât și contribuții ale artiștilor internaționali, relevante pentru piața est-europeană. Acesta este și motivul pentru care revista apare în limba engleză”


Barna Némethi, editor in chief

Maria Desmirean, editor

Vlad Feneșan, editor

Andreea Ioniță, editor

Noi le uram succes si le sustinem initiativa.

Propunere zipcodefashion pentru sezonul examenelor

Incepe sezonul examenelor…cel putin pentru unii dintre noi. Si cand, daca nu acum, poti pierde ore in sir contemplandu-ti existenta virtuala, sau pe cea a celor mai mult sau mai putin apropiati tie? Dar tot răul spre bine, căci mintea linistita…minunatii descopera. Si cum un lucru descoperit si neimpartasit e ca o postare fara like-uri, permiteti-mi sa va prezint propunerea zipcodefashion pentru sezonul examenelor – vara 2012.

Piese vestimentare apartinand unor designeri de seama sunt acompaniate de lectura placuta a unor scrieri ce nu ar trebui sa lipseasca din “garderoba” nimanui. Ambalate in forme minimaliste, rezumand vizual continutul narativ, aceste scrieri completeaza armonios tinutele, conferind cititorilor impulsul necesar pentru a a duce la bun sfarsit inca un sezon de examene.

Designeri: Andreea Badala – Murmur, Adrian Oianu, Lucian Broscatean, 109

Carti: Greuceanu, Harap – Alb, Monastirea Argesului, Patul lui Procust. Powered by CUTĂRICĂ