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. Unda Popp . Doina Lucanu . Alina Maria Griga . Matei Arnutu . Sergiu Chihaia . Paula Barbu .

Liliana uroiu . . Ioana Sanda Avram . Bogdan Severin Hojbot . Rzvan Vasilescu . Alexandru Ioan Mrginean . . Doina Berchin .

MODA FASHION
OBIECT COSTUM VEMNT teme de cercetare OBJECT COSTUME GARMENT research topics

Centrul de Cercetare de Cultur a Modei EVENIMENT MOD IMAGINE EMI Calea Griviei nr. 28, sect. 1, Bucureti

The Research Centre of Fashion Culture EVENT FASHION IMAGE EFI / EMI Calea Griviei , 28, sect. 1, Bucharest

MODA FASHION
OBIECT COSTUM VEMNT teme de cercetare OBJECT COSTUME GARMENT research topics
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emi-unab.blogspot.ro emi.unab@yahoo.com Coordonator principal Unda POPP Coordinator Unda POPP Founding members Doina LUCANU Liliana UROIU Ioana Sanda AVRAM Doina BERCHIN Rzvan VASILESCU Members Paula BARBU Matei ARNUTU Alina Maria GRIGA Venera ARAPU Alexandru Ioan MRGINEAN Bogdan Severin HOJBOT Secretary Sergiu CHIHAIA Assistant (secretariat) Oana Roca DUMITRU Scientic reviewer Ileana BLDESCU

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Membri fondatori Doina LUCANU Liliana UROIU Ioana Sanda AVRAM Doina BERCHIN Rzvan VASILESCU Membri Paula BARBU Matei ARNUTU Alina Maria GRIGA Venera ARAPU Alexandru Ioan MRGINEAN Bogdan Severin HOJBOT Secretar Sergiu CHIHAIA Asistent (secretariat) Oana Roca DUMITRU Referent tiinic Ileana BLDESCU

Rzvan VASILESCU Colecia | Collection Roi de Caro

Doina BERCHIN Mod i globalizare | Fashion and globalization Unda POPP Legturi misterioase | Mysterious connections Doina LUCANU Vemnt i imagine | Garment and image Alina Maria GRIGA Manipularea suprafeelor textile i netextile n moda contemporan The manipulation of textile and non-textile surfaces in the contemporary fashion Matei ARNUTU Acul, foarfeca, tastatura, mouse-ul... | The needle, scissors, keyboard, mouse... Sergiu CHIHAIA Construind o arhitectur a Modei | Setting up an Architecture of Fashion Paula BARBU Conceptele actuale din moda vestimentar, provocri creative pentru studeni Actual concepts in fashion, creative challenges for students Layout Romana & Bogdan MATEIA Credit foto | Photo Credit Oltin DOGARU Doina LUCANU Mihai MLAIMARE Alexandru Ioan MRGINEAN Dana MITIC Dan Andrei PARASCHIV Mihai SEBESTYEN Ciprian STRUGARIU Adi TUDOSE Arhiva | Archive EMI Traducere n Englez| Translation into English Rita TASI Editura | Publishing House UNArte 2013 ISBN 978-606-8296-78-4
Diana BOBN & Katia GUZUN coordonator | coordinated by Doina LUCANU

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Liliana UROIU Ce este permis i ce nu sau ct de important este astzi stilul personal What is permitted and what is not or how important is the personal style today Ioana Sanda AVRAM Coleciile de mod | Fashion collections Bogdan Severin HOJBOT Bijuteria ca mod / mijloc de personalizare a imaginii The jewel a way to personalize the image Rzvan VASILESCU Umbrele trecutului Proiecia viitorului imediat The shadows of the past The projection of the close future Alexandru Ioan MRGINEAN Rolul apotropaic al vemntului ca limbaj autonom The apotropaic role of garments as an autonomous language Eveniment Event Artiti i loso | Artists and Philosophers

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Doina BERCHIN
jurnalist i promotor de mod Journalist and fashion promoter

Realizator Radiofashion la postul naional de radio Radio Romnia. Profesor asociat n cadrul Departamentului Mod.

The producer of Radiofashion on the national public radio, Radio Romania. Associate professor of the Fashion Department.

Curs Strategii de imagine i comunicare n mod

Course Image and communication strategies in fashion

Studeni romni i canadieni ntr-un proiect comun la UNAB Departamentul Mod Romanian and Canadian students in a joint project UNAB Fashion Department coordonatori | coordinated by Unda POPP & Manuela UNGUREANU

Mod i globalizare

Fashion and globalization

Capriciu, imitaie, preocupare supercial, joc, vanitate, semnal erotic sau nsemn al puterii, toate astea i nc altele, declarat sau nu, se regsesc n costum. Moda pare c valseaz, oarecum incontient, dar mereu graios printre alte activiti existeniale, pstrndu-i intact rolul grav, dar i caracterul ludic. Ea traverseaz epoci, oglindete stri i schimbri revoluionare, ilustreaz straticrile sociale, ncnt, strnete indignare, transmite mesaje, emoioneaz, deruteaz, intrig. Totui, de cnd i de ce, de la un moment dat, vorbim despre mod ca despre o art? Procesul ncepe probabil cam cu un secol i ceva n urm, cnd cte un maestru croitor sau cte o modist de geniu a avut ambiia de a-i semna opera i a nzuit, cu orgoliu, la nimbul ori gloria de artist. Cu alte cuvinte, atunci cnd meteugarul dorete s e autor i chiar dobndete recunoaterea ca atare. i dac Worth o are indc a mbrcat regine, el nsui devenind un fel de prin al mtsurilor i dantelelor, al drapajelor i volanelor, cenureasa Coco aproape c smulge acest titlu de la o lume pe care tot ea o

Caprice, imitation, supercial preoccupation, game, vanity, erotical signal, or the sign of power, all these and many more, declared or not, are re-found in the costume. Fashion seems to waltz, rather automatically, yet always graciously among other existential activities, preserving its grave role intact, as well as its playful character. It traverses epochs, reects revolutionary conditions, states and transformations, illustrates social stratications, delights, stirs indignation, conveys messages, excites, confuses, intrigues. However, since when and why, starting with a certain moment, have we been talking about fashion as an art? The process probably started about more than a century ago when a tailor master or a genius milliner were so ambitious and signed their work, and began to hope, proudly, for the charisma and glory of an artist. In other words, when the artisan aims to be an author and even reaches acknowledgement as such. And whether Worth has had it because he has dressed queens, thus becoming a kind of prince of silks and laces, clothes into folds and ounces, the Coco Cinderella almost dragged this from a world

which she had obliged to dress up according to her rules, which werent conventional at all, for more decades. Fashion is also an art as far as the garment, costume and accessories serve a perpetuous idealization and improvement of the human silhouette, permanently intensifying its contribution through some additional expressiveness. Fashion expresses innovation, but also repetitiveness, oneness, originality, as well as imitation, interpretation and re-invention of some old themes or motives. Which is the element that transforms the tailor into a designer? School! But what or who propels him to the interstellary space of stars? MEDIA, of course. In the 70s-80s journalists appeared more and more interested in the authors of fashion collections. This had already occurred in the inter-war period however not so intensely. The models also reached the status of stars and already overshadowed the cinema celebrities... The initiative of Mrs. POMPIDOU to periodically create a fashion performance in Paris, which was meant to re-unite the best from the best, had nally improved this industry seriously, but also provoked news topics for

oblig s se mbrace dup propriile-i reguli, deloc convenionale, timp de mai multe decenii. Moda este art i n msura n care haina, costumul, accesoriile se a n slujba unei perpetue idealizri i perfecionri a siluetei umane, potenndu-i mereu demersul printr-un plus de expresivitate. Moda nseamn noutate, dar i repetitivitate, unicitate, originalitate, dar i imitaie, interpretare i reinventare a unor vechi teme sau motive. Ce l transform pe croitor n designer? coala! Dar ce sau cine l propulsez n spaiul interstelar al vedetelor? Bineneles, MEDIA. n anii 70-80, jurnalitii se arat din ce n ce mai interesai de autorii coleciilor de mod. Se mai ntmplase asta i n perioada interbelic, dar nu cu aceeai intensitate. Manechinele dobndesc i ele statut de star i eclipseaz deja celebritile din cinema... Iniiativa doamnei POMPIDOU de a se realiza periodic un spectacol de mod la Paris, care s-i reuneasc pe cei mai buni dintre cei mai buni, avea s revigoreze serios industria de prol, dar i s nasc subiecte de tiri pentru presa i televiziunile din ntreaga lume. Eveniment artistic i monden, Sptmna Modei d de

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lucru numeroilor fashion editori i fotogra, dar i strlucire numelor diverilor creatori participani. n jurul lor se creeaz legende, iar unele dintre ele devin egal cunoscute cu acelea ale unor regizori sau artiti vizuali reputai. Astzi ns, desfurarea unor astfel de evenimente-maraton n mai toate capitalele rilor industrializate din lume, precum i inaia de designeri de naionaliti diferite fac ca armarea s e din ce n ce mai dicil, media gravitnd cu precdere n jurul marilor maetri i al ctorva centre consacrate a lansatoare de tendine: Paris, New York, Milano, Tokyo. n acest moment ns, intervin Internetul i... ceea ce pare a unanim acceptat ca proces ireversibil i inevitabil: globalizarea. Globalizarea nseamn norme i standarde comune, piee mai largi, haine i mbrcminte tip pentru milioane de oameni, televizoare, telefoane i calculatoare identice, pe toate meridianele, precum i o multitudine de corporaii internaionale care lucreaz n mod subtil la un fel de uniformizare global, cu consecine extrem de interesante n toate compartimentele vieii sociale. Lumea

the media all over the world. An artistic and fashionable event, The Fashion Week, activates numerous fashion editors and photographers, but also highlights numerous and various participating creators. They create legends around them, and some of these become similar to the ones of some well-known lm producers or visual artists. However, nowadays the development of such marathon events in almost every capital of the industrialized countries in the world, as well as the ination of designers of different nationalities make this assertion even more difcult since the media gravitates especially around great masters and several centres which are famous for having launched and promoted fashion tendencies: Paris, New York, Milano, Tokyo. Yet, at this moment we are overwhelmed by the Internet and... what appears to be unanimously accepted as an irreversible process, by the phenomenon of globalization. Globalization represents common norms and standards, larger markets, standard clothes and garments for millions of people, identical television sets, telephones and computers, all over the world, as well as a multitude of international corporations working in a

subtle way on a sort of global homogenization, with extremely interesting consequences in every division of social life. Yet world seen as a huge metropolis or a vast global country side also contains enough threats. Most of these related to the loss of identity. Within this space the consumers can be manipulated in a much easier way. The tyranny of publicity and the seduction of exacerbated consumption can play havoc. Still, globalization also suggests communication, the export of the occidental know- how, fast displacement, punctual and accurate participation in a wide range of events, cultural exchanges and interferences, ethnic cross-breeding, migrations and new social stratications, another type of global resources management and administration, the concentration of elites in the favoured zones, the corporatist exploitation, the generalization of an urban lifestyle, etc. And again, the mass-media and search on the Internet... patronizing all these processes and transformations in an accelerated way! When has globalization in fashion become visible? Perhaps when they extended the fabrication and commercialization of the blue jeans in the whole world. Or before that, when the Chanel tailor-made suit had captivated America? Globalization also ex-

vzut ca o uria metropol sau ca un vast sat global conine ns i destule ameninri, cele mai multe ind legate de pierderea identitii. n acest spaiu, consumatorii devin mai uor de manipulat. Tirania publicitii i seducia consumului exacerbat pot face ravagii. Dar globalizarea mai nseamn i comunicare, export de know-how occidental, deplasare rapid, participare n timp real la evenimente de orice fel ar ele, schimburi i interferene culturale, metisaj etnic, migraii i noi straticri sociale, un alt tip de gestionare a resurselor globale, concentrarea elitelor n zonele favorizate, exploatarea corporatist, generalizarea unui stil de via urban etc. i din nou, mass-media i navigarea pe Internet... care favorizeaz n mod accelerat toare aceste procese i transformri! Cnd a devenit vizibil globalizarea n mod? Poate atunci cnd s-au extins fabricarea i comercializarea blue jeans-ilor n ntreaga lume. Sau mai nainte, cnd taiorul Chanel a cucerit America? Globalizarea mai nseamn i o uimitoare simbioz ntre naional i universal, rural urban, vechi i nou... Moda secolului XXI impune un nou tip de personalitate, al crui obiectiv nu este nicidecum alinierea prin copiere, ci singula-

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rizarea printr-o inteligent combinare a surselor de inspiraie, a materialelor, accesoriilor i n cele din urm a stilurilor. Repertoriul vestimentar se diversic necontenit n cutarea ineditului, a pitorescului, exoticului, a noului care valoric mitul i istoria n termenii expresivitii contemporane. Discursul imaginii personale se globalizeaz i el prin universalizarea unor elemente particulare specice unor comuniti restrnse. Reversul sau poate un antidot al agresivitii acestui proces l reprezint ntoarcerea la matricea iniial, la elementele tradiionale, etnice, la rdcini i plasarea lor n contexte noi. i Minimalismul, revenit acum n atenia tuturor, apare ca un refugiu n zona simplitii i sinceritii primare. Este cultivat adesea mpreun cu o nfrigurat cutare n zona redescoperirii misterelor marilor mitologii. Experimentul realizat n 2012 la Universitatea de Arte Departamentul Mod cu studenii canadieni de la losoe, sociologie i alte tiine sociale, ntr-un program comun de exersare a limbajului plastic ntr-o serie de construcii-instalaii, obiecte-vemnt, cu caracter narator i evocator, s-a dovedit relevant n acest sens. La fel i una dintre coleciile prezentate la Gala Absolvenilor, cea a tefanei MAIOR, care a reprezentat o sintez poetic a viziunii actuale asupra eleganei minimaliste. coala de Mod de la Bucureti pregureaz schimbrile ce vor urma n designul vestimentar autohton printr-o pregtire multivalent i prin numeroasele deschideri de orizont n domeniul creativitii, pentru toi cursanii si. Unii dintre ei la alt vrst dect cea a studeniei, n cadrul proiectului de cursuri complexe Introducere n universul modei longlife learning, iniiat de EMI sub auspiciile UNAB Departamentul Mod, la care particip toi profesorii colii.

presses an amazing symbiosis between the national and universal, rural and urban, old and new... The 20th century fashion imposes a new type of personality, whose objective does not consist in the alignment through copies, but in the distinction by means of an intelligent combination of the sources of inspiration, materials, accessories and nally of styles. The clothing repertoire diversies permanently, searching for new, picturesque and exotic elements, which valorize myth and history in terms of contemporary expressiveness. The discourse of the personal image also globalizes through the homogenization of some specic particular elements referring to some restricted communities. The reverse, or perhaps an antidote of the aggressiveness of this process, is represented by the return to the initial matrix, to the traditional and ethnic elements, to the sources, and their placement into new contexts. And Minimalism, very important at the moment, appears as a refuge in the zone of simplicity and primary sincerity. It is often developed together with an anxious exploration in the area approaching the re-discovery of the mysteries of great mythologies. The experiment carried out in 2012 at the University of Arts the Fashion Department with the Canadian students from the philosophy, sociology and other social sciences departments, in a mutual program approaching the artistic language in some series of installation-constructions, garment-objects, provided with a narrative and evoking character, proved relevant from this viewpoint. That is also the case with one of the collections presented at the Graduates Festivity, the one of Stefana MAIOR who represented a poetical synthesis of the current perspective on the minimalist elegance. The Fashion School from Bucharest pregures the following transformations in the local clothing design through a multivalent training and numerous new horizons in the domain of creativity for all its students. Some of these participate in a project of complex courses, Introduction in the universe of fashion long-life learning, initiated by EMI under the auspices of the UNAB the Fashion Department, joined by each professor.
tefana MAIOR Colecia | Collection Marquisha coordonator | coordinated by Ioana Sanda AVRAM

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Unda POPP
prof. univ. dr. Professor Ph.D.

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Coordonator al Departamentului Mod. Vegheaz (cu strnicie) practicarea unui nvmnt artistic exibil cu intervenii interdisciplinare, ncurajnd dezvoltarea continu a departamentului spre noi direcii creative. Pred la Licen, Master i coordoneaz lucrri de doctorat n cadrul Departamentului Mod.

Coordinator of the Fashion Department. Coordinates (with severity) the practice of a exible artistic education with interdisciplinary interventions encouraging the continuous development of the department towards new creative directions. Teaches the B.A. and M.A. courses and conducts the PhD. Works of the Fashion Department.

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Cursuri Istoria costumului Eveniment de mod

Courses The history of the costume Fashion event The costume performing

Performing-ul de costum

Legturi misterioase

Mysterious connections

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Puterea de transgurare realizat cu ajutorul vemntului, n parte real, n parte doar imaginat de noi, ncarc hainele cu nebnuite caliti. Faptul c simpla prezen a unei buci de estur ne schimb ziua sau ne poate bucura doar i pentru cteva clipe demonstreaz o legtur magic, aproape inexplicabil, pe care o avem cu hainele. Indiferent dac abordm o imagine atent construit n funcie de poziia social i ultimele tendine ale modei sau dac am o oarecare indiferen superioar, tradus prin veminte mai puin atante, oricare ar atitudinea fa de fenomenul modei, ea se citete de la primul contact, dezvluind interlocutorilor date eseniale ale personalitii i identitii noastre. Trupul i vemntul stabilesc o legatur strns, cu trimiteri multiple: emoionale, culturale, sociale, care depesc zona vizualului, la care noi ns ne vom limita. Cine pe cine inueneaz mai tare, cine i cnd preia conducerea n acest tandem este greu de stabilit, iar barierele rmn mereu exibile.

The transguring power achieved by means of the garment, which is both real and imagined by us, loads the clothes with unexpected qualities. The fact, that the simple presence of a piece of texture transforms our day, or can please us, even if this delight lasts for only a few moments, proves our magic and almost unexplainable connection with the clothes. No matter if we approach a carefully constructed image according to the social position and the most recent trends in fashion, or if we display a certain upper indifference translated through less attering garments, whatever the attitude expressed towards the fashion phenomenon, it is read from the very beginning, providing our interlocutors with the essential data reecting our personality and identity. The body and the garment establish a close and tight relationship, expressing multiple references: emotional, cultural and social ones, outshining the visual zone, which we shall limit ourselves to. It is rather difcult to establish who inuences whom to a larger extent, who and when one can
Unda POPP Piesa cu ngeri, Teatrul Masca | The play with angels, Masca Theatre regia | art director Mihai MLAIMARE

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take the leadership over in this tandem, while the barriers always remain exible. The messages of the body are varied, just like people. Between the androgynous silhouettes and those endowed with a challenging corporality ( whether we keep ourselves only within the limits of normality) there are numerous variants which visually convey a great deal of information determining the viewers predictable reactions. The garment, initially made for the body, had become so important that it developed a whole working system through which nowadays fashion manifests as a very complex domain, from the common and perfectly useful outt, to those costumes which are provided only with an artistic value. In fashion, sometimes, the garment constructs volumes, delimits or cuts the forms out, re-models the body.

Mesajele trupului sunt diverse pe ct sunt i oamenii de diferii. ntre siluetele androgine i cele cu o corporalitate provocatoare (ca s rmnem doar n zona normalitii) exist nenumrate variante care transmit vizual o serie ntreag de informaii, determinnd reacii previzibile privitorilor. Vemntul fcut iniial pentru trup a devenit att de important nct a dezvoltat n jurul su un ntreg sistem de funcionare prin care moda se manifest astzi ca un domeniu foarte extins, de la hainele obinuite, perfect utile, la costume doar cu valoare artistic. n mod, uneori, vemntul construiete volume, delimiteaz sau decupeaz forme, remodeleaz trupul. Astzi ns, de cele mai multe ori, corpul extrem de expresiv d form hainelor moi sau chiar elastice. Cultura trupului din ultimii 40 de ani, concretizat printr-un stil de via sntos, o alimentaie atent supravegheat, mult sport i eventual corecii chirurgicale alturi de obsesia general de a arta ct mai tnr, a dus la apariia unei populaii destul de artoase, cu un interes vdit de a-i construi o imagine personal ct mai asemntoare cu idealul de frumusee impus de manechinele de mod. ncepnd cu anii 90, obositoarea uniformizare obinut prin imitarea acestui ideal a fost spart, permind existena simultan a mai multor frumusei, intens mediatizate pe toate canalele de comunicare. Originalitatea indivizilor, caracterele aparte devenite acum la mod, dei nu au contrazis n mod evident silueta cu msurile considerate perfecte 90 / 60 / 90 i nici nu s-au ndeprtat prea mult de la obsedanta imagine a modelelor de pe catwalk, au adus o oarecare varietate de imagine i au permis recunoaterea unei diversiti de tipologii nu doar acceptate, ba chiar adulate de tot mai muli tineri care se regseau astfel mai uor. Sfritul secolului XX a venit cu o relativ relaxare n moda dictat acum creatorilor direct de pe strad, de grupuri de tineri.

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However today, most of the times, the extremely expressive body shapes the soft or even elastic clothes. During the latest 40 years the body culture, carried out and materialized through a healthy lifestyle, a carefully supervised nutrition, a lot of sport and eventually surgical corrections, associated with the general obsession to look younger, facilitated the emergence of a rather good-looking population, eager to construct their personal image in a similar way to the one highlighted by the ideal of beauty imposed by the fashion models. Starting with the 90s, the tiresome homogenization obtained through the imitation of this ideal was broken permitting the simultaneous existence of more types of beauty, intensely mediated on each channel of communication. The originality of the individuals and the special characters in fashion, although they did not oppose evidently to the general demand concerning the silhouettes perfect size, 90/ 60/ 90, and didnt really move away from the obsessing image of the

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Cei nscui imediat dup al Doilea Rzboi Mondial, generaia numit baby boom, nti i-au admirat mamele transformate de romantica imagine a new look-ului, propus de Christian DIOR n 1947, i apoi au parcurs pe rnd toate modele, de la cea cosmonaut a anilor 60, la cea cu elemente autentic etnice a valului Hippy, pentru ca mai apoi, aceiai indivizi s devin neo baba sau, pe direcia diametral opus promovat de skinheads, s vireze spre punk. Aceti reprezentani bine ncercai de desele schimbri ale modei, dar i de trecerea anilor, ajuni astzi n pragul pensiilor, i-au ctigat experiena necesar compunerii unei imagini personale, dup bunul lor plac. Poate nu ntmpltor, celebrii creatori seniori cu un considerabil aport creativ Sonia RYKIEL i Vivienne WESTWOOD sunt mai deschii ctre multiplele propuneri, e ele venite din strad, ca expresie colectiv a unei imagini costumare care se compune ca un puzzle, sub ochii notri. Diversitatea imaginii umane specic timpului prezent este rodul legturii dintre trupurile expresive i lucrate aparinnd diferitelor rase sau chiar ns-

catwalk models, emphasized a certain image variety and allowed the acknowledgement of a wide range of typologies, which were not only accepted but also adulated by more and more young people, who could nd themselves in a much easier way like this. The end of the 20th century came with a relative relaxation in the fashion dictated, at the moment, to the creators directly from the street, by groups of young people. Those, who were born immediately after the Second World War, the so-called baby boom generation, had rstly admired their mothers transformed by the romantic image of the new look, proposed by Christian DIOR in 1947, and then ran through all the models, one by one, from the cosmonaut pattern in the 60s to the Hippy wave provided with authentic ethnic elements, then the same individuals became the neo baba or, following the diametrically opposed direction promoted by the skin heads, they turned towards the punk. These representatives, who had highly coped with the frequent transformations in the context of fashion, as well as with the passage of time, today almost pensioners,

reached the experience needed to compose a personal image, according to their own preferences. It might not be a surprise that the well-known senior creators, famous for their considerable creative contribution, Sonia RYKIEL or Vivienne WESTWOOD, are more open to multiple suggestions, no matter if they derive from the street, as the collective expression of a disguised image composed as a puzzle under our eyes. The diversity of the human image, specic to the present time, represents the outcome of the connection between the expressive and transformed bodies belonging to different races, or even born from surprising crossings and the outt, sometimes signed by the great creators, and some other times by the rm or, most of the times, deriving from second hand sources, obtained from old clothes markets or vintage stores, each time worn in personal mixtures and combinations betraying ones more or less educated preference. Probably this is why during the latest years, in the whole world, they have founded a lot of fashion

cute din surprinztoare ncruciri i vemintele, uneori purtnd semntura marilor creatori, alteori de rm sau, de cele mai multe ori, de provenien second-hand, procurate din trguri de vechituri sau din magazine vintage, i de ecare dat purtate n amestecuri i combinaii ct mai personale care trdeaz gustul mai mult sau mai puin educat. Probabil c din aceast pricin, n ultimii ani, n toat lumea s-au nscut foarte multe coli de mod, nu neaprat dintr-o cerin a pieei, ci mai ales din nevoia lefuirii gustului i educrii artistice a unui ct mai mare numr de tineri, formai anume pentru a confeciona imagini expresive i pline de semnicaii, din aceast alturare a trupului cu vemntul. Astfel, moda vine acum n mare msur de la grupuri de tineri anonimi, care i promoveaz creaiile direct n strad. O alt zon a modei, controlat de specialiti educai, a fuzionat cu arta, devenind un domeniu spectacular, intens mediatizat. Pe msur ce artele vizuale au renunat la gurativ i au rmas s se exprime doar prin propriul lor

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limbaj abstract, corpul uman a intrat n plastic, devenind pat de culoare, vector dinamic sau semn n compoziie. Din acest moment, opera de art nu se mai citete doar pe o suprafa, ci ntr-un spaiu i ntr-un anumit interval de timp. S-au nscut astfel artele aciunii cu multiple ramicaii susinute de multe ori de mijloacele media. Trupurile umane prezente n experimentele artistice neconvenionale au fcut mereu trimiteri ctre manechinele de mod, mprtind de ecare dat idealurile i frmntrile aceluiai moment. n timp ce n art Postmodernismul a cobort abrupt tacheta pentru a ct mai pe gustul maselor, tulburnd scri ale valorii, ordini i ierarhii construite pe baza unor criterii acum spulberate, n mod au fost dintotdeauna ncurajate prelurile i citatele de tot felul. Elemente ale costumelor istorice au revenit de ecare dat n actualitate, integrate ns n alt context. Moda a devenit astzi un fenomen cu rol determinant n cultura vizual, diseminnd n mod resc n zona experimentelor interdisciplinare. Acestea s-au extins n ultimii ani i n lumea teatrului. Trupul uman, cu puterea lui de expresie, a mbogit spectacolul vizual gndit de plasticieni sau plasticienii au experimentat n zona cinematografului (GRUNEWAY) sau a teatrului (S. SHAINA, T. KANTOR), pentru a lucra imaginea, scen de scen, cadru de cadru, ca pe o niruire de compoziii. n astfel de spectacole, doar uneori se mai pstreaz textul dramatic, ca n cazul polonezilor. Alteori ns, el lipsete, ca n cazul lui B. WILSON. Bun cunosctor al diferitelor experimente teatrale de tipul Living Theatre sau Laboratorul din Wrocaw, Mihai MLAIMARE face studii asupra micrilor corpului uman n relaie cu spaiul ambiental si ncearc s dezvolte posibilitile interpretative ale actorului printr-o serie ntreag de exerciii elaborate, care

schools, not necessarily because of the markets demands but especially to provide an artistic education to polish the artistic preferences of a large number of young people, who had been educated to manufacture expressive and signicant images from this association between the body and garments. Thus at the moment fashion is mostly related to the groups of anonymous young people promoting their creations directly in the street. Another zone of fashion, controlled by educated specialists, has merged with art becoming a spectacular and intensely mediated domain. While the visual arts gave up the gurative elements expressing themselves only by means of their own abstract language, the human body entered the artistic context becoming a spot of colour, a dynamic vector or sign in compositions. Starting with this moment, the work of art is no longer read only on a surface, but within a certain space and period of time. As a result, we mention the arts of action with multiple ramications frequently supported by the media means. The human bodies, present in the non-conventional artistic experiments, had always referred to fashion models, by permanently sharing the ideals and anxiety of the same moment. While in art postmodernism lowered the bar one notch in order to reach the expectations of masses, troubling the scale of values, order and hierarchy, constructed on the basis of some criteria, which are gone at the moment, in fashion they had always encouraged all kinds of reconsiderations and quotations. Elements of historical outt had been always reconsidered even if integrated into another context. Nowadays fashion has become a decisive phenomenon in the visual culture, naturally disseminating in the area of interdisciplinary experiments. These extended to the world of theatre as well.

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Delia VASILE coordonator | coordinated by Unda POPP

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Antoaneta TIC coordonator | coordinated by Unda POPP

The human body, with its power of expression, enriched the visual performance considered by the visual artists, or the artists experimented in the context of cinematography (Gruneway) or theatre (S. SHAINA, T. KANTOR), in order to work on the image, scene by scene, frame by frame, as if it were a chain of compositions. In such performances they seldom preserve the dramatic text, like in the case of the Polish people. Some other times, it is missing, like in the case of B. WILSON. A good expert of different theatrical experiments such as Living theatre or The Laboratory from Wrocaw, Mihai MLAIMARE performs some studies focused on the human bodys motions in connection with the ambience, and tries to develop the actors interpretative possibilities through a whole series of elaborated exercises aiming to raise the psychic and physical availability of the performers.

au ca principal scop creterea disponibilitii psihice i zice a performerilor. Costumele n acest caz, pe lng rolul de a caracteriza personajele i de a transmite spectatorilor prin forma, culoarea i materialitatea lor diferite mesaje, au menirea de a ncrca imaginea cu simboluri generatoare de multiple conexiuni ideatice. Aa cum Julian BLACK i Judith MALINA elaboreaz limbajul scenic utiliznd n spectacolele lor foarte puine cuvinte i uneori doar pentru efectele lor onomatopeice , la fel se petrece i n Piesa cu ngeri a lui MLAIMARE, care este construit doar cu elemente ale teatrului vizual. Povestea fantastic a lui Gabriel Garca MRQUEZ despre un nger, Un domn foarte btrn cu nite aripi enorme, ajuns ntmpltor n curtea unor muritori de rnd, este interpretat de trupa de actori ca o nlnuire de imagini / compozitiii sugestive. Personajele emblematice (preotul, femeia habotnic, autoritatea, eroul de rzboi, tnra ndrgostit, alchimistul etc.) sunt construite astfel nct s fie recunoscute de public de la prima lor apariie. Costumul, micarea, atitudinea corporal i muzica sunt singurele elemente de comunicare ale acestui tip de spectacol lipsit de cuvinte. Bill VIOLA, cu dramatismul imaginilor sale, a fcut cu siguran i el parte din documentarea regizorului. Acest fapt este evident n special n fotograile din spectacol, care xeaz compoziii atent elaborate, mai puin sesizabile n dinamismul general al desfurrii evenimentului scenic. O caracteristic a acestor forme artistice de grani este modul de implicare al publicului n spectacol. Prin efortul su, regizorul impulsioneaz spectatorul s participe activ, sugernd mereu noi corelaii ntre informaii, imagini, evenimente, fapt ce contrasteaz puternic cu atitudinea pasiv a publicului dintr-o sal clasic de expoziii sau de teatru. Studenii Departamentului Mod sunt ncurajai i ei n mod programatic s experimenteze crearea

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In this case, besides their mission to characterize the characters and convey different messages through their form, colour and materiality to the spectators, they are meant to provide the image with symbols generating multiple ideative connections. Just like Julian BLACK and Judith MALINA elaborate the scenic and theatrical language by using few words in their performances sometimes only because of their onomatopoetic effects the same goes on in Mlaimares play with angels, constructed only with the elements of the visual theatre. The fantastic story of Gabriel Garca MRQUEZ about an angel, A very old man with some enormous wings, reached fortuitously to the yard of some common people, is interpreted by the group of actors as a chain of suggestive compositions. The emblematic characters, the priest, the bigoted woman, the authority, the war hero, the young woman in love, the alchemist etc., are constructed so that they can be recognized by the public starting with their rst appearance. The outt, motion, bodily attitude and music are the only elements of communication regarding this type of performance deprived of words.
Andreea POSTELNICU & Alina GURGU Canarul albastru, Teatrul Masca | The Blue Canary, Masca Theatre

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unor personaje pe scena teatrului n vederea obinerii unor abiliti de comunicare a diferitelor mesaje prin intermediul costumelor. Dac pn anul trecut aceste ntlniri dintre Mod i Actorie au fost mai mult sau mai puin ntmpltoare, acum asistm la o colaborare susinut dintre dou grupe de studeni care au lucrat n anul I pentru teatrul antic, n anul II pentru commedia dellarte i sperm s continum i anul acesta, pentru lucrrile de diplom i poate chiar i mai departe, n dorina formrii unor echipe interdisciplinare, dincolo de anii de coal. Aceast experien extrem de util d posibilitatea studenilor de la Mod s-i verice creaiile purtate acum de actori pe o scen adevrat.

Given the dramatic nature of his images, Bill VIOLA had certainly belonged to the documentation of the stage manager. This fact is obvious especially in the photos taken during the performance which preserve carefully elaborated compositions, which are less noticeable in the general dynamism of the scenic event. A characteristic of these bound artistic forms is the publics way of implication in the performance. Through his effort the stage manager provokes the spectator to participate actively by always suggesting new correlations among information, images and events, which opposes powerfully to the passive attitude of the public in a classical room of exhibition or theatre plays. The students of the fashion department are programatically encouraged to experiment the creation of some characters on the stage to obtain some abilities needed to communicate different messages by means of garments. Wether until last year these encounters between Fashion and Acting were more or less accidental, at the moment we witness a sustained collaboration between two groups of students who worked for the ancient theatre during the rst year, for the commedia dellarte in the second year, and we hope to continue this year too, for the graduation papers and even further, in order to form some interdisciplinary teams beyond the school years. This extremely useful experience provides the Fashion students with the possibility to verify their own creations worn so far by actors, on a real stage.

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Andreea POSTELNICU coordonator | coordinated by Unda POPP

Doina LUCANU
conf. univ. dr. Senior lecturer Ph.D.

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Pred la Licen i Master n cadrul Departamentului Mod.

Teaches the BA and MA courses of the Fashion Department.

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Cursuri Simboluri i mesaje n vestimentaie Obiect i vemnt Fragment i ansamblu vestimentar

Courses Symbols and messages in clothing Object and garment Clothing fragment and ensemble

Anul I, Master | The rst year of study, Master degree (MA) Proiect | The project Mega Fashion coordonator | coordinated by Doina LUCANU

Vemnt i imagine

Garment and image

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Binecunoscuta armaie fcut de Fred R. BARNARD n anii 20 o imagine face ct o mie de cuvinte a devenit n zilele noastre un truism, n contextul n care imaginea este folosit ca principalul vehicul purttor de mesaj. Trim ntr-o er a imaginii; comunicarea prin imagine este un limbaj universal complex, dar uor de accesat datorit tehnicii extrem de avansate de transmitere, de multiplicare, dar i de transpunere n orice mediu i pe orice tip de material, limbaj ntreinut de cel mai important dintre simuri: vzul. Comunicarea prin imagine se adreseaz unui mare numr de receptori. n prezent, limbajul vizual este extrem de uzitat, astfel nct imaginea ocup un spaiu tot mai mare, att n publicaiile de mare circulaie (reviste sau albume tiprite, dar i n mediul digital), ct i ca element constitutiv pentru crearea obiectelor de vestimentaie, de decor, utilitare sau artistice. Toate ofertele sunt inuenate de imagine, acestea redau actualitatea prin detalii sau pseudoevenimente care inueneaz puternic mentalitatea consumatorului, crescnd astfel i posibilitatea de manipulare. Imaginea dicteaz de cele mai multe

The well-known statement of Fred R. BARNARD in the 20s an image makes a thousand of words has become a truism nowadays given the fact that the image is used as the main message transmitter. We live in the images era. Communication, by means of the image, represents a complex and universal yet easily accessed language, due to the extremely advanced techniques approached in the transfer, multiplication and transposition in any context, using any type of material, a language preserved by our most important sense: the sight. Communication, through images, addresses a large number of receivers. At present, the visual language is extremely customary so that the image covers a larger and larger space, both in the widely spread publications (not only printed magazines or albums, but also digital ones), and as a constitutive element for the creation of clothing and decorative items, utilitarian or artistic ones. Each supply is inuenced by images; they restore the actual state by means of details or pseudo-events, which inuence the consumers mentality in a powerful way by also increasing the possibility of manipulation.

The image is the one which dictates most of the times when we choose a product from the shelf of a store, when we look at a person, a clothing item, a work of art, an architectural edice, or simply at a general image or detail which draws our attention. Given the transgression of bounds, interferences among various ways of creative expression, or advanced digital techniques used in the present (for instance, the holograms, mappings in three dimensions, and computer generated images) for the accomplishment of a project (fashion presentations and performances, projections, advertising events, plays, lming etc.), the level of visual culture open to the image wave transposes the real and the imaginary into a zone of juxtaposition so that these can be hardly differentiated. Referring to the history of the costume, they spoke a lot about the importance and relevance of the rst impression, this is actually the impact image, and we frequently hear the image counts (referring to ones attire).
Andreea ROTARIU coordonator | coordinated by Doina LUCANU

ori i atunci cnd alegem un produs din raftul unui magazin, cnd privim o persoan, un ansamblu vestimentar, o oper de art, un ediciu de arhitectur ori pur i simplu o imagine de ansamblu sau un detaliu care ne atrage atenia. Datorit transgresrii granielor, a interferenelor dintre diferitele modaliti de exprimare creativ, dar i a tehnicilor digitale avansate care se folosesc n prezent (ex.: hologramele, 3D mapping i CGI computer generated images) pentru realizarea unui proiect (prezentri i spectacole de mod, proiecii, evenimente publicitare, piese de teatru, lmri etc.), nivelul culturii vizuale deschis uxului imaginii transpune realul i imaginarul ntr-o zon de suprapunere, astfel nct acestea pot greu difereniate. S-a vorbit mult n istoria costumului despre ct de mult conteaz prima impresie, aceasta este de fapt imaginea de impact i nu de puine ori auzim expresia imaginea conteaz (fcndu-se referire la inuta vestimentar). ncepnd cu deceniul 8 al secolului XX, n universiMargarita DOVGAN coordonator | coordinated by Doina LUCANU

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tile de prol din lume se studiaz diferite discipline de specialitate pentru dezvoltarea i nelegerea unor limbaje noi de comunicare. O parte important dintre acestea se ocup de comunicarea prin imagine. Pentru susinerea i explicarea unor idei, a unor concepte, care se dovedesc a importante n crearea unei vestimentaii, dar i pentru motivarea actului artistic postmodern, tendina spre experiment ocup un loc foarte important n creaia contemporan n general. Din acest motiv, conduita interdisciplinar a practicii experimental-artistice este introdus prin cursurile Obiect i vemnt i Fragment i ansamblu vestimentar, urmrindu-se an de an dezvoltarea unor abiliti de analiz i producie-vizual care duc vemntul n zona artistic, depind prin concept, textur, materialitate i imagine de ansamblu sau a detaliilor realizate latura comercial a modei. Ca oricare creator care se manifest n zona artelor vizuale, studentul nva i contientizeaz faptul c i creatorul de mod se exprim n limbajul specic vizual al liniilor, formelor, culorilor, semnelor i ma-

Starting with the 8th decade of the 20th century, in the specialized universities of the world they study different subjects to develop and understand some new languages of communication. Most of these concentrate on the communication through images. For the sustenance and explanation of some ideas and concepts, which prove to be important in the creation of some clothing items, and for the motivation of the postmodern artistic act, the tendency towards the achievement of experiments take a very important place in the contemporary creation in general. On this account, the interdisciplinary conduct of the artistic experimental practice is introduced by two courses, Object and garment and Fragment and clothing ensemble, aiming to develop some abilities of analysis and visual production which draw the garment towards the artistic zone, overstepping the commercial side of fashion through concepts, texture, materiality and the general or detailed images. As any creator, who manifests in the context of visual arts, the student learns and becomes aware
Liliana CREAZ coordonator | coordinated by Doina LUCANU

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of the fact that the creator of fashion also expresses himself in the specic visual language of lines, forms, colours, signs and substance. For the clothing objects to be as original as possible in most of the cases the materials used are processed by means of traditional, contemporary (very professional ones) or personal techniques. Although students generally inspire themselves from the documentations, research and suggestions made by the professor, relating both to the most recent tendencies, and the recent or remote past in the domain of fashion, of art, architecture or everyday life, I suggest and highlight them permanently in the exploration and experimentation not only of all thats new or inspiring at the moment, concerning the surfaces or materials specic to the artistic domain, but also of other domains (for instance, materials of construction), or materials taken from nature etc., in order to discover new textures, structures and materiality. The mobile of experiments in different materials and techniques, which I suggest and coordinate for the development of conceptual abilities and the
Alexandra VULPE coordonator | coordinated by Doina LUCANU Patricia STROE coordonator | coordinated by Doina LUCANU

teriei. Pentru ca obiectele vestimentare s e ct mai originale materialele folosite n majoritatea cazurilor sunt prelucrate prin tehnici tradiionale ori contemporane (foarte performante) sau prin tehnici personale. Chiar dac n mod resc studenii se inspir din documentrile i propunerile fcute de profesor, raportndu-se att la ultimele tendine, ct i la trecutul recent sau ndeprtat din domeniul modei, al artei, al arhitecturii sau al vieii cotidiene, le propun i-i provoc permanent n explorarea i experimentarea a tot ce gsesc nou sau i inspir pe moment n materie de suprafee sau materiale specice domeniului artistic, dar i altor domenii (ex.: materiale de construcii) sau materiale luate din natur etc., pentru a descoperi texturi, structuri i materialiti noi. Mobilul experimentelor n diferite materiale i tehnici pe care le propun i coordonez, pentru dezvoltarea abilitilor conceptuale i a creativitii studenilor, i gsete n ecare an noi provocri i valene, ind aproape de ecare dat prezentat ntr-un alt context. n multe situaii, proiectele
Mira SFURA coordonator | coordinated by Doina LUCANU

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Alexandra VULPE coordonator | coordinated by Doina LUCANU

Alexandra VULPE coordonator | coordinated by Doina LUCANU

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masteranzilor sunt integrate n proiecte mult mai ample, n acest an tema Brazi de Crciun a fost propus pentru proiectul Mega Fashion iniiat de patronajul unui mare mall din Bucureti, n colaborare cu agenia de publicitate Saatchi & Saatchi i Universitatea Naional de Arte. Obiectele-vemnt create de studeni se integreaz astfel ntr-o campanie mai ampl pentru construirea i susinerea unei imagini de brand. Schiele de idee, exerciiile ludice, analizele plastice, dar i dezbaterile care au avut loc pe marginea temei propuse n cadrul laboratorului de cercetare creativ au dus la crearea unor obiecte-vemnt de mari dimensiuni (3-4 metri nlime) executate att n tehnicile tradiionale (de coasere, pliere, esere i mpletire a materialului), ct i n tehnici inovatoare, studenii nelegnd c amestecul mediilor poate s exprime i s nuaneze mult mai sugestiv un concept propus. Strategiile de dezvoltare a imaginii de brand sunt diferite, n funcie de domeniul de activitate al diverselor companii. Un alt exemplu la care Departamentul Mod s-a implicat ar participarea cu succes n
Roxana BENEA coordonator | coordinated by Doina LUCANU

students creativity, nds new challenges and aptitudes every year, being presented in more different contexts almost every time. In many situations the projects of the MA students are integrated in more complex projects, for instance, this year their topic, Christmas trees, was proposed for the Mega fashion project initiated by the patronage of a great Mall from Bucharest, in partnership with an advertising agency, Saatchi & Saatchi, and the National University of Arts, Bucharest. Thus the clothing items created by the students integrate in a more ample campaign for the construction and support of a brand image. The sketches of ideas, the playful exercises, artistic analysis, and the debates focused on the topic suggested in the creative research laboratory, facilitated the creation of some large clothing objects (3-4 meters high) executed both in the traditional techniques (the sewing, folding, weaving and knitting of the material) and innovating ones, thus the students understand that the mixture of contexts can express and modulate a proposed concept in a more suggestive way.
Adriana TNSACHE coordonator | coordinated by Doina LUCANU Nicole BERGMANN coordonator | coordinated by Doina LUCANU

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Denis OAN coordonator | coordinated by Doina LUCANU

Serghei IACENIN coordonator | coordinated by Doina LUCANU

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Mirela BARBU & Lavinia BOTUANU coordonator | coordinated by Doina LUCANU

Laura SMARANDACHE & Constana BALABAN coordonator | coordinated by Doina LUCANU

Norina STOICA coordonator | coordinated by Doina LUCANU

Roxana PRVU & Roxana RUSU coordonator | coordinated by Doina LUCANU

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doi ani consecutivi la concursul internaional interuniversitar iniiat i organizat de Compania Triumph Internaional, la care studenii departamentului nostru au luat premii n 2011 i n 2012. Alteori, instalaiile i obiectele-vemnt realizate cu studenii, ca experimente la nivelul tehnicilor de compoziie structural, depesc conveniile i creeaz ansambluri expresive, interacionnd unele cu altele, n unele cazuri lucrrile trind ca obiecte disparate, intrnd n rezonan cu contextul propus, gsindu-i astfel locul n expoziiile de art decorativ organizate n ecare an de Universitatea Naional de Arte din Bucureti, la Galeria Cminul Artei a Uniunii Artitilor Plastici.

The strategies approached to develop a brand image are different, according to the domain of activity carried out by different companies; another example illustrating the implication of the fashion department might be suggested by the successful participation, two years in a row, in the inter-academic international contest initiated and organized by the International Triumph Company, when the students of our department obtained a number of prizes in 2011 and 2012. Some other times, the installations and clothing objects carried out with the students as experiments at the technical level of structural composition go beyond the conventions and create expressive ensembles, interacting with each other, or in some cases the works function as disparated and disconnected objects in resonance with the proposed context, thus nding their place in the exhibitions of decorative art organized each year by the National University of Arts, Bucharest, at the Cminul Artei Gallery of the Union of Professional Artists.

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Mihaela PETRE coordonator | coordinated by Doina LUCANU

Anul I, Master | The rst year of study, Master degree (MA) Proiectul | The project Mega Fashion coordonator | coordinated by Doina LUCANU

Izabela TOADER coordonator | coordinated by Doina LUCANU

Alina Maria GRIGA


lect. univ. dr. Lecturer Ph.D.

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Pred la Licen n cadrul Departamentului Mod.

Teaches the BA courses of the Fashion Department.

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Cursuri Tehnici de transpunere bi i tridimensional Concept i exprimare n mod Courses Techniques of bi and tridimensional transposition Concept and expression in fashion

Anca CAPROS coordonator | coordinated by Alina Maria GRIGA

Manipularea suprafeelor textile i netextile n moda contemporan

The manipulation of textile and nontextile surfaces in the contemporary fashion

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Moda actual capt multe forme, ea interacioneaz continuu cu ideile i viziunile multor artiti, evolund n curentele i mediile artistice unde creatorii de vestimentaie gsesc soluii dintre cele mai surprinztoare. Unii dintre ei ntr-o manier suprarealist, alii distorsionnd, mrind i deformnd corpul uman. Alii caut soluii ori materiale noi care s deneasc ideal silueta uman. Aceste cautri i reuite sunt ilustrate de lucrrile lui Issey MIYAKE, Junya WATANABE pentru Comme des Garons sau n expoziia Techno Couture, Azzedine ALAA n Radical Fashion. n Visions of the Body (2005), creaia de mod este prezentat din perspectiva relaiei dintre corpul uman i costum n diferite perioade. Corpul feminin este un suport pentru piese vestimentare care deformeaz voit corpul femeii pn la atingerea unei forme perfecte, a siluetei la mod. Relaia dintre corpul uman i vestimentaie cunoate o dinamic a eliberrii, ceea ce a dus la o mare diversitate i la noi direcii n mod. Noile forme sunt cele care urmeaz perfect silueta, fr

The actual fashion is provided with many forms, it continuously interacts with the ideas and visions of many artists, developing in the artistic contexts, where the fashion creators nd more and more surprising solutions. Some of these, through a surrealistic manner, some others by distorting, increasing and deforming the human body. There are others who search for new solutions or materials to dene the human silhouette in an ideal way. These explorations and outcomes are illustrated by the works of Issey MIYAKE, Junya WATANABE for Comme des Garons or in an exhibition, Techno Couture, Azzedine ALAA in Radical Fashion. In Visions of the Body (2005), the fashion creation is presented from the perspective of the relationship between the human body and the suit of clothes/costume in different periods of time. The feminine body is a support for clothing items which willingly deform the womans body until it reaches a perfect form, the fashionable silhouette. The connection between the human body and clothing emphasizes the dynamics of liberation, which drew to a large diversity and new direc-

tions in fashion. The new forms are those which follow the silhouette perfectly without interfering brutally in the anatomic forms. The bodys liberation form suggests the skins sensibility which introduced the textile materials new levels of tactile sensations. The latest discoveries in the textile domain have transformed the way in which we see and perceive the human body today. Fashion and technology combine harmoniously in topics suggested to the students who approach both the new fashion trends (techno-fashion, slow-fashion, etc.) and the exploration of the traditional yet also experimental process of elaboration. In the manifestations I took part in (shows, performances, presentations and exhibitions) the object costumes were realized from different materials, from textile materials to those unconventional ones such as paper, plastic, netex, wire, or the net made of wire and metal. The last ones are mostly elements which, if used as materials of construction, respond to the most interesting structures.

a interveni brutal n formele anatomice. O form de eliberare a corpului este evidenierea sensibilitii pielii care a introdus noi niveluri de senzaii tactile ale materialelor textile. Descoperirile recente n domeniul textil au transformat modul n care vedem i percepem corpul uman astzi. Moda i tehnologia se mpletesc armonios n teme propuse studenilor, care abordeaz att curente noi ale modei (techno fashion, slow fashion etc.), ct i explorarea procesului de elaborare tradiional, dar n aceeai msur unul experimental. n seria manifestrilor la care am participat cu lucrri de-a lungul timpului (spectacole, performance-uri, prezentri i expoziii), costumele-obiect au fost realizate din diverse materiale, de la cele din materiale textile, la cele neconvenionale, cum ar hrtia, plasticul, netexul, srma, plasa de srm i metalul. Acestea din urm sunt, de cele mai multe ori, elemente care folosite ca material de construcie ascult i rspund celor mai interesante structuri.
Dumitria LUNCA coordonator | coordinated by Alina Maria GRIGA

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Roxana Alexandra GATEJ coordonator | coordinated by Alina Maria GRIGA

Emilia Nicoleta CARP coordonator | coordinated by Alina Maria GRIGA

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Experiena i participarea la o serie de sesiuni n cadrul unor workshop-uri interdisciplinare cu o audien internaional n Frana, la Domaine de Boisbuchet (Charente), pe teme de design, workshop iniiat de Centrul Pompidou, Paris i Vitra Design Museum, Weil am Reim, mi-au oferit posibilitatea de a lucra alturi de Andrei BARTENEV, unul dintre artitii tineri de origine rus, care creeaz costume-obiect instalaii. Costumele pe care leam creat cu acest prilej, pentru Lacul lebedelor i Sprgtorul de nuci, sunt obiecte statui, de mari dimensiuni, cu forme ample, care s-au integrat ntr-o manifestare ce a luat forma unui spectacol vizual, a unor sculpturi n micare. Aceast experien mi-a folosit ulterior n activitatea cu studenii. n acest sens, proiectul Creeaz propriul material se nscrie n seria experimentelor cu studenii, n care manipularea suprafeelor textile i netextile, experimentul personal, creaia de materiale textile i explorarea joac un rol esenial n pacursul de la bidimensional, de la concept, la tridimensional i deschide direcii noi de exprimare artistic. Astfel, materialele textile sunt prelucrate, transformate n
Delia VASILE coordonator | coordinated by Alina Maria GRIGA

The experience and participation in a series of sessions at various interdisciplinary workshops, with an international audience in France, at Domaine de Boisbuchet (Charente), focused on the topic of design, a workshop initiated by the Pompidou Centre, Paris and Vitra Design Museum, Weil am Reim, offered me the possibility to work with Andrei BARTENEV, one of the young artists of Russian origin, who creates object costumes and installations. The outt I created on this occasion for The Swan Lake and The Nutcracker are large and complex statueobjects, which integrated in a manifestation which took the form of a visual performance, more exactly some sculptures in motion. I used this experience subsequently in my activity with the students. From this viewpoint, the Create your own material project relates to the series of experiments with the students in which the manipulation of textile and non-textile surfaces, the personal experiment, the creation of textile materials and exploration play an essential role in the process developed from the bidimensional, from the concept, to the tridimensional, and opens new directions of artistic ex-

pression. Thus the textile materials are processed, transformed in textures and levels, so that the creation becomes an original, subtle and unique gesture. Just like in sculptures, the manipulated textile surface becomes a game or a metaphor.

texturi i straturi, nct creaia devine un gest original, unic, subtil. La fel ca n sculptur, suprafaa textil manipulat devine un joc sau o metafor.

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Claudia Andreea CONSTANTIN coordonator | coordinated by Alina Maria GRIGA

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Antoaneta TICA coordonator | coordinated by Alina Maria GRIGA

Alexandra VULPE coordonator | coordinated by Alina Maria GRIGA

Matei ARNUTU
lect. univ. dr. Lecturer Ph.D.

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Pred la Licen n cadrul Departamentului Mod.

Teaches the BA courses of the Fashion Department.

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Cursuri Proiectarea digital i prelucrarea computerizat a imaginii Ilustraie de mod Courses Digital projection and the computerized image processing Fashion illustration

Beatrice HETRUC Costum din litere pe un personaj dinamic | Outt of letters on a dynamic character coordonator | coordinated by Matei ARNUTU

Acul, foarfeca, tastatura, mouse-ul...

The needle, mouse...

scissors,

keyboard,

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Probabil c nu exist designer, n orice domeniu ar activa, care s nu ajung, n cadrul procesului de creaie, s se aeze n faa calculatorului. Motivele sunt simple: acest instrument versatil poate genera rezultate spectaculoase ntr-un interval de timp scurt, mbuntind uxul de lucru i stimulnd creativitatea. n plus, accesul la imensa baz de date care nseamn Internetul, poate echipa designerul cu un bagaj valoros, care l va acompania cu succes n demersul su creator. n designul de mod contemporan, prelucrarea imaginii pe calculator a devenit o etap integrat n procesul de creaie. De la fazele preliminare n crearea unei colecii, cum ar studiul tendinelor, conceperea de mood board-uri, partea de ilustraie de mod, imprimerie, tipar, pn la etapele nale cum ar edinele foto, crearea materialelor de comunicare etc., echipele de creaie sunt asistate de calculatoare mobilate cu programe de prelucrare a imaginii. Departamentul de Mod al Universitii Naionale de Arte ofer studenilor cursuri de pregtire n domeniul prelucrrii imaginii pe calculator n primii doi

Probably there is no designer, regardless of the domain, who, in the context of his creative process, would not nally sit down, in front of his computer. The reasons are simple: this irresolute instrument can generate spectacular results during a short interval of time, improving the work stream and stimulating creativity. Moreover, the access to the immense data basis represented by the Internet can provide the designer with a precious baggage which is meant to join him successfully in his creative approach. In the contemporary fashion design the computerized image processing has become an integrated stage of the creative process. From the preliminary phases in the creation of a collection such as the study of tendencies, the conceiving of mood boards, the part regarding the fashion illustrations, the printery and print, to the nal stages such as the photo sessions, the creation of communication materials etc., the teams dealing with the artistic creation are assisted by computers equipped with image processing programs.

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Gina CASAPU Hainele operei de art | The garments of a work of art coordonator | coordinated by Matei ARNUTU

Alexandru-Adrian IVAN Hainele operei de art | The garments of a work of art coordonator | coordinated by Matei ARNUTU

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Silviu GRUIANU Designul unui costum cu piese multifuncionale The design of a costume with multifunctional items coordonator | coordinated by Matei ARNUTU

The Fashion Department of the National University of Arts offers the students trainings in the domain of computerized image processing during the rst two years of the academic cycle. The introduction of students in the virtual creative space starting with the rst year of study is done gradually, from primary technical notions, served in small quantities, not to create a possible aversion for a domain which might seem unproductive. Starting from the rst classes, the students get the necessary abilities to solve the simple yet charming and creative topics (for instance, to dress up a classical work of art through the collage method, using elements from nature), which should increase their faith in the fact that this complex instrument, the images computerized editing program, can be their valuable ally in the process of creation. During the two years of design study assisted by the computer the students learn notions of image editing in a number of programs such as Adobe Photoshop, Adobe Illustrator and Adobe Indesign, studying them in a specic way as programs to edit bitmap images, vectorials, publications (mixed images) by also learning the way in which these programs interact with each other, contributing to an efcient and creative work stream. While the students accumulate information, the topics become more complex, by also preserving the specic features of the sphere of interest: the fashion design. Thus at the end of the educational study the collaboration with students completes with a complex project, such as the realization of a fanzine meant to support the whole creative process of a clothing item, from the project sketch, illustration, mood board, material sampling, computerized simulation, to the achievement of a professional photo session with the proper clothing item, which had been already executed by the student. The courses of computerized design are meant to provide the students both with the supplementary work instruments in the process of creation, to increase the work speed and the degree of efciency, and with new ways to develop the creativity of the future fashion designers.

ani ai ciclului universitar. Introducerea studenilor n spaiul de creaie virtual, ncepnd cu primul an de studiu, se face treptat, plecnd de la noiuni tehnice primare, servite n doze mici, pentru a nu crea o posibil aversiune fa de un domeniu care poate prea arid. Din primele ore de curs, studenii capt abilitile necesare pentru a rezolva teme simple, dar savuroase i creative (spre exemplu, s mbrace o oper de art clasic, prin metoda colajului, folosind elemente din natur), care s le creasc ncrederea n faptul c acest instrument complex care este programul de editare computerizat a imaginilor le poate un aliat valoros n procesul de creaie. Pe parcursul celor doi ani de studiu al designului asistat de calculator, studenii dobndesc noiuni de editare a imaginii n programe precum Adobe Photoshop, Adobe Illustrator i Adobe Indesign, studiindu-le n mod specic ca programe de editare a imaginilor bitmap, vectoriale, respectiv de editare a publicaiilor (imagini mixte) i nvnd i modul n care aceste programe interacioneaz ntre ele, contribuind la un ux de lucru ecient i creativ. Pe msur ce studenii acumuleaz informaii, temele devin mai complexe, pstrndu-se n acelai timp specicul sferei de interes: designul de mod. Astfel, la sfritul ciclului de studiu, colaborarea cu studenii se ncheie cu un proiect complex, cum ar realizarea unui fanzin care s documenteze ntregul proces de creaie al unei piese vestimentare, de la stadiul de schie de proiect, ilustraie, mood board, sampling de materiale, simulare computerizat, pn la realizarea unei edine foto profesionale cu piesa vestimentar propriu-zis, deja executat de student. Cursurile de design asistat de calculator au ca obiective echiparea studenilor cu instrumente de lucru suplimentare n procesul de creaie, creterea vitezei de lucru i a ecienei, precum i gsirea de noi ci de dezvoltare a creativitii viitorilor designeri de mod.

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Alina STROE Dans | Dance coordonator | coordinated by Matei ARNUTU

Sergiu CHIHAIA
asist. univ. drd. Junior lecturer Ph.D. candidate

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Pred la Licen n cadrul Departamentului Mod.

Teaches the BA courses of the Fashion Department.

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Curs Crochiuri de mod Courses Fashion sketches

Construind o arhitectur a Modei

Setting up an Architecture of Fashion

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Moda este arhitectur e vorba de proporii. Coco CHANEL

Fashion is architecture it is about proportions. Coco CHANEL

Arhitecii i designerii vestimentari vorbesc aceeai limb de foarte mult timp. ntotdeauna au mprit o relaie reciproc bazat att pe principii vizuale, ct i intelectuale, i unii i alii produc structuri bazate pe volum, form, funcie, proporii i material. Arhitectura se face simit n mod prin folosirea structurilor (scheletelor din srm), metalelor pliabile, materialelor plastic exibile n acelai timp, arhitecii contemporani mprumut tehnici din magazia industriei textile: plierea, draparea, faldarea, mpletirea .a., pentru a realiza cldiri interactive i chiar portabile. n timp ce designerii vestimentari i arhitecii creeaz obiecte care difer ca mrime i material, procesul creativ pe care l adopt este similar. i unii i alii ncep cu mediul plat, bidimensional, pe care-l transform ntr-o form complex tridimensional. Totul a nceput odat cu expoziia Skin and Bones:

The architects and fashion designers have been speaking the same language for a very long time, they have always shared a mutual relationship based both on visual and intellectual principles, they both produce structures based on volume, form, function, proportions and materials. Architecture is sensed in fashion through the usage of structures (luges made of wire), metals that may be folded or exible plastic materials. The contemporary architects also borrow techniques related to the store of textile industries such as folding, draping, pleat, knitting and weaving etc, in order to execute interactive or even portable buildings. While the fashion designers and architects create objects, which are different as size and material, the creative process adopted is similar. Both of them set off with the at and bidimensional medium, which they subsequently transform into a complex tridimensional form.

All this began at the same time with the Skin and Bones: Parallel Practices in Fashion and Architecture exhibition the Museum of Contemporary Art (MOCA), Los Angeles, November 19, 2006 March 5, 2007, whose curator was Brooke HODGE. Here one could see what happens when fashion runs into architecture; although these two types of practice dont seem to have anything in common, you are amazed to discover a great deal of similarities, which are very close to each other. The starting point of these two directions is the same the human body, both protect and shelter the man, providing him with an identity, which may be personal, political, religious or cultural. Some of the most well-known artists belonging to the two spheres of activity, fashion and architecture, participated in the event, which proved a real success. I was personally overwhelmed by it thus, starting with the beginning of the masterate studies, I started to search for the intermediary forms and structures of the two practices and forms through which I try to nd a personal way of expression. Although in fashion the geometry of forms cant be

Parallel Practices in Fashion and Architecture Muzeul de Art Contemporan (MOCA), Los Angeles, 19 noiembrie 2006 5 martie 2007, Brooke HODGE ind curatorul. Aici s-a vzut ce se ntmpl atunci cnd moda se ciocnete de arhitectur. Chiar dac nu par a avea nimic n comun aceste dou practici, rmi uimit s descoperi cte asemnri gseti i ct de apropiate sunt una de alta. Punctul de plecare pentru cele dou direcii este acelai corpul uman, amndou protejeaz i adpostesc omul, oferindu-i o identitate, e ea personal, politic, religioas sau cultural. Cei mai de seam artiti din ambele sfere de activitate, mod i arhitectur, au participat la eveniment, care s-a dovedit de un real succes. Pe mine personal m-a cucerit pe deplin, astfel nct, nc de la nceputul studiilor masterale, am nceput s caut forme i structuri intermediare celor dou practici, forme cu ajutorul crora ncerc s gsesc un limbaj propriu de exprimare.
Chiar dac, n mod, geometria formelor nu se citete att de bine ca n arhitectur, asta nu nseamn c ea lipsete. Geometria se a att n slujba arhitecturii, ct i a modei, genernd forme
Sergiu CHIHAIA Share your happiness

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din ce n ce mai complexe. Cu toate c hainele convenionale sunt alctuite din tipare (abloane geometrice bine denite), pri de material, asamblate pentru a alctui un ntreg, o inut, conform formei corpului uman, ele (tiparele) nu se citesc n exterior, mai ales atunci cnd haina este mbrcat. Printre alte paralele care se pot trasa ntre mod i arhitectur, cele mai izbitoare i mai recent sunt adoptarea stilului Minimalist i Deconstructivismul. Calvin KLEIN este cunoscut ca ind fondatorul minimalismului n mod, urmat de Halston, Yves Saint LAURENT, Giorgio ARMANI, Miuccia PRADA i Helmut LANG. Culori neutre, simple n design, lipsit de ornament, aceste inute ale anilor 70 i 80 au o simplitate modern i pur, care sub multe aspecte se leag de stilul internaional al lui Le CORBUSIER, Richard NEUTRA i Ludwig Mies van der ROHE al anilor 20 i 30, i cu cldirile din sticl construite n anii 50 i 60.

read as well as in architecture, it does not mean it is missing. Geometry serves both architecture and fashion, generating more and more complex forms. Even if the conventional clothes are created from patterns (well-dened geometric patterns), parts of the material ensembled in order to create a whole, an attire, according to the form of the human body, they (the patterns) are not read externally, especially when the clothing is put on. Among other parallels, which can be traced between fashion and architecture, the most striking and recent one is the adoption of the Minimalist Style and Deconstructivism. Calvin KLEIN is known as the founder of minimalism in fashion, followed by Halston, Yves Saint LAURENT, Giorgio Armani, Miuccia PRADA and Helmut LANG. Dened by neutre colours, a simple design and no ornaments, these clothes of the 70s and 80s are typical for their modern and pure simpleness which, from many viewpoints, is related to the international style of Le CORBUSIER, Richard NEUTRA and Ludwig Mies van der ROHE of the 20s and 30s, and the buildings made of glass in the 50s and 60s. In fashion and architecture, deconstructivism is an even more complex topic. Although the inuences of this trend werent always the same in fashion and architecture, the deconstructed clothes, with their unweaved and threadbare margins, as well as the hemstitches, with holes and cuttings appearing wilfully, make their appearance on the podiums from Paris through the collections of the two Japanese designers, Yohji YAMAMOTO and Rei KAWAKUBO as Comme des Garons, approximately when the theories of deconstructivism began to be discussed by the architects. What is interesting is the fact that a term such as Decostructivism wasnt initially used by the fashion designers to describe their collections, it was used later by two fashion critics, Bill Cunningham in March 1990 and Amy M. SPINDLER in 1993. The deconstruction of clothes and their reconstruc-

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Deconstructivismul n mod i arhitectur este un subiect i mai complex. Chiar dac inuenele acestui curent nu au fost aceleai pentru mod i arhitectur, hainele deconstruite, cu marginile destrmate i uzate, lsnd la vedere tivurile, cu guri i tieturi care apar intenionat, i fac apariia pe podiumurile de la Paris prin coleciile designerilor niponi Yohji YAMAMOTO i Rei KAWAKUBO sub rma Comme des Garons, cam n acelai timp cnd teoriile deconstructivismului au nceput s e discutate de ctre arhiteci. Interesant este c termenul Deconstructivism nu a fost iniial folosit de designerii vestimentari pentru a-i descrie coleciile lor, ci a aprut mai trziu, folosit de criticii de mod Bill Cunningham n martie 1990 i Amy M. SPINDLER n 1993. Decostruirea hainelor i reconstruirea lor ntr-o alt manier, crend un ansamblu vestimentar deformat, expresivizat i nonconformist folosind modaliti ingenioase de modelare a formei i materialului textil, apelnd la aparenta nerespectare a canoanelor modei, intereseaz din ce n ce mai mult. Aspectul nal vizual este caracterizat de impredictibilitate

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tion in another manner, creating a deformed, expressivized and non-conformist clothing ensemble by using some ingenious modalities to model the form and textile material, while appealing to the apparent inobservance of the fashion patterns becomes more and more interesting. The nal visual aspect is characterized by impredictability and controlled chaos. Deconstructivism represents the progress of fashion (clothing design) towards a direction which was not explored till the beginning of the 80s, the one regarding the ignorance of previous rules (purism, the respect for the materials used etc.). The deconstruction term was applied on a larger scale to a series of artistic disciplines such as architecture, design, sculpture and music. In fashion, considering the fundamental forms of the beginning of creation, the deconstructed or deformed clothes differ dramatically from those beautifully nished and polished we are used to, most of the times they have an unnished and unpolished aspect, letting the hemstitches hang, unwoven to fringes, sometimes they seem the separate parts of

i haos controlat. Deconstructivismul este progresul modei (designului vestimentar) nspre o direcie neexplorat pn la nceputul anilor 80, aceea a ignorrii regulilor anterioare (purism, delitatea pentru materialele folosite .a.). Termenul deconstrucie a fost aplicat, pe o scar mai ampl, unui ir de discipline artistice cum ar arhitectur, design, sculptur i muzic. n mod, lund formele fundamentale nceputului creaiei, hainele deconstruite sau deformate difer dramatic de cele frumos nisate, lustruite, cu care suntem obinuii. De cele mai multe ori, ele au un aspect neterminat, nenisat, cu tivul (marginile) lsate s atrne, destrmat pn la franjuri, uneori par a pri separate ale diferitor inute, decupate i asamblate, formnd un ntreg care tocmai a trecut printr-un proces de reciclare. Aceast tendin n mod are o gam cromatic restrns, apelnd, de cele mai multe ori, la culori nchise, n special negru, sugernd srcia, devastarea, degradarea, n timp ce siluetele tind s ascund corpul i s-l lipseasc de o clar frontalitate.

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different types of clothes, cut out and ensembled, composing a whole, which has just passed into a process of recycling. This tendency in fashion has a limited chromatic scale, mostly appealing to dark colours, especially black, suggesting poverty, devastation and degradation, while the silhouettes aim to hide the body depriving it from a clear frontality. Deriving from the writings of the French philosopher, Jacques DERRIDA, in 1960, deconstruction, related to the contemporary fashion, is still a subject deeply explored by art critics and theoreticians. With some sources in the punk stream, which had invaded the streets of London 30 years ago, with their uniforms, one can say that the ofcial date when they legalized the term of deconstruction in fashion coincided with the debut of the Japanese designers, Rei KAWAKUBO and Yohji YAMAMOTO in 1981, on the podiums from Paris.

Avnd punctul de plecare n scrierile losofului francez Jacques DERRIDA din 1960, deconstrucia n relaie cu moda contemporan nc este un subiect din plin explorat de critici de art i teoreticieni. Cu unele rdcini n curentul punk, care invadase strzile Londrei acum 30 de ani, cu uniformele lor, se poate spune c data ocial a legalizrii termenului Deconstruciei n mod are loc odat cu debutul designerilor japonezi Rei KAWAKUBO i Yohji YAMAMOTO n 1981, pe podiumurile de la Paris. Dup ce i-au prezentat coleciile la Paris, n 1981, designerii niponi au avut parte de critici foarte dure. Francezii se refereau la acest look ca ind Le Destroy, ntruct trsturile distincte includeau guri fcute intenionat, margini zdrenuite, tivuri neregulate, materiale ncreite, ifonate i straturi de esturi care atrnau, desprinse de ntreg, puse parc fr el peste corp. Pentru unii, hainele se asemnau cu inutele oamenilor fr de adpost sau ale supravieuitorilor Apocalipsei. Presa a numit acest nou val n toate formele, de la ragged chic la Hiroshima bag lady. Cu aceste noi direcii, KAWAKUBO i YAMAMOTO rup legturile cu trecutul i prezic viitorul modei: We must break away from conventional forms of dress for the new woman of today. We need a new strong image, not a revisit to the past. Cei prezeni la evenimentul de la Intercontinental Hotel din Paris, n aprilie 1981, au fost martorii prezentrii unui nou stil, caracterizat de monocromie, asimetrie i haine lli, extra large, baggy, care atrn. Jurnalistul Claire MISES de la Liberation: they derive their inspiration from the same source: The Middle Ages in a MIZOGUCHI lm. I believe. There may be more severity in the work of Comme des Garons, which gives a sense of timelessness to their clothes. Yohji YAMAMOTO comes with about the same level of renement, a bit more in evidence. These two designers push the limits completely through deconstructed garments, exibility of materials and simplicity of forms.. n comparaie cu punk-itii, care tiau haine ieftine, gata fcute, pentru a obine o imagine de ceretor,

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After they presented their collections in Paris, in 1981, the Japanese designers were harshly criticized, the French referred to this look as if it represented Le Destroy, since the distinct characteristics included some holes done intentionally, ragged margins, irregular hemstitches, pleated and folded materials, and strata of weavings, which were hanging, detached from the whole, as if settled on the body without any purpose. For some the clothing looked like the clothes of the homeless people or the survivors of the Apocalypse. The media named this new wave in every way, from the ragged chic to the Hiroshima bag lady. Given these new directions, KAWAKUBO and YAMAMOTO break their connections with the past and predict the future of fashion: We must break away from the conventional forms of the dress for the new woman of today. We need a new strong image, not a revisit to the past.. Those present at the event, organized at the Intercontinental Hotel from Paris, April 1981, for a rather limited number of persons, witnessed the presentation of a new style, characterized by monochrome
Sergiu CHIHAIA Decor Concert de Crciun, Teatrul Masca | Decorative setting Christmas concert, Masca Theatre

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structures, asymmetry and clumsy, extra-large, baggy clothes. Claire MISES, a journalist from the Liberation: They derive their inspiration from the same source: The Middle Ages in a MIZOGUCHI lm. I believe. There may be more severity in the work of Comme des Garons, which gives a sense of timelessness to their clothes. Yohji YAMAMOTO comes with about the same level of renement, a bit more in evidence. These two designers push the limits completely through deconstructed garments, exibility of materials and simplicity of forms.. Compared to the punks, who were cutting the cheap and ready-made clothes in order to obtain the image of a beggar, KAWAKUBO and YAMAMOTO respect the artisanship/tailoring very much, their clothing were as beautifully and carefully sewn as the ones of the other designers of the ready-towear or haute-couture; the Japanese creators dont actually deconstruct the garment, they transform it into a wearable or usable object, and set up forms by using the specic materials and methods of modelling. The artists limited the cuttings and sewings by emphasizing the quality of materials and
Serghei IACENIN coordonator | coordinated by Sergiu CHIHAIA

KAWAKUBO i YAMAMOTO au un deosebit respect fa de meteug / croitorie, inutele lor erau la fel de bine cusute, frumos i ngrijit lucrate ca i ale celorlali designeri de ready-to-wear sau haute couture. Creatorii niponi de fapt nu deconstruiesc haina, transformnd-o ntr-un obiect purtabil sau folosibil, ci construiesc forme, folosind materiale i metode specice de modelare. Artitii au redus din tieturi i custuri, punnd accent pe calitatea materialelor, demonstrnd un mare respect pentru esturi. O alt caracteristic ce-i deosebete de marea mas de designeri este faptul c hainele lor sunt aproape n exclusivitate supradimensionate, extra large i de cele mai multe ori nu se potrivesc cu corpul celui care le poart oversized. Iar inutele din garderoba brbatului migreaz cu uurin n garderoba femeii. Aa zisa one-size-ts-all rstoarn sistemul de confecionare a hainelor. Pe la sfritul anilor 80, apare o nou generaie de designeri foarte talentai, crend un nou tip de deconstrucie n mod, din Antwerp, Belgia: Dries Van NOTEN, Ann DEMEULEMEESTER i n special

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Martin MARGIELA. MARGIELA a nceput prin a crea haine tipice occidentale, inversnd anumite elemente, cum ar mneca sau buzunarele. inutele erau astfel reconstruite, iar interiorul devenea exterior pe alocuri, lsnd marginile hainelor neprelucrate, jupuite, la vedere. Creznd c hainele lui MARGIELA sunt noi, majoritatea criticilor de mod au comentat armaia designerului: I love the idea of recuperation. I believethat it is beautiful to make new things out of rejected or worn things.. Creaiile lui MARGIELA au fost vzute pentru prima oar pe plan internaional n 1989, dup civa ani de la absolvirea colii Royal Academy of Fine Arts din Antwerp, Belgia. inutele sale erau la fel de ranate ca i cele ale marilor cuturieri. Elementele interioare (dublura, cptueala, tivul, bureii pentru umeri, partea dorsal a hainei i prile care normal sunt ascunse cu mare grij) devin structuri i ornament pentru MARGIELA. Dei modul de deconstrucie pe care l folosete Margiela este nou i unic, a fost construit pe baza limbajului care fusese deja ntemeiat de KAWAKUBO i YAMAMOTO. Acest dialog ntre mod i arhitectur este foarte vital. Arhitecii care au experimentat direct cu lumea designului vestimentar ncep s transpun investigaiile n domeniul arhitecturii, iar creatorii de mod continu s foloseasc metode i materiale arhitecturale pentru a crea obiecte vestimentare foarte ingenioase, astfel nct aceast conlucrare ntre arte duce la naterea unui hibrid nou, a unei discipline aate ntre cele dou practici. Personal, m preocup legtura dintre om i mediul nconjurtor, felul n care comunicm cu lumea exterioar, relaia de simbioz care se creeaz ntre noi i ceea ce ne nconjoar. Caut s adaptez volume, s modelez forme n concordan cu corpul uman, forme croite dup el, care s i urmeze liniile, s-i ofere mobilitate, dar s-l transpun n

demonstrating a great respect for the weavings. Another characteristic, which differentiates them from the greatest majority of designers, is the fact that their clothes are almost exclusively outsized and extra-large and most of the times do not match with the body over-sized. Moreover the clothes belonging to the garderobe of men migrate towards the one of women quite easily. The so-called one-size-ts all overturns the system of clothes production. Towards the end of the 80s one can refer to the emergence of a new generation of very talented designers creating a new type of deconstruction in fashion, from Antwerp, Belgium: Dries Van NOTEN, Ann DEMEULEMEESTER and especially Martin MARGIELA. MARGIELA started by creating typical occidental clothes, inversing certain elements such as the sleeve or the pockets. The clothing was reconstructed more differently so that the interior could become the exterior, leaving the margins of clothes unptransformed, peeled, at sight. Thinking that the clothes of MARGIELA were new, most of the fashion critics commented on the designers statement: I love the idea of recuperation. I believe that it is beautiful to make new things out of rejected or worn things.. MARGIELAs creations were rstly seen in the international context in 1989, several years later than the graduation from the Royal Academy of Fine Arts from Antwerp, Belgium. His clothing was as rened as the one worn by great couturiers. The inner elements, the lining of garnments, the tip, the hemstitch, the shoulder sponge, the dorsal part of the garment and the parts which are generally hidden carefully, become structures and ornament for MARGIELA. Although the way of deconstruction used by Margiela is new and unique, it was set up according to the language which had been already founded by KABAKUBO and YAMAMOTO.
Sergiu CHIHAIA Destructurare | Deconstruction

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lumea pe care vreau s-o creez. Un personaj cameleonic, care se a ntr-o perpetu transformare, ntr-o perpetu micare, fapt care-l determin s-i nsueasc lumea n care triete, s e o oglindire a acesteia. Hainele devin o prelungire a inei, o oglindire a sinelui i a spaiului nconjurtor. Cu ct deformrile care apar la nivelul membranei nconjurtoare sunt mai puternice, cu att sentimentul de intimitate crete. ncerc s creez ansambluri vestimentare care permit curgerea spaiului, alunecarea lui pe corp, petrecerea cu forma. Structuri care mediaz interaciunea interiorului cu exteriorul. Structuri pe care eu le numesc ntre. ntre interior i exterior, spaiul curge ntr-un dialog molcom, punndu-se reciproc n valoare. Fluiditatea nseamn puterea de adaptare la nou i puterea de adoptare a noului, ea presupune suprapunerea unor straturi de noi i noi informaii, cunoatere, experien ce genereaz transformarea. Absena uiditii face dintr-o arhitectur vestimentar o structur rigid, pe care o abandonm.

This dialogue between fashion and architecture is vital. The architects, who had got in touch directly with the world of the fashion designer, start to transpose the investigations in the domain of architecture, and the fashion creators keep using architectural methods and materials in order to create very ingenious clothing items so that this collaboration between arts facilitates the birth of a new hybrid, a discipline developed between the two practices. I am personally preoccupied with the relationship between man and the surrounding world, with the way we communicate with the external world, the symbiosis created between us and all that surrounds us. I try to adapt forms, or model forms according to the human body, the forms meant to follow its lines and provide it with mobility, yet to transpose it into the world I wish to create. A chameleon type, which is permanently transforming, in a perpetuous movement, which makes him assume the experienced world, in order to be its reection. The clothes become an extension of the being, a reection of the self and the surrounding world. The more powerful the deformations occurred at the level of the surrounding membrane, the higher the feeling of imitation. I try to create clothing ensembles which allow the owing of the space, its slipping off the body. Structures which mediate the interaction of the interior with the exterior. Structures that I used to dene as between. Between the interior and the exterior the space is owing, in a slow dialogue, showing their mutual values to advantage. Fluidity represents the power to adjust to the new and the power to adopt the new, it assumes the juxtaposition of some levels of newer and newer information, knowledge and experience generating transformation. The absence of uidity makes the fashion architecture become a rigid structure, which is then abandoned.

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Sergiu CHIHAIA Imagine din atelier | Photo from studio

Paula BARBU
conf. univ. dr. Senior lecturer Ph.D.

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Pred la Licen i Master n cadrul Departamentului Mod i un curs de Volumetrie la Departamentul Scenograe.

Teaches the BA and MA courses of the Fashion Department and a course of Volumetry at the Department of Scenography.

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Cursuri Culoare i compoziie n Mod Volumetrie Concepte actuale i de perspectiv n Mod

Courses Colour and composition in Fashion Volumetry Actual and long-term concepts in Fashion

Sergiu CHIHAIA coordonator | coordinated by Paula BARBU

Actual concepts in fashion, creative challenges for students

Conceptele actuale din moda vestimentar, provocri creative pentru studeni

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We experience a period of time, which is purely tiring for some and purely magnicent for others, when we are assaulted and invaded by a multitude of mostly redundant information driving us towards saturation. Given the medium dominated by cybernetics, the rhythm of changes is very fast. It often happens, from the visual viewpoint, that we no longer perceive innovation, as we no longer have the necessary time to choose, contemplate and meditate on the surrounding items, forms and images, because of the continuous ux of data transmitted permanently on all media channels. Nevertheless, the fashion designers searching for a personal style or their own identity keep searching for new possibilities to assert themselves facilitating the creation of some new concepts in fashion, capable of drawing the consumers attention, stirring the thirst for the new and beautiful and, why not, the desire to accept and purchase. All these are certainly short-term strategies since after a season the inevitable is going to develop, the desire to reach innovation creates instability, other objects and, inplicitly, other concepts. Paradoxically, due to its changing and dynamic characRadu PETRIOR & Sergiu CHIHAIA coordonator | coordinated by Paula BARBU

Trim o perioad care pentru unii e pur i simplu obositoare, iar pentru alii pur i simplu magnic, plin de oportuniti, n care suntem asaltai, invadai de o multitudine de informaii de multe ori redundante, care ne conduc ctre saturaie. Datorit mediului dominat de cibernetic, ritmul schimbrilor este foarte rapid. De multe ori, din punct de vedere vizual, nu mai putem percepe noutatea, pentru c nu mai avem timpul necesar s alegem, s contemplm, s meditm asupra lucrurilor nconjurtoare, a formelor, a imaginilor, datorit uxului nentrerupt de date transmise nonstop, pe toate canalele media. Cu toate acestea, designerii vestimentari aai n cutarea unui stil personal sau a propriei identiti continu s cerceteze noi posibiliti de armare, dnd natere unor noi concepte n mod, capabile s atrag atenia consumatorilor, s strneasc foamea pentru inedit, frumos i de ce nu? , dorina de acceptare i de cumprare. Desigur, toate acestea sunt strategii pe termen scurt, pentru c dup un sezon inevitabilul se produce, dorina de noutate creeaz instabilitate, alte obiecte i implicit alte concepte.

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Paradoxal, tocmai datorit caracterului ei schimbtor i dinamic, moda este orientat ctre valorile trecutului, istorice i tradiionale. Revizitarea permanent, ntoarcerea la rdcini, la forme i tradiii strvechi, la stiluri i curente de referin n istoria artei asigur renaterea i continuitatea unor concepte aprute n zorii epocii moderne sau cu mult timp nainte. n lumea contemporan concepte precum: - tradiii renviate i integrate n contemporaneitate, - repere ale trecutului istoric n moda actual, - mod global, - eclectism, - unitate n diversitate, - armonie n dizarmonie, - deconstrucie reprezint puncte de plecare pentru realizarea unor colecii ce ilustreaz capacitatea designerilor de a

ter, fashion is oriented towards the historical and traditional values of the past. The permanent re-visitation, the return to the source, to old forms and traditions, to styles and streams of reference in the history of art, provide the revival and continuity of some concepts appeared in the beginnings of the modern epoch or long time before. In the contemporary world, concepts such as: - revived traditions integrated in contemporaneity, - references to the historical past in the actual fashion, - global fashion, - ecclecticism, - unity in diversity, - harmony in disharmony, - deconstruction, represent the starting points in the realization of some collections illustrating the designers capacity to follow the precursors by also providing other replies which

are surprising through the innovation brought to the volumes and forms, lines and colours, or to the texture of materials and the quality of chromatic agreements. The return to the origins populate an agenda which is otherwise very actual, and sometimes even militant: the designers are more and more receptive to the different current environment problems, which are either ecological, demographic, energetic, or related to some objectives such as the reduction of economic and social discrepancies among the developed and underdeveloped states and the effects of natural hazards or the need to protect the environment. From this multitude of concepts I approached some together with my students from the Fashion Department of the National University of Arts and we obtained remarkable creative results which were very appreciated by the public. The demonstrations and experiments of the students took place in different cultural centres from Bucharest and the country. I always considered them experiments as they are the result of their own discoveries, while we were having the same route, enjoying the innovations they were having in the meantime and their amazement related
Ana-Maria BELEAG coordonator | coordinated by Paula BARBU

merge pe urmele naintailor, oferind, n acelai timp, alte rspunsuri, surprinztoare prin inovaia adus volumelor i formelor, liniilor i culorilor, texturii materialelor i calitii acordurilor cromatice. ntoarcerea la origini populeaz o agend altfel foarte actual, uneori chiar militant: designerii sunt din ce n ce mai receptivi la diversele probleme actuale ale mediului, e de natur ecologic, demograc, energetic sau legate de obiective ca reducerea decalajelor economico-sociale dintre statele dezvoltate i cele subdezvoltate i a efectelor hazardelor naturale sau de nevoia de protecie a mediului. Din aceast multitudine de concepte am parcurs cteva, alturi de studenii mei de la Departamentul Mod al Universitii Naionale de Art, obinnd rezultate remarcabile din punct de vedere creativ i foarte apreciate de public. Demonstraiile i experimentele studenilor au avut loc n diverse centre culturale din Bucureti i din ar. Le-am considerat ntotdeauna experimente, pentru c sunt rezultatul descoperirilor pe care le-au fcut singuri, n timp ce mergeam mpreun pe ci cunoscute, bucurndu-m de inovaiile pe care le fceau pe parcurs i de uimiAnul I, Licen | The rst year of study, licentiates degree (BA) coordonator | coordinated by Paula BARBU

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Cetatea Fgraului, proiectul Spaiul, focul i apa din cadrul grantului condus de Drago GHEORGHIU The Fortress of Fgras, The Space, re and water project as part of a grant conducted by Dragos GHEORGHIU coordonator costume | costume coordinated by Paula BARBU

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to the exceptional diversity of the expressive modalities in the context of fashion. I saw them as experiments, I often used modest or even unconventional materials, counting on the effect of volumes, colours and composition. And, of course, I had the greatest satisfaction when I saw them orienting towards the values of art as what is fashion if not an important side of art, sometimes even in its avant-garde? One of the projects which I felt the closest to my heart was the demonstration of the medieval atmosphere and its garments carried out by the students on the occasion of a multimedia performance in Cetatea Fgraului, belonging to a project, Space, re and water. The documentation regarding the tailoring and the decorative compositions was minute and was based on the work of Corina NICOLESCU, The history of the court costume in Wallachia, between the 14th and 18th centuries, and on the epoch costumes from the National Museum of Arts. Then they made seven clothing items which respected the initial volumes, the embroideries and accessories, using both conventional and unconventional materials. With their support, for a day, the students had revived history, and restored
Constana BALABAN coordonator | coordinated by Paula BARBU

rea lor n faa diversitii excepionale a modalitilor de exprimare n creaia vestimentar. Le-am privit drept experimente i pentru c am folosit, de cele mai multe ori, materiale modeste i chiar neconvenionale, contnd pe efectul volumelor, culorilor i al compoziiei. i, bineneles, satisfacia cea mai mare am avut-o cnd i-am vzut ndreptndu-se ctre valorile artei cci ce este moda, dac nu o ramur important a artei, uneori chiar n avangarda ei? Unul dintre proiectele de suet a fost demonstraia de reconstituire a costumului i atmosferei medievale, realizat de studeni cu ocazia unui spectacol multimedia n Cetatea Fgraului, n cadrul proiectului Spaiul, focul i apa. Documentarea privind croiurile i compoziiile decorative a fost minuioas i s-a bazat pe lucrarea Corinei NICOLESCU, Istoria costumului de curte n rile Romne, secolele XIV-XVIII, i pe costumele de epoc de la Muzeul Naional de Art. Au fost apoi realizate apte piese de vestimentaie ce respectau volumele iniiale, broderiile i accesoriile, folosind att materiale convenionale, ct i neconvenionale. Cu ajutorul lor, timp de o zi, studenii au renviat istoria, restaurnd

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Prezentare de Mod, Anul I, Licen, Galeria Designerilor, Cocor Fashion performance, The rst year of study, licentiates degree (BA), The Designers Gallery, Cocor coordonator | coordinated by Paula BARBU

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identitatea cetii medievale. Elemente naturale i de decor (foc, ap, tore aprinse, imagini de epoc proiectate pe castel) au recreat cadrul natural n care costumul epocii cavalerilor i ntregul lui complex de semnicaii simbolice au oferit un spectacol cu valene multiple: artistice, istorice, antropologice, identitare... Proiectul a avut i o urmare: valorizarea cetii ca spaiu plastic i identitar a adus n atenia autoritilor potenialul su turistic i a impulsionat nceperea lucrrilor de reabilitare... Pentru studenii participani, acest moment va reprezenta cu siguran o surs de inspiraie n viitoarea lor carier ca designeri de mod sau scenogra. O alt ntoarcere n timp, cu conotaii att istorice, ct i ecologice, a fost colecia Sfori la Mod, realizat n anul 2011 de studenii anului I Mod. Iniial o prob de abiliti practice pentru c piesele trebuiau s e mpletituri din re de cnep, sisal sau in, fr folosirea vreunui instrument , proiectul s-a transformat ulterior ntr-un concept ce amintea de ipotetice modaliti de realizare a vemintelor din epoca neolitic, asemntoare cu multe mpletituri create de triburile primitive actuale (de exemplu, n

the identity of the medieval fortress. The natural and decorative elements (re, water, burning torches, epoch images projected onto the castle) recreated the natural frame in which the outt of the knights and its whole complex of symbolical signications provided a performance with multiple attributes: artistic, historical, anthropological... The project also marked another outcome: the evaluation of the fortress as an artistic and identity space emphasized its touristic potential and boosted the start of the works of rehabilitation... For the participating students, this moment will certainly represent a source of inspiration in their future career as fashion designers or stage managers. Another return in time, with historical and ecological connotations, was represented by a collection, Sfori la Mod (Ropes in Fashion), achieved in 2011 by the students of the rst year of Fashion. Initially a test of practical abilities since the items had to be weavings from hemp, sisal hemp and ax threads, without using any instrument , the project transformed into a concept which reminded of hypothetical modalities approached to achieve the clothing in the neolithic epoch, similar to many weavings created by the actual primitive tribes

(for example, in Ethiopia). The collection was rather exotic and shocking, on one hand, through the new elements of the materials used and the weavings, and on the other hand, through the students courageous proposals, situated in the avantgarde of the creative ideas. The success of the presentation, which took place at the Romanian Designers Gallery from the Cocor Storehouse Bucharest, brought the students an invitation to participate, with the same collection, in the Night of Galleries, 2011, at the Elite Gallery from Bucharest, where the items were very appreciated by the young public and those fond of art. In the long run, I coordinated the licentiates degree in which the traditional embroidery elements in the zones of Cmpulung Muscel, Curtea de Arge and BistriaNsud were revaluated in clothing items sewn according to actual tendencies, which could be included in the larger concept of global fashion, due to the interferences of various styles composing the whole ensemble. The works of Sonia DELAUNAY, one of the most productive artists of the 20th century, well-known through her futurist painting and interest in fashion, had also become an inciting source of inspiration for

Etiopia). Colecia a avut o tent de noutate exotic, ocant, pe de-o parte prin ineditul materialelor folosite i al mpletiturilor, iar pe de alt parte, prin propunerile ndrznee ale studenilor, care se situau n avangarda ideilor creatoare. Succesul prezentrii, care a avut loc la Galeria Designerilor Romni de la Magazinul Cocor din Bucureti, le-a adus studenilor o invitaie de participare, cu aceeai colecie, la Noaptea Galeriilor 2011 la galeria bucuretean Elite, unde piesele au fost foarte apreciate de publicul tnr i de cunosctorii de art. De-a lungul timpului, am coordonat lucrri de licen n care elemente tradiionale de broderie din zonele Cmpulung Muscel, Curtea de Arge i Bistria-Nsud au fost valoricate n piese vestimentare cu croiuri n tendine actuale, care puteau incluse n conceptul mai larg al modei globale, datorit interferenelor diferitelor stiluri ce compuneau ntreg ansamblul. Lucrrile Soniei DELAUNAY, una dintre cele mai prolice artiste ale secolului XX, cunoscut prin pictura futurist i prin preocuprile ei legate de mod, au devenit, i ele, o surs incitant de inspiraie pentru foarte muli studeni. Plecnd de la Rochia simultan

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Prezentare de mod, anul I, Licen, Fashion Week Fashion performance, the rst year of study, licentiates degree (BA), Fashion Week coordonator | coordinated by Paula BARBU

very many students. Starting from the Simultaneous dress and appealing to the technical knowledge obtained in the faculty to obtain the volumes, the students also created actual clothing items, innovating yet ready to wear. The meeting with this artist and her concepts regarding the garments, composition and colour represented a real revelation for many of them. The sources of students creativity are numerous no matter if they emerge from the zone of painting, ceramics, sculpture, graphics or simply from the development of the concept of Deconstructivism. Analyzing topics such as MONDRIAN, Cucuteni, Point and line, Deconstructivism in Constructivism, Spatial geometry, the students cope with the complicated patterns which revive their daring ideas. The extrasizes of sleeves or collars facilitate the approach of new work modalities, the deconstruction of patterns proposes a new approach of the volumes, the asymmetries represent real problems of composition, perfect balance between objects and the space around them. All this experience of the students drive them to the discovery of solutions to contemporary problems in order to reach some esthetic ideals to represent the current epoch. When we follow the collections of international designers, or those of the famous houses of fashion, we are tempted, given the level of creativity and the quality of clothing items, to believe that new things can no longer be created. In spite of all these, the problems around us will always facilitate the creation of new questions, and the answers will be given not only by the researchers from the domain of science, but also by the fashion designers, who will keep bringing new solutions for the evolution to continue. Fashion will continue to overtake scientic discoveries and fuse with domains which, apparently, are not connected to it, in order to solve different actual and future problems. They will emphasize new concepts, which revaluate the predecessors experience, breaking barriers, for the sake of man, without forgetting the message always conveyed by fashion: beauty, creation, innovation... In a word: art!

i apelnd la cunotinele tehnice obinute n facultate pentru obinerea volumelor, studenii au creat la rndul lor piese vestimentare actuale, inovatoare, dar gata de purtat. ntlnirea cu aceast artist i cu conceptele ei despre veminte, compoziie i culoare a constituit o adevrat revelaie pentru muli dintre ei. Numeroase sunt sursele pentru dezvoltarea creativitii studenilor, e c pleac din zona picturii, e a ceramicii, sculpturii, gracii sau pur i simplu de la dezvoltarea conceptului de Deconstructivism. Urmrind teme ca MONDRIAN, Cucuteni, Punct i linie, Deconstructivism n Constructivism, Geometrie spaial, studenii se confrunt cu complicatele tipare care dau via ideilor lor ndrznee. Supradimensionrile mnecilor sau gulerelor conduc la gsirea unor noi modaliti de lucru, deconstruirea tiparelor propune o nou abordare a volumelor, asimetriile reprezint adevrate probleme de compoziie, de echilibru perfect ntre obiecte i spaiul din jurul lor. Toate aceste experiene ale studenilor i conduc spre descoperirea soluiilor posibile la probleme contemporane, spre realizarea unor idealuri estetice care s reprezinte epoca actual. Cnd urmrim coleciile designerilor internaionali sau ale caselor de mod cu renume, suntem tentai, datorit nivelului la care s-a ajuns n ceea ce privete creativitatea i calitatea obiectelor vestimentare, s credem c nimic nou nu mai poate creat. Cu toate acestea, problemele din jurul nostru vor da natere mereu unor noi ntrebri, iar rspunsurile vor date nu doar de cercettorii din domeniul tiinei, ci i de designerii de mod, care vor continua s aduc noi soluii pentru ca evoluia s continue. Moda va continua s preia descoperiri tiinice i s fuzioneze cu domenii cu care aparent nu are nici o legtur, pentru rezolvarea diverselor probleme actuale i de viitor. Se vor nate concepte noi i de perspectiv, care vor valoriza experiena naintailor, sprgnd bariere de neconceput acum, spre folosul omului i fr a uita de mesajul pe care moda l-a transmis ntotdeauna: frumusee, creaie, inovaie... ntr-un cuvnt: art!

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Prezentare de mod, anul I, Licen, Fashion Week Fashion performance, the rst year of study, licentiates degree (BA), Fashion Week coordonator | coordinated by Paula BARBU

Liliana UROIU
lect. univ. dr. Lecturer Ph.D.

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Pred la Licen n cadrul Departamentului Mod.

Teaches the BA courses of the Fashion Department.

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Curs Tehnici de transpunere bi i tridimensional Concept i exprimare n mod Courses Techniques of bi and tridimensional transposition Concept and expression in fashion

Liliana UROIU Colecia | Collection Interferene

What is permitted and what is not or how important is the personal style today?

Ce este permis i ce nu sau ct de important este astzi stilul personal

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This question what is important to be analyzed and what is not in the present fashion outlined the whole theme and discourse of the personal didactic approach. One can easily notice that during the present period of time, given the characteristics of a total liberty, the effects once considered anti-fashion are permitted. They visibly and deliberately promote the parody and irony, or the amusing and playful approach, in order to engage the history of the costume and the memory of the viewer in a kind of re-evaluation of esthetic forms and contents. Items of clothing and accessories which, if worn, permit the composition of some gures annulling the individuals real identity, and facilitating the confusion with another person, although related to another gender, are permitted. They also allow the cancellation of natural physiognomies and the composition of some new ones through different types of effects. They frequently promote the idea of plurality and the mixture of genres, they also cover the divergent realities, which can be both incompatible and antinomic. Fashion is no longer dened as a succession of

Sub semnul acestei ntrebri, ce este i ce nu este important de analizat n moda actual, s-au creionat ntreaga tematic i discursul din cadrul demersului didactic personal. E lesne de observat c n perioada actual sunt permise, sub semnul libertii totale, efecte considerate altdat antimod. Se promoveaz vizibil i intenionat parodia, ironia, demersul amuzant i jucu, pentru a angaja istoria costumului i memoria privitorului ntr-un fel de reevaluare a formelor i a coninuturilor estetice. Sunt permise piese de mbrcminte i de accesorii care, purtate, permit compunerea unor guri ce anuleaz identitatea real a individului, fcnd posibil confuzia cu alt persoan, chiar i de alt sex. Sunt permise i anularea zionomiei naturale i compunerea alteia noi, prin diverse tipuri de efecte. Se predic frecvent pluralitatea, amestecul genurilor, se acoper, de asemenea, i realitile divergente, uneori incompatibile, chiar antinomice. Moda nu se mai denete ca o succesiune de micri, ci mai curnd ca produsul unor personaliti originale i ca expresie a anumitor minoriti care
Liliana UROIU Colecia | Collection Mal du sicle

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Liliana UROIU Colecia | Collection Interferene

Liliana UROIU Colecia | Collection Interferene

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utilizeaz vemntul ca pe o arm mpotriva unor ideologii i culturi. O abordare actual a modei i a artei n general respinge distincia dintre arta joas sau arta nalt, anuleaz graniele rigide i favorizeaz eclectismul, amestecul de idei i forme. Cu toate acestea, moda nu este deloc ntr-un moment de decdere, rupturile care o fac s evolueze sunt absorbite la rndul lor pentru a se ciocni de forme noi de gndire, care vor i ele puse n discuie. Tocmai de aceea, tendina actual promoveaz cu orice pre hiperindividualismul ca un fel de mutaie major a momentului aprut odat cu Internetul i diversele tehnici digitale, o lume a comunicaiilor totale, dar incontrolabile, n care raportul cu timpul i cu ceilali se schimb. O cercetare a tendinelor actuale vzute nu ca direcii impuse, ci ca modaliti posibile de nelegere a lumii i a lucrurilor, precum i o punere a lor n practic n forme originale, cu accent pe stilul i capacitatea de nelegere a ecrui student, sunt prioriti n abordarea pe care am avut-o n vedere n munca cu studenii sau n colaborrile cu echipe de stiliti din ar i din
Liliana UROIU Colecia | Collection Floral architecture

movements, but rather as the product of some original personalities and the expression of some minorities which use the garment as a tool against some ideologies and cultures. A current approach of fashion and art in general rejects the distinction between the lower and upper art, annuls the rigid limits and favours eclecticism, the combination of ideas and forms. Moreover, fashion doesnt undergo a moment of decay at all, the ruptures, which make it evolve, are also absorbed in order to run into new forms of thinking, which are going to be debated too. That is the reason why, at any price, the present tendency promotes hyper-individualism as a sort of major mutation of the moment emerged simultaneously with the Internet and different digital techniques, a world of total yet uncontrollable communications, in which the connection with time and the others changes. A research of actual tendencies seen not as imposed directions, but as possible modalities approached in order to understand the world, as well as their implementation in original forms, empha-

sizing every students style and capacity of understanding, represent the priorities of this approach which I had taken into account in my work with students or the collaborations with stylist teams from the country or abroad. The artistic and also commercial approach of each collection was another type of challenge in the context of studio subjects, meant to prepare the transition from the schools studio to the styling ofce or personal studio.

strintate. Abordarea artistic, dar i comercial a ecrei colecii a fost un alt tip de provocare n cadrul subiectelor de atelier, de natur s pregteasc trecerea de la atelierul colii la biroul de styling sau atelierul personal.

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Colecia | Collection Lace Geometry coordonator | coordinated by Liliana UROIU

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Colecia | Collection Lace Geometry coordonator | coordinated by Liliana UROIU

Ioana Sanda AVRAM


lect. univ. dr. Lecturer Ph.D.

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Pred la Licen i Master n cadrul Departamentului Mod. Autoarea unui concept educaional specic profesiilor creative din industriile modei, care mbin elementele de prognoz cultural cu tehnici de inovare i de implementare a noului emergent, cu atitudine proactiv pentru aplicarea tehnicilor i tehnologiilor de vrf n procesul de concepere, realizare i implementare a modei vestimentare.

Teaches the BA and MA courses of the Fashion Department. The author of an educational concept specic to the creative professions in the fashion industries combining the elements of cultural prognosis with the techniques of innovation and implementation of the new emergent, with a pro-active attitude in the application of top techniques and technologies in the process focused on the conceiving, realization and implementation of fashion.

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Cursuri Tehnica conceperii i implementrii coleciilor de Mod Concept stilistic i coordonarea coleciei de mod Stil de via i comportament de consum (Lifestyle) Structura coleciei de mod Managementul coleciilor de mod Concepte actuale i de perspectiv n moda vestimentar
Iulia GHENEA Colecia | Collection Tribal Breeze coordonator | coordinated by Ioana Sanda AVRAM

Courses: The techniques approached in the elaboration and implementation of fashion collections Stylistic concept and the coordination of the fashion collection Lifestyle and consumption attitude The structure of the fashion collection The management of fashion collections Actual and long-term concepts in fashion Visual Merchandising

Visual Merchandising

Coleciile de mod

Fashion collection

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Coleciile de mod sunt pachete de vestimentaie i accesorii constituite conceptual pentru a formaliza imaginea unui stil de via1, exprimat n identitate vizual. Exprim o imagine previzionar a prolului i identitatii cumprtorului, cu care se va confruta n viitor imaginea care trebuie vndut. Orice tip de afacere, care se bazeaz pe transformarea ideilor inovative (imateriale i volatile prin natura lor) n realitate protabil, necesit o structur funcional, un suport operaional i un ux tehnologic specic, pe care se grefeaz activitile creative i de design. Moda i industriile ei, ind modele arhetipale ale industriilor creative, constituie tipologii de afaceri creative, funcionale pe mai multe paliere CONCERTATE, care SE AUTOREGLEAZ pe PRINCIPIUL SELECIEI STRATIFICATE. Nesigurana, datorat schimbrilor din ce n ce
1 Stilul de via reect maniera n care triete cineva, atitudinea i valorile unei persoane sau ale unui grup de oameni. Aceasta include relaiile sociale, atitudinea de consum, timpul liber, modul de a se hrni, de a se mbrca etc.

The fashion collections represent packets of clothing and accessories constituted in a conceptual way in order to formalize the image of a lifestyle1 expressed in the visual identity. They express a predictable image of the customers prole and identity which the image to be sold is going to cope with in the future. Any type of business, based on the transformation of innovating ideas (material and volatile through their nature) into some protable reality, needs a functional structure, an operational support and a specic technological ux, which the creative and design activities graft on. Fashion and its industries, as archetypal models of the creative industries, represent typologies of creative businesses functioning on more CONCENTRATED levels, which SELF-REGULATE according to the STRATIFIED SELECTION. The uncertainty, occurred because of the more and
1 The lifestyle reects the way in which someone lives, the attitude and values of a person or a group of people. This includes the social relationships, the attitude of consumption, the free time, the way of feeding and getting dressed, etc...

more pronounced transformations in the context of fashion, and especially the new paradigm of the informational society drove to the re-formulation of the industrial policies given a new vision, that is an extended approach of the design and creation itself: A STRATIFIED PROCESS OF COLLECTIVE SELECTION. This process, composed of a series of seasonal presentations disposed in a calendar of succession, begins with the chromatic selection of bers and nite weavings, completed with clothing. Each stage, subordinated to this process of collective selection nally renes the connection between supply and demand and represents the support for the next season2. In other words, FASHION is a COLLECTIVE product created by all those involved in direct or collateral actions, related to the creation, preservation, commercialization or promotion of this domain of culture specic to one moment. The process of management and efcient business ad2 BLUMER, Herbert, Fashion: From Class Differentiation to Collective Selection, The Sociological Quarterly, Volume 10, Issue 3, pages 275291, June 1969.

mai accentuate ale modei, dar mai cu seam noua paradigm a Societii Informaionale, a condus la reformularea conceptului de politici industriale, avnd ca nou viziune o abordare extins a designului i a creaiei n sine: UN PROCES STRATIFICAT DE SELECIE COLECTIV. Acest proces, alctuit dintr-o serie de prezentri sezoniere, dispuse ntr-un calendar de succesiune, ncepe cu selecia cromatic, a brelor, a esturilor nite, ajungnd pn la mbrcminte. Fiecare etap, supus acestui proces de selecie colectiv, raneaz, n nal, relaia dintre cerere i ofert i constituie suportul pentru urmtorul sezon2. Cu alte cuvinte, MODA este un produs COLECTIV, creat colaborativ de ctre toi cei implicai n aciunile, directe sau colaterale, legate de crearea, ntreinerea, comercializarea sau promovarea acestui domeniu al culturii specice unui moment. Procesul de conducere i administrare ecient a
2 BLUMER, Herbert, Fashion: From Class Differentiation to Collective Selection, The Sociological Quarterly, Volume 10, Issue 3, pages 275291, June 1969. Iulia GHENEA Colecia | Collection Tribal Breeze coordonator | coordinated by Ioana Sanda AVRAM

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afacerilor bazate pe consumul de mod trebuie s in cont de anumite etape, care survin n evoluia modei n timp i spaiu: Explorarea vntului schimbrii noul emergent i furnizarea prognozelor, pe plaja unor noi oportuniti de potenial; Transformarea tendinelor n design i produse reale; Implementarea elementelor de mod, prin crearea unor produse conceptual dezirabile; Incitarea imaginaiei oamenilor n a accepta noi viziuni ale stilului de via din perspectiva unui mediu de via nou i foarte promitor; Dinamizarea produselor cu sensul de modern i cu valoarea TIMPULUI. n aceste condiii, ciclul creaiei i al imitaiei devine din ce n ce mai scurt, iar rolul cheie l-ar avea buyerii care lucreaz pentru detailitii pieei de mas, care sunt interdependeni ntre ei, n cutarea designului celui mai protabil de a imitat. Instrumentul prin care am fost supui acestui imperiu tutelar al modei face apel la teama de ridicol i de marginalizare i se traduce prin modele salvatoare ale unul stil de via dezirabil i eventual posibil. Deoarece imitaia este principala prghie care dinamizeaz incitarea atitudinii de consum, este nevoie de un ntreg proces psihologic de convingere a consumatorului, n cadrul cruia un rol extrem de important l are momentul psihologic de stabilire a nevoilor. n acest sens, psihologii modei formuleaz diferenele dintre nevoile reale, nevoile create i nevoile ntreinute. Imaginarul i reprezentrile simbolice joac n aceast poveste a traiectului antropologic rolul de mediator ntre impulsurile subiective i interferenele obiective care eman din mediul cosmic i social3.
3 DURAND, Gilbert Les structures anthropologiques de limaginaire, 1989, p. 118 (aprut n romn la Editura Univers Enciclopedic, Bucureti, Gilbert Durand, Structurile antropologice ale imaginarului, 1998)

ministration based on the consumption of fashion must consider certain stages, which crop up in the evolution of fashion in time and space: The exploration of the wind of change the new emergent and the supply of forecasts in the context of potential opportunities; The transformation of tendencies in design and real products; The implementation of fashion elements by creating some conceptually desirable products; The incitement of peoples imagination to accept new visions of lifestyles from the perspective of a new and very promising life context; The products provision with the meaning of modern and the value of TIME. In these circumstances the cycle of creation and imitation becomes shorter and shorter and the essential role is hold by the buyers who work for the retail dealers of the market place, who depend on each other while searching for the most protable design to be imitated. The instrument, through which we were subordinated to this tutelary empire of fashion, appeals to the fear from the ridiculous and limitation, and it is translated through the saving models of a desirable and eventually possible lifestyle. Since imitation is the main key factor, which activates the attitude of consumption, we need a whole psychological process to convince the consumer; in this context the psychological moment of needs establishment has an extremely important role. From this viewpoint, the psychologists approaching the domain of fashion formulate the differences among the real needs, created needs and supported needs. In this story of anthropological trajectory, the imaginary and the symbolical representations act the role of a mediator between the subjective impulses and the objective interferences deriving from the cosmic and social medium3.
3 DURAND, Gilbert Les structures antropologiques de limaginaire, 1989, P. 118 (published in Romanian at the Univers Enciclopedic Publishing House, Bucharest, Gilbert Durand, The anthropological strucSilviu GRUIANU Colecia | Collection Eclipse coordonator | coordinated by Ioana Sanda AVRAM

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Alexandra ABRAHAM Colecia | Collection Formula coordonator | coordinated by Ioana Sanda AVRAM

Aici intervin coleciile de mod, care nareaz n limbaj vestimentar eposuri ale noii istorii, crend noi mituri, noi modele de eroi, descriind deghizarea care ne permite s ne identicm cu acetia. Asupra pieei de mod a acionat (i efectul remanent se manifest nc) acea for imaterial, indus psihologic, dar drastic i crud: poliia de mod, care foreaz consumul de mod, n conformitate cu cerinele momentului i taxeaz ndeprtarea de la canoanele articial prestabilite. Acest lucru, ajuns la paroxism paranoic, n cele din urm a sfrit prin a obosi clientul n goana lui dup ceea ce posed deja i a condus la o nou paradigm a atitudinii de consum, responsabil, echilibrat i de bun-sim. ntregul demers creativ de a concepe i a proiecta mbrcminte se bazeaz pe nevoia de consum de produse de vestimentaie. Modul n care aceast nevoie este gestionat depinde de megatrendul epocii respective. n noua er, creativitatea productiv n domeniul modei presupune un set de rigori, gestionate din ce n ce mai profesionist, n care ecare obiect/produs este inserat ntr-o naraiune coerent, semantic denit, avnd ca scop aderarea la un anumit tip de model social. Prin misiunea lor comunicaional, coleciile de mod exprim n genul epic sau liric, n limbaj vestimentar, basme urbane destinate clienilor, n scopul de a-i cuceri prin imaginea cea mai apropiat de aspiraiile lor. Fiind o form modern de naraiune mobilizatoare, n care povestitorul e creatorul de mod, iar povestea n sine este un soi de pild ilustrat a noului model cultural, coleciile de mod sunt limbajul prin care se creaz puni culturale, lingvistice sau ntre generaii. Din punctul de vedere al productorului ns, coleciile de mod nu sunt doar o form de exprimare, ci o activitate productiv, care, gestionat corect,

Here we have the fashion collections, which narrate the epics of new histories in the language of clothing, creating new myths and new models of heroes, describing the disguise, which permits us to identify with them. The market of fashion was inuenced by that immaterial and psychologically induced, yet harsh and cruel force, the fashion police, which forces the fashion consumption according to the demands of the moment and considers the detachment from the articially pre-established patterns. Close to the idea of paranoiac paroxysm, this fact nally made the customer feel exhausted in his haste to get what he had already got and drove to a new paradigm of the responsible and balanced attitude of consumption. The whole creative approach to conceive and project items of clothing is based on the need to consume clothing items. The way in which this need is managed depends on the mega-trend of that epoch. In the new era, the productive creativity in the domain of fashion presumes a set of rigors, administrated in a more and more professional way, in which every object / product is inserted in a coherent and semantically dened narrative, aiming to adhere to a certain type of social model. Through their communicative mission, the fashion collections express in the epic or lyrical genre, in the language of clothing - urban stories addressed to the clients in order to overwhelm them through the most appropriate image of their aspirations. Being a modern form of mobilizing narratives, in which the narrator is the fashion creator, and the story itself a sort of illustrated example of the new cultural model, the fashion collections represent the language through which they create cultural and linguistic connections among generations. Yet, from the producers perspective, the fashion collections are not only a form of expression, but
tures of the imaginary, 1998)

a productive activity which, if managed correctly, must be as protable as possible. As I have already explained, these fashion collections represent a managerial challenge from more viewpoints: the management of the company, which produces and provides the clothing products, the management of the collections themselves (concept, source, prototype, series production, etc), the management of complementary and supplementary actions (PR, publicity, visual campaigns, etc). All these formulas regarding the protable administration of the fashion activities are strictly necessary in the development of the life of fashion collections since each step depends on the previous one and supports the activities of the next one. The fashion collections must be set up according to a concept, in proper time and economic terms in order to reply correctly to the needs and aspirations of a foreseen client, when this might really need the product. This fact is possible only if all the stages are planned correctly and followed rigorously. Given the fact that one of the decisive factors of their existence is TIME, one considers that these complex entities, the fashion collections, are provided with their own life. They are conceived and born, launched in the world, they experience the events during their trajectory, degenerate and vanish. More than that, they leave traces, mark reference points and generations, or vanish in the great anonymity, just like the human beings. Besides, the fashion collections and the products they integrate live exactly as long as their client lives. Above all, they are expressed only in future. In order to make them respond to the market correctly, the process of elaboration is conceived in stages, stratied vertically, and elaborated on the basis of fashion calendars. Their main ages can be assimilated at the same time with the stages of development and implementation on the market:

trebuie s e ct mai protabil. Aa cum am mai explicat, aceste colecii de mod sunt o provocare managerial, din mai multe puncte de vedere: managementul companiei care produce i ofer produsele vestimentare, managementul coleciilor n sine (concept, sursing, prototip, producie de serie etc.), managementul aciunilor complementare i suplimentare (PR, publicitate, campanii vizuale etc.). Toate aceste formule de gestionare protabil a activitilor de mod sunt strict necesare n derularea vieii coleciilor de mod, deoarece ecare pas este dependent de cel anterior i suine activitile celui urmtor. Coleciile de mod trebuie s e realizate conform unui concept, la timp i n termenii economici prevzui, n scopul de a rspunde corect nevoilor i aspiraiilor unui client previzionat, la momentul precis n care acesta ar avea nevoie de produs. Acest lucru este posibil doar dac toate etapele sunt planicate corect i urmrite cu rigurozitate. Prin faptul c unul dintre factorii determinani ai existenei lor este TIMPUL, se consider c aceste entiti complexe care sunt coleciile de mod au o via proprie. Ele sunt concepute, gestate, nscute, lansate n lume, maturate, triesc evenimente pe parcursul traiectului lor, degenereaz i dispar. Mai mult dect att, las urme, traseaz repere i marchez generaii sau se pierd n marele anonimat, exact ca inele umane. De altfel, coleciile de mod i produsele pe care le conin triesc exact att ct triete clientul lor. Prin excelen, acestea se exprim doar la timpul viitor. Pentru ca ele s poat rspunde corect pieei, procesul de elaborare este unul etapizat, straticat vertical i elaborat n baza calendarelor modei. Principalele vrste ale acestora pot asimilate cu etapele de cretere i implementare pe pia: Creaie, cercetare, generare de inovaie i idei novatoare; depistarea noului emergent care

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Creation, research, generation of new ideas; the discovery of the new emergent which can generate innovation or invention; the analysis of the inspirational medium; the concepts transfer in forms of design; sources of weavings, accessories and furniture; the concepts expression in the documents of collection; the physical elaboration of the prototypes. The collections image decisions based on the initial story; visual merchandising; promotion through marketing strategies; promotion through communication; The management of fashion collections, the coordination of activities and the adjustment of crises; Production; Handling; Distribution; The coordination of promotional activities and public fashion events; Activities of public relations;

poate genera inovaie sau inventic; analiza mediului inspiraional; transferul conceptului n forme de design; sursing de esturi, accesorii, furnituri; exprimarea conceptului n documentele de colecie; realizarea zic a prototipurilor; Deciziile de imagine ale coleciilor, bazate pe povestea iniial; visual merchandising; promovare prin strategii de marketing; promovare prin comunicare; Managementul coleciilor de mod, coordonarea activitilor i reglarea crizelor; Producie; Handling (manipulare); Distribuie; Coordonarea activitilor de promovare i a evenimentelor publice de mod; Activiti de relaii publice; Analiza reaciilor de pia. La nele vieii coleciei se analizeaz contextul n
Oana DENIS Colecia | Collection Indy Wave coordonator | coordinated by Ioana Sanda AVRAM

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care aceasta a trit, modul n care a rspuns cerinelor, piesele de succes i eecurile, eventualele cauze, rspunsul nal al clientului la povestea istorisit de aceasta, elemente ca poziionarea fa de concuren, efectele campaniilor de promovare, publicitate, relaii publice etc. Aceste concluzii se ataeaz raportului de colecie, ncheie ciclul de via a coleciei respective, devenind patrimoniu intelectual. Societatea Informaiei introduce un nou tip de economie, bazat pe manipularea informaiei, i se exprim prin sintagme, deja intrate n contiina public, cum ar cea de Er Digital sau Revoluie Digital. Acestea traduc noua paradigm, care nseamn trecerea de la modelul industrial la un nou tip de economie, caracterizat prin noul val emergent, indus de inteligena colaborativ, mprtit deschis online, prin diversele tipuri de new media. Transformrile fr precedent la care asistm presupun nu numai o nou atitudine cultural, ci i transformri fundamentale n abordarea cercetrii, o nou infrastructur a informaiei, dar mai ales un alt model uman.

The analysis of market reactions. At the end of the collections life one analyzes the context in which this has lived, the way it responded to demands, the successful items and failures, the eventual causes, the clients nal response to the story told by him, elements such as the attitude towards competition, the effects of the promotional campaigns, publicity, public relations, etc These conclusions are attached to the collections report and complete the life cycle of that collection, becoming an intellectual patrimony. The Society of Information introduces a new type of economy based on the manipulation of information and its expressed by means of collocations, which have already penetrated the public conscience, such as the one of Digital Era or Digital Revolution. These translate the new paradigm which means the transition from the industrial model to a new type of economy characterized through the new emergent wave, induced by the collaborative intelligence, openly shared online, through different types of new media. The unprecedented transformations we experi-

ence presume not only a new cultural attitude, but also fundamental transformations in the approach of the research, a new infrastructure of the information, and especially another human model. The model of creation and innovation imposed by the accelerated shortage of time between the concept and consumer presumes the fundamental transformation of the approach of creative industries and the acceptance of another conceptual equation. This process relies on new collaborative principles, suggesting the communion and re-denition of all that means innovation, and as a result we get new attitudes of creation, innovation and professional design (used as protable key factors), according to the model of cross-functional teams4.
4 A cross-functional team is a group of persons with different functional expertise working together for a mutual goal. The team can be made up not only of persons working in the departments of the organization (nancial-accounting, marketing, design, operationallogistic, human resources, etc) but also of external persons, who are not working for the organization (customers, suppliers, consultants, etc). The quality and responsibility of decisions depend on the members agreement or the vote of the team leader.

Modelul de creaie i inovaie, impus de scurtarea accelerat a timpului dintre concept i consumator, presupune transformarea fundamental a modului de abordare a industriilor creative i acceptarea unei alte ecuaii conceptuale. Acest proces se fundamenteaz pe noi principii colaborative, de comuniune, de redenire a ceea ce nseamn noutate, iar pe aceast structur evolueaz atitudini de creaie, inovaie i design profesionist (folosite ca prghii de prot), pe modelul echipelor multifuncionale4. n ncheiere, a meniona faptul c lumea modei este ntr-o real i profund transformare, generat de noile tehnologii informaionale i digitale, precum i de accesul democratic la tehnologiile de
4 O echip multifuncional (cross-functional team) este o grupare de persoane cu diferite expertize funcionale, care lucreaz mpreun pentru un scop comun. Echipa poate conine persoane din departamentele organizaiei (nanciar-contabilitate, marketing, design-creaie, operaional-logistic, resurse umane etc.), dar i persoane externe, din afara organizaiei (clieni, furnizori, consultani etc.). Calitatea i responsabilitatea deciziilor depind de consensul membrilor sau de votul conductorului de echip.

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Anul III, Licen | The third year of study, licentiates degree (BA) Colecia | Collection Sage coordonator | coordinated by Ioana Sanda AVRAM

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nalt clas. Acest lucru va genera o cu totul alt viziune i abordare a acestui domeniu. Va scurta incredibil timpul de reacie productiv, va modica marketingul, va afecta ciclul de via al produselor de mod, dar mai ales va remodela caracterul consumatorilor i atitudinea de consum. Transformrile inerente pe care le trim, c ne place sau nu, c le acceptm sau nu, atrag dup sine un alt tip de economie mondial, care va remodela ntreaga cultur i civilizaie. Astfel, tehnologii de tip digital, ca Lectra System sau Optitex, pot reduce timpul de evoluie al conceptelor de mod, de la 18 luni, la 21 de zile. Coleciile de mod vor avea alte ecuaii, dar se va intensica rolul lor n comunicarea reelizat, deoarece nu trebuie uitat c www (World Wide Web) i wwf (World Wide Fashion) sunt modele diferite ale aceluiai tip de civilizaie. n acest context, putem vorbi de noi concepte, cum ar unique design, sau de produse integrate conceptual i tehnologic prin softuri, care i permit creatorului de vestimentaie s i creeze singur

Finally I would like to mention the fact that the world of fashion experiences a real and profound transformation generated by the new informational and digital technologies such as the democratic access to the high-class technology. This will generate a completely different vision and approach of this domain. It will shorten the time of productive reaction in an incredible way, it will modify the marketing and affect the life cycle of the products in fashion, and will especially re-model the consumers character and the attitude of consumption. The inherent transformations we experience, no matter if we like them or not, or accept them or not, attract another type of world economy which is going to remodel the whole culture and civilization. Thus, the digital technologies such as Lectra System or Optitex can reduce the fashion concepts time of evolution from 18 months to 21 days. The fashion collections will have other equations, yet their role in the network communication will intensify; we should not forget that www (World Wide Web) and wwf (World Wide Fashion) are different models of the same type of civilization.

In this context, we can refer to new concepts such as unique design, or to conceptually or technologically integrated products by means of various software, which permit the fashion creator to create his own contexts, prints or structures focused on a complete product, conceived for a consumer with a precise identity, a co-author (a co-creative attitude), in the elaboration and development of the product one really needs. However, a great part of those explained above will be preserved as work methods, as systems to manage the creative way of thinking, as elements which must be taken into account in the correct, collaborative and coherent connection with the client. All these drive to the re-conguration of the professional fashion creator, his collaborative connection to the customer and his effective role, which is more and more important in the evolution of a future culture. This way of conceiving and implementing fashion collections can be found in the educational program of the National University of Arts Bucharest and can be illustrated through the students works both as a collaborative and personal and creative form.

contexturile, imprimeurile sau structurile destinate unui produs complet, conceput pentru un consumator cu identitate precis, coautor (atitudine cocreativ) la conceperea i realizarea produsului de care are cu adevrat nevoie. Totui, o mare parte din cele explicitate mai sus vor putea rmne valabile ca metode de lucru, ca sistem de gestionare a gndirii creative, ca elemente care oricum, trebuie luate n calcul n relaia corect, partenerial i coerent cu clientul. Toate acestea conduc la recongurarea modelului de creator de mod profesionist, relaia sa colaborativ cu clientul i rolul su efectiv, din ce n ce mai important n dezvoltarea unei culturi a viitorului. Acest mod de a concepe i de a implementa colecii de mod se regsete n programul educaional al Departamentului de Mod al Universitii Naionale de Arte Bucureti i poate ilustrat prin lucrri ale studenilor, att ca form colaborativ, ct i personal de creaie.

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Anca PETREA Colecia | Collection Mechanical Poetry coordonator | coordinated by Ioana Sanda AVRAM

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Anul III, Licen | The third year of study, licentiates degree (BA) Colecia | Collection Metamotion coordonator | coordinated by Ioana Sanda AVRAM

Proiectul Fashion Road s-a desfurat n 20112012, ind nanat de ctre European Union prin Culture Fund, susinut de European Cultural Foundation, EUNIC (European Union National Institutes for Culture) The British Council, Goethe-Institute, Institutul Cultural Romn, The Danish Cultural Institute, The Czech Centres, The Armenian Fashion Council. Programul i-a propus accesarea motenirii culturale din rile participante (Armenia, Cehia, Danemarca, Germania i Romnia) prin intermediul designului vestimentar i ncorporarea lor n patrimonial european, prin tehnici de cooperare intercultural i atitudine de creaie colaborativ. n cadrul acestui proiect, a avut loc un atelier de lucru, coordonat de ctre domnul Tony CHARALAMBOUS, curator de mod i profesor colaborator la London College of Fashion, la care au participat studenii departamentului de mod. Atelierul s-a desfurat n trei etape, una colocvial i de abordare a temei (identitate prin cultur), una de identicare din punct de vedere personal a elementelor identitare i transformarea lor n proiecte de design, iar ultima, un atelier online, condus de ctre domnul Tony CHARALAMBOUS i doamna Ioana AVRAM.

The Fashion Road project developed in 20112012 and nanced by the European Union through Culture Fund, supported by the European Cultural Foundation, EUNIC (European Union National Institutes for Culture) the British Council, GoetheInstitute, Institutul Cultural Romn, the Danish Cultural Institute, the Czech Centres, the Armenian Fashion Council. The program aimed to access the cultural heritage from the participating countries (Armenia, the Czech Republic, Denmark, Germany and Romania) by means of clothing design and its incorporation in the European patrimony through techniques of intercultural cooperation and the attitude of collaborative creation. In this project they organized a workshop coordinated by Tony CHARALAMBOUS, a fashion curator and an associate professor at London College of Fashion; the students of the fashion department also took part in it. The workshop developed in three stages, a colloquial one, to approach the theme (identity through culture), one of identication, given the personal viewpoint of the identity elements and their transformation in design projects, and the last one, an online workshop run by Tony CHARALAMBOUS and Ioana AVRAM.

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Raluca MANITA Fashion Road coordonator | coordinated by Ioana Sanda AVRAM

Bogdan Severin HOJBOT


conf. univ. dr. Senior lecturer Ph.D.

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Pred la Licen i Master n cadrul Departamentului Metal.

Teaches the BA and MA courses of the Metal Department.

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Cursuri Studiu bi i tridimensional Compoziie de specialitate Tehnici de transpunere n material Cercetarea expresivitii plastice prin soluii tehnice i tehnologice Ordonarea spaiului compoziional n limbajul specic materialului

Courses Bi and tridimensional study Specialized composition Techniques of transposition in the material The research of artistic expressivity though technical and technological solutions The arrangement of compositional space in material specic language

Bogdan Severin HOJBOT

Bijuteria ca mod / personalizare a imaginii

mijloc

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The jewel a way to personalize the image

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Prin comparaie cu judecata de valoare, care presupune ntotdeauna anumite restricii, ntruct necesit folosirea de argumente serioase, judecata de gust presupune o foarte mare libertate, aproape libertatea absolut. Nu trebuie s m justic de ce mi place sau nu mi place ceva. Am dreptul la orice opiune. Cel de alturi de mine are aceleai drepturi. Pornind de la acest principiu, cei vechi au ajuns la concluzia c despre gusturi i culori nu se poate niciodat discuta cu folos. n raport cu podoabele, intervine exact aceast problem a libertii purttorului. El nu trebuie s-i justice preferina. Totui, imaginea general pe care o realizeaz, prin podoabele purtate, va nate judeci de valoare favorabile sau nu i l oblig la un plus de atenie. Confecionarea unor bijuterii cu inuen baroc, ncrcate cu tot felul de detalii, este considerat n perioada modern ca ind de evitat atunci cnd cineva trebuie s le poarte zi de zi. Nu acelai lucru se ntmpl atunci cnd este vorba de o ceremonie, de o prezentare de mod cu tematic inspirat de secolele XVII-XVIII n contextul crora respective-

Compared to the judgement of values, which always assumes certain restrictions, as it needs the usage of serious arguments, the judgement of taste assumes a high degree of liberty, almost the absolute liberty. I dont have to justify myself and tell why I like something or not. I can choose whatever I wish. The one next to me has the same rights. Starting from this principle, the old ones drew the conclusion that you can never discuss about preferences and colours in a useful way. Referring to the issue of jewels, we cope exactly with this problem of liberty assumed by the carrier. He does not have to justify his preference. However, the general image he achieves by means of his jewels will produce judgements of values, which may be favourable or not, obliging him to some additional attention. In the modern period of time the manufacturing of some baroque-like jewels, loaded with all kinds of details, is recommended to be avoided when someone must wear them day by day. It is not the same when it is about a ceremony, a fashion presentation focused on a topic inspired from the 17th or 18th

century, when those jewels, worn for centuries, expressing the renment and educated preference of nobility, contribute to the realization of a sophisticated image. What we must keep in mind is that in matters of artistic jewels and treasures, those always made of noble metals and associated with precious or semi-precious stones are chosen for their value not for their artistic qualities. It is hard, yet very useful to speak about good and bad taste, especially to those who invest in jewels. From this perspective the impulses deriving from the attitude of the carrier are very important; he can formulate a certain option according to his level of artistic education. That person considers that that item ts him very well. You cant forbid him to wear the jewel or the ornament he has selected. From the postmodernist viewpoint, everybody has the right and liberty to cherish what his own subjectivity dictates to him. The postmodern period of time analyzes the primacy of esthetic options on subjective grounds as an expression of the individuals liberty. This was also the time when the materials used for these

le podoabe, purtate secole de-a rndul, exprimnd ranamentul i gustul educat al nobilimii, contribuie la realizarea unei imagini sosticate. Ceea ce trebuie s reinem este c, n materie de podoabe artistice, bijuterii i giuvaeruri, cele confecionate ntotdeauna din metale nobile i avnd asociate pietre preioase sau semipreioase sunt alese pentru ct valoreaz, nu pentru calitile lor artistice. Este greu, dar foarte util s vorbeti de bun-gust sau prost gust, mai ales celor care investesc n bijuterii. O important pondere o au n aceast privin impulsurile care vin din interiorul purttorului, care, n funcie de nivelul de educaie artistic, poate formula o anumit opiune. Respectiva persoan consider c aa i st ei bine. Nu poi s-i interzici s poarte bijuteria sau giuvaerul pentru care a optat. Din perspectiv postmodernist, ecare are dreptul i libertatea de a preui ceea ce i dicteaz propria-i subiectivitate. Perioada postmodern aduce n discuie problema primatului opiunii estetice pe temeiuri subiective ca expresie a libertii individului. Tot acum i materialele din care sunt realizate podoabele s-au
Bogdan Severin HOJBOT

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diversicat. Consider necesar o precizare a termenului generic de podoab, care include bijuteriile, giuvaerurile, gablonurile, accesoriile etc. Bijuteriile sunt totdeauna din metale nobile n care pot integrate pietre preioase i semipreioase, scoici, rini, perle, iar giuvaerurile sunt realizate numai din metale nobile i pietre preioase integrate n compoziii de mare ranament. Raportat la formele artistice care sunt cel mai mult afectate de fenomenul modei, n cazul podoabelor, implicate n structura modei vestimentare, merit semnalat i un alt fenomen, tot mai des ntlnit. Chiar dac mie mi place ceva, ajung s nu-l port pentru c astzi nu mai are nici un fel de trecere, e considerat ca ind desuet. n materie de podoabe, ca i n materie de mod vestimentar, preferinele estetice se ntemeiaz i pe ceva ce vine din exterior. Este ntotdeauna vorba despre tendinele dictate i diseminate cu precizie de birourile de stil i urmate cu snenie de victimele modei. Dac toi cei din jurul meu accept, ca valoare estetic, forma obinut dintr-un mateTeodor SIMINIC Inel | Ring coordonator | coordinated by Bogdan Severin HOJBOT

jewels diversied. I also need to emphasize the generic term of ornament which includes: jewels, treasures, decorations, accessories etc. The jewels are always made of noble metals in which they integrate precious and semiprecious stones, shells, resin, pearls, and the jewels are made only of noble metals and precious stones integrated in very rened compositions. Regarding the mostly affected artistic forms in the phenomenon of fashion, in the case of jewels, involved in the structure of fashion, we should also mention another phenomenon which is encountered more and more frequently. Even if I like something, Ill nally not wear it anymore as today it is no more accepted, it is considered old fashioned. Concerning the jewels, like in matters of fashion, the esthetic preferences are founded on something emerging from the exterior. It is always about dictated tendencies, which are clearly disseminated by stylish ofces and closely followed by the victims of fashion. If everybody around myself accepts the form obtained from a determined material, having
Cristinel PUNA Inel | Ring coordonator | coordinated by Bogdan Severin HOJBOT Teodor SIMINIC Agraf de pr | Hairclip coordonator | coordinated by Bogdan Severin HOJBOT Alexandru CROITORU Agraf de pr | Hairclip coordonator | coordinated by Bogdan Severin HOJBOT

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rial determinat i avnd o compoziie vizual de un anumit tip, eu nu pot ignora complet acest lucru. Trebuie s m integrez sistemului de preferine al celorlali pentru a trendy. Altfel, m voi trezi e n situaia excentricului, e n situaia insului cu preferine estetice depite. Astzi, creaia, producia i desfacerea pe pia a podoabelor sunt reglementate de tendina modei, reductibil n ultim instan la expresia aa se poart acum. Podoabele din metal pentru spectacol sunt e realizate n funcie de o colecie a unui autor de creaie vestimentar, e impun realizarea unei colecii anume concepute, care s le pun n valoare. Tendinele n podoabe i bijuterii, ca i cele din mod, se schimb n funcie de succesiunea sezoanelor, de aceea noi, creatorii, trebuie s ne meninem la curent cu ele. Artistul autor de podoabe i realizeaz opera att din metale nobile, ct i din metale obinuite, valoarea operi sale const n originalitatea creaiei, ingeniozitatea mbinrii materialelor i ranamentul
Cristinel PUNA Inel | Ring coordonator | coordinated by Bogdan Severin HOJBOT

a visual composition of a certain type, as an esthetical value, I cannot ignore this fact completely. I must integrate into the others system of preferences in order to be trendy. Thus I shall wake up either in the situation of the eccentric, or in the situation of the individual with old fashioned esthetic preferences. Nowadays the creation, production and sale of jewels are regulated by fashion, which is nally reduced to an expression, this is what we wear at the moment. The metal jewels for the performance are either realized according to the collection of an author of fashion creations, or impose the realization of a certain collection, which should highlight their value. The tendencies occurred in the jewels creation, like those in the context of fashion, change according to the succession of seasons, therefore we, the new creators, must keep in touch with them. The artist, a creator of jewels, carries out his work both from noble and common metals, and the valAmelia GHIOL Inele | Rings coordonator | coordinated by Bogdan Severin HOJBOT

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execuiei. Podoabele de autor e sunt destinate expunerii (ele i vor gsi cu siguran un purttor), e sunt lucrate la comand (autorul avnd acelai grad de libertate n creaie). La lucrrile de autor se adaug valoare n funcie de faima i prestigiul artistului realizator. Un inel, o brar, un colier sau o pereche de cercei strlucitori vor aduce cu siguran un zmbet pe faa purttorului i poate i pe cea a privitorului.

ue of his work consists in the originality of creation, the ingeniosity of the combination of materials and the renement of the execution. The artistic jewels are either meant to be exposed (they are certainly going to nd their carrier) or they are ordered by someone (the author has the same degree of liberty in creation). The artistic jewels become more valuable if fame and prestige are added. A ring, a bracelet, a necklace or a pair of bright earrings will certainly bring a smile on the face of the carrier and perhaps on the one of the viewer.

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Maria STNESCU Studiu cercei | Earring Study coordonator | coordinated by Bogdan Severin HOJBOT

David SANDU Pandantive | Pendants coordonator | coordinated by Bogdan Severin HOJBOT

Rzvan VASILESCU
asist. univ. drd. Junior lecturer Ph.D. candidate

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Pred la Licen n cadrul Departamentului Mod

Teaches the BA courses of the Fashion Department.

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Curs Tehnici de transpunere bi i tridimensional Courses Bi and tridimensional techniques of transposition

Umbrele trecutului viitorului imediat

proiecia

The shadows of the past The projection of the close future

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Odat cu derularea episodului al patrulea din proiectul Costumbre1, am hotrt s m supun, ca subiect, cerinelor cursului, n sperana de a gsi proiecia personalitii mele n sezonul viitor. La urma urmelor, prezentul celor ce sunt implicai, ntr-un fel sau altul, n circul modei, se deruleaz n anul ce urmeaz. Pn acum, alegeam aceste siluete cu notorietate n istoria costumului doar n urma unei analize a imaginii i a eventualelor direcii pe care le pot conferi anumite detalii specice, acestea urmnd a explorate prin prisma vizual personal ntr-o viziune contemporan. Asemenea testului zic cu fasciculul luminos, am ncercat s schimb locul factorilor n enun, cci o problem de imagine trebuie neaprat analizat optic. Uneltele i ordinea folosirii lor rmn neschimbate, rezultatul urmnd s conin o sum de idei compuse n straturi succesive, fr aptitudini de soluie denitiv. Este o agend tridimensional ce poate analizat i testat (n faza iniial), apoi poate
1 Denumirea scurt a primei pri din cursul Tehnici de transpunere bi i tridimensionale, din programul de studii al anului II Departamentul Mod din cadrul FADD a UNAB.

Given the development of the fourth episode of the Costumbre1 project, I decided to also become a subject of the course hoping to nd the projection of my personality in the future period of time. After all, the present of those involved, in a way or another, in the circus of fashion, develops during the following year. So far I chose these silhouettes, which were well-known in the history of clothing, only after the analysis of the image and the eventual directions conferred by certain specic details, these are going to be explored through the personal visual considerations in a contemporary vision. Just like in the physical test with the bright fascicle, I tried to change the place of the factors in the statement since a problem related to the image needs to be analyzed... optically. The tools and order of their usage remain unchanged, while the result is going to contain a sum of composed ideas and successive strata, without aptitudes of nal solutions. It is a tridimensional
1 The short name of the rst part of a course, bi and tridimensional techniques of transposition, related to the educational program of the second year of studies, the Fashion Department, FADD of the UNAB.

agenda which can be analyzed and tested (in the initial stage), then it can undergo transformations and adjustments, preserving the transparency of the creative process. The major deviations from the pre-established route are almost impossible to avoid. Dumbfounded by arrows dressed up in the breaking news outt, we have learned to suppress our remote dreams. The creators of future outt prove loose while the stellary data become actual, and the clothing rather look like those worn by the creators during the rst science ction productions. Beyond any doubt, future is constructed in consecutive steps, following the already used ways, the short ones through new dimensions representing the only option of designers to obtain new results. The absolute new is going to vanish, and the new aims to become its closer degree of comparison, which emphasizes the unusual. The method of lexical ricochets is intuited easily in the following concept equation: Roi Soleil + Cirque du Soleil = Soleil (Roi + Cirque) = Roi de Caro.

suferi modicri i ajustri, pstrnd transparena procesului creativ. Deraierile majore de la traseul prestabilit sunt aproape imposibil de evitat. intuii aleatoriu de sgei mbrcate n haine de breaking news, am nvat s ne suprimm visele ndeprtate. Creatorii de costume ale viitorului se dovedesc neinspirai pe msur ce datele stelare devin actuale, iar vemintele seamn mai curnd cu cele purtate de creatori n momentul primelor producii SF. Rmne indubitabil faptul c viitorul se cldete cu pai consecutivi, pe crrile deja bttorite, scurtturile prin noi dimensiuni reprezentnd singura opiune a designerilor de a obine rezultate inedite. Noul absolut este pe cale de dispariie, iar ineditul tinde s devin gradul de comparaie imediat inferior acestuia, cu accent pe sensul de neobinuit. Metoda ricoeelor lexicale este lesne de intuit n ecuaia-concept: Roi Soleil + Cirque du Soleil = Soleil (Roi + Cirque) = Roi de Caro. Menionez c am aplicat att ordinea operaiilor, ct
Rzvan VASILESCU Colecia | Collection Roi de Caro

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I mention that I applied both the order of operations and their meaning in a personal manner, which is Dadaist here and there, not approached according to the rigours of algebra. The attributes I need to develop and eventually take hold of during the following year are involved in the forms which outline the hypothetical silhouettes. The fusion between the two ideas, which are both paradoxically opposed and similar, permits the abrupt selection of the zones to be explored and then displayed or forgotten. The spirits modelling program, similar to the classical forms, presumes an initial assumption regarding the dominant characteristics, even if highlighting a documentary character. The most favourable level of the balance between a new appearance and the expected effect is given only when settling the interior natural aspect (I named here the neutral condition of the individual). Before taking one step further towards the stage which aims to articulate the concept visually, I felt the need to compare it with another domain in which the new is the new new. Apart from the hybrid musical streams and all kinds of voices, music experiences its contemporaneity by means of the mash-ups2, while the degree of virtuosity, with which at least two musical hits from the past combine, went beyond the need to get new and postmodern rhythms. The video part among the most recent ones in the noble family of arts (already with new ramications, for example the mapping, 3D), is present all over in our everyday life, the short lms the musical videoclips become perfect spaces for the atmosphere needed to develop the context in question. Another cannon of the concept, this time a sentimental one, placed me into the world of Anton Corbijn, a scenography producer of a video illustration of Depeche Modes evergreen, Enjoy the silence.

i sensul lor ntr-o manier personal, pe alocuri dadaist, i nicidecum conform rigorilor algebrei. Atributele pe care simt nevoia s le dezvolt i, eventual, nsuesc, pe parcursul anului ce va urma, sunt subnelese formelor ce contureaz ipoteticele siluete. Contopirea celor dou idei, pe alocuri paradoxal opuse i, n acelai timp, cu majore asemnri, permite alegerea sacadat a zonelor ce urmeaz a explorate i mai apoi etalate sau uitate. Programul de modelare a spiritului, asemenea formelor clasice, presupune iniial o asumare a purtrii trsturilor dominante, e i cu caracter documentar. Nivelul optim al balansului ntre o apariie inedit i efectul scontat este dat doar n momentul instalrii rescului interior (am numit aici starea neutr a individului). nainte de a face pasul spre etapa ce urmeaz s articuleze vizual conceptul, am simit nevoia de comparaie cu un alt domeniu n care ineditul este noul nou. Aparte de curente muzicale de tip hibrid i voci dup toate asemnrile, muzica i triete contemporaneitatea cu ajutorul mash-upurilor2, gradul de virtuozitate cu care sunt mpletite cel puin dou hituri muzicale din trecut a depit nevoia de ritmuri noi, (post)moderne. Partea video printre cele mai noi venite n nobila familie a artelor (deja cu noi ramicaii, ex.: 3D) este nelipsit din viaa cotidian, scurtmetrajele videoclipuri muzicale devin spaii perfecte pentru atmosfera necesar desvririi cadrului vizat. Un alt carambol al conceptului, de data aceasta de natur sentimental, m-a plasat n lumea lui Anton Corbijn, regizor-scenograf pentru ilustraia video a evergreen-ului celor de la Depeche Mode, Enjoy the silence. Continund paralela matematic, am inclus geometria simpl n construcia tiparelor de baz ale ecrui produs n parte; rombul (60 / 120) suveran chiar i n titlu, deja sugerat de alturarea
2 Este compoziia rezultat din suprapunerea a cel puin dou cntece, de obicei folosind partea vocal a uneia pe ilustraia muzical a celeilalte.

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2 It is the composition resulted from the juxtaposition of at least two songs, by usually using the vocal part of one of these in the musical illustration of the other.

factorilor n ecuaia conceptual s-a dovedit a o alegere satisfctoare att din punct de vedere al compoziiei n ansamblu a liniilor de for, ct i al consumului de material. Pentru a pstra impersonalitatea necesar unui asemenea proiect de cercetare, nu voi insista cu enumerarea celor ce au condus la alegerea unui anumit tip de vemnt sau a unui anumit tip de materie prim. Pentru a respecta prioritile lucrrii, aspectele materiale altfel primordiale sunt voit, acum, trecute n plan secundar, concentrnd, pe ct posibil, n conceptul bine cldit, argumente i soluii deopotriv. ntresc ideea de a selecta piesele ca layere succesive ce vor dialoga i se vor completa, fr riscul de a afecta funcionalitatea i rostul ecruia. Astfel, imaginea complet devine principalul obiect de studiu, n perspectiva crerii unei serii ce poate satisface, vestimentar, ecare moment al unui sezon ntreg.

Continuing the mathematic parallel, I included the simple geometry in the construction of the main pattern of each separate product; the rhombus (60 / 120) sovereign even in its title, and already suggested by the association of factors in the conceptual equation proved a satisfactory choice considering the general composition of the main lines and material consumption. In order to preserve the impersonality needed in such a research project, I shall not insist with the enumeration of those elements which drove to the selection of a certain type of garment or a certain type of raw material. In order to respect the works priorities the material aspects which are otherwise primordial are willingly passed in a secondary context concentrating, as much as possible, not only arguments but also solutions into the wellbuilt concept. I emphasize the idea concerning the selection of items as successive layers, which are going to entertain a dialogue and complete each other, without risking to affect the functionality and meaning of each. Thus, regarding the outt, the complete image becomes the main object of study, from the perspective of some series which may satisfy each moment of a whole season. The solution of the silhouettes transfer (not necessarily masculine) in the history of the suits in a fragmented way, and especially loaded with a high dosis of subjectivism, can make the transition towards the direct expression of the personality by means of his clothing. Whether the selected models are more different, they are going to replace each other to develop a new individual. The pigmentation of the equation in its extended form is given by the number of possible combinations increasing exponentially at the end of each epoch. This multitude of options, combined with a precarious conduct of royalties, can transform the pure plagiarism into a simple accident and reversely; thus until the verdict is pronounced, the subject in question might be already lost in nothingness. A consistent list of additions, extended to a rela-

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Soluia decalcrii siluetelor (nu neaprat masculine) din istoria costumului n mod fragmentat i, cu precdere, ncrcat cu o mare doz de subiectivism poate face tranziia spre exprimarea direct a personalitii prin vemnt. Cu ct mai diferite par s e modelele alese, cu att ele vor tinde s se suplineasc unul pe cellat n slujba desvririi unui nou individ. Pigmentarea ecuaiei n forma sa extins este dat de numrul combinaiilor posibile ce crete exponenial odat cu apusul ecrei epoci n parte. Aceast multitudine de opiuni, n combinaie cu o guvernare precar a drepturilor de autor, are puterea de a transforma plagiatul pur n simplu accident i invers, fcnd posibil ca pn la pronunarea verdictului subiectul n cauz s se pierdut deja n neant. Este foarte probabil apariia unei consistente liste de adaugri, ntins pe o durat relativ lung de timp; recomand recalcularea plajei de opiuni, odat cu apariia oricrui element nou. Pstrarea unei trase constructiv-ascendente este coordonat doar de calitatea texturii ltrante a personalitii ecruia. Este de datoria noastr s reinem sau

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s ignorm frnturile personalitilor marcante, nnobilndu-ne deopotriv ADN-ul i imaginea, sau mcar ntrezrind proiecia propriei identiti, calculat cu ajutorul logicii personale, transformat n rezultat palpabil. Este un exerciiu recomandat nu numai profesionitilor din domeniu, ci i celor ce doresc cultivarea cunotintelor despre rolul costumului i interaciunea lui cu corpul uman. Extrem de util poate i o abordare strict n zona styling, ramur ce tinde s impun noi sarcini pentru designeri. Creionarea siluetei ce urmeaz a ajustat alturi de cea vizat poate restrnge perimetrul cercetrilor spre zona alegerii optime. Trind n epoca prezicerilor de tot felul, ndrznesc s punctez din ce n ce mai clara prezen a umbrelor trecutului n proiecia imaginii viitorului imediat pentru o bucat bun de timp.

tively long period of time, may also appear; I recommend the new calculation of the range of options, simultaneously with the appearance of every new element. The preservation of some ascending constructive routes is coordinated only by the quality of the ltrable texture of each personality. It is our duty to retain or ignore the fragments of outstanding personalities, ennobling both his DNA and image, or at least foreseeing the projection of his own identity, calculated with the support of personal logics, transformed into a palpable result. It is an exercise recommended not only to the experts but also to those who desire the cultivation of knowledge related to the role of the costume and his interaction with the human body. An approach of the styling zone can be extremely useful as well, since it aims to impose new tasks to the designers. The outline of the silhouette, which needs to be adjusted beside the one in question, can limit the research perimeter to the zone of optimum choice. Living in the epoch of all predictions, I dare to emphasize the presence of the shadows of the past in the projection of the close future for a longer period of time.

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Alexandru Ioan MRGINEAN


asist. univ. dr. Junior lecturer Ph.D.

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Pred la Licen n cadrul Departamentului Mod

Teaches the BA courses of the Fashion Department.

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Cursuri Tehnici fotograce Fotograa de mod Comunicare vizual Courses Photographic techniques Fashion photographies Visual communication

Luana PRDATU coordonator | coordinated by Unda POPP

Olga Morrescu MRGINEAN Portretul lui Alexandru | Alexandru's Portrait acuarel pe hrtie | wathercolor on paper 30 x 24 cm

the old man in the village or the uprooted urban man, is incidental, perhaps even more powerful in the case of the cultured man, who is not ashamed of this clothing, but on the contrary. Rules represent the secret of civilized cohabitation, their respect depending on very many factors. By means of rules communication becomes possible, as an ensemble of signs related to a mutual chart of signiers and signied. But what does actually make the innovations in fashion interesting if not the attempt to destroy rules, which otherwise dene the great personalities in any domain? Once the rules are destroyed, does the apotropaic value of clothing also disappear? No because the non-existence of rules simply does not resist as an imposed chaos, any disappearance of an order is replaced with another order. It is true, new rules, imposed by the new personality, which will vanish some time later. There is a difference of perception and attitude related to the clothing and its qualities depending on the person who appreciates it correctly or in a wrong way. The fact that some do not care about the formal aspect does not mean that they dont share an affective or spiritual expression. Famous actors, who are fed up with makeups, hairdressings or the careful selection of clothing can nd, in simple formulas of public appearance, an actually very personal form of protection, based on the faith that the display of their own vulnerability through an apparent carelessness does not decrease the power upon the public, on the contrary, it increases the psychic approach; a good example in this sense is especially suggested by some politicians who introduce themselves or are introduced in short sleeved T-shirts or unbuttoned shirts, with a cup of coffee in their hand. Thus the proletarian undershirt can become a psychic force on the body of a political leader in unison with the ideology of that epoch. The difference among a clothing item made by a professional tailor, a peasant living before the epoch of industrialization in Romania, a peasant

dezrdcinat este aleatoriu, poate chiar mai puternic la omul cult, cruia nu-i este ruine de acest vemnt, dimpotriv. Regulile sunt secretul convieuirii civilizate, respectul acestora depinznd de foarte muli factori. Prin reguli, comunicarea devine posibil, ca ansamblu de semne care se nscriu ntr-o gril comun a semnicanilor i semnicatului. Dar ce face de fapt interesant noutatea n mod dac nu ncercarea de distrugere a regulilor, de altfel proprie marilor personaliti din orice domeniu? Odat distruse regulile, dispare i valoarea apotropaic a vemntului ca limbaj autonom? Nu pentru c pur i simplu inexistena regulilor nu rezist ca haos impus, orice dispariie a unei ordini ind nlocuit de alt ordine, orice dispariie a unor reguli ind nlocuit de alte reguli. Reguli noi, este adevrat, impuse de noua personalitate, ce urmeaz a dobort peste ceva timp. Exist o diferen de percepie i de atitudine n raport cu vemntul i calitile acestuia n funcie de persoana care l apreciaz la justa valoare sau eronat. Faptul c unora nu le pas de aspectul formal nu au ncrctur afectiv sau spiritual sau c nu mai exist disponibilitate pentru aa ceva. Actori celebri care s-au sturat de machiaj, coafat sau de alegerea cu grij a vemintelor pot gsi n formule simple de apariie n public o form de protecie foarte personal de fapt, ancorat n credina c etalarea propriei vulnerabiliti printr-o aparent neglijen nu scade aura de putere asupra publicului, dimpotriv, crete apropierea psihic, un exemplu bun n acest sens ind mai ales unii politicieni care se prezint sau sunt prezentai n tricou cu mnec scurt sau descheiai la gt cu cana de cafea n mn. Iat cum maioul proletar poate deveni for psihic pe corpul unui lider politic n concordan cu ideologia epocii respective. Diferena ntre o pies de mbrcminte fcut de un croitor profesionist, un ran dinainte de epoca industrializrii Romniei, un ran din zilele noastre, o femeie care ese i coase materiale de in,

Rolul apotropaic al vemntului ca limbaj autonom

The apotropaic role of garments as an autonomous language

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Dei teoriile limbajelor nu sunt suciente pentru descifrarea sensului sau mesajului unei creaii artistice, chiar aplicate, aa cum nu exist deniie pentru art sau design, fenomenul numit <<mod>> este un limbaj n sine i scap ncercrilor de cuanticare n forme sau abordri conceptuale ale altor limbaje, putem spune c rolul apotropaic al vemntului a rmas camuat i n societatea contemporan, att din punct de vedere al impactului zic, ct i psihic, c noiunile de calitate i non-calitate, de etic i estetic rmn i pentru acest obiect semiotic hibrid provocri permanente. Ne punem ntrebarea ce se poate cataloga / cuantica i ce nu. n nici un caz nivelul de ncrctur afectiv/spiritual al vemntului purtat de diverse persoane atunci cnd acesta reprezint o uniform. Putem spune c uniforma n sine este un element pur apotropaic i c un costum de srbtoare care se repet ca stil ntr-o anume comunitate / regiune geograc are acest caracter. Dar nivelul de protecie pe care ni-l ofer vemntul care provine din regiunea natal atunci cnd este purtat de copilul, tnrul, btrnul din sat sau de omul urban

Although the languages theories are not sufcient to decode the meaning or message of an artistic creation, even if applied, just like there is no definition for art or design, the phenomenon called fashion is a language itself and blabs out of the attempts to quantify in the conceptual forms or approaches of other languages, we can say that the apotropaic role of garments has stayed concealed in the contemporary society too, both from the viewpoint of physical and psychic impact, that the notions of quality and non-quality, ethics and esthetics are preserved for this hybrid semiotical object too permanent challenges. We wonder what can be cuantied and what not. On no account the affective / spiritual expression of the garment worn by different persons when this represents a uniform. We can say that the uniform itself is a purely apotropaic element and that a festive clothing, repeating as a style in a certain community / geographic region, has this attributes. However the level of protection provided to us by the clothing which originates in the native region, when it is worn either by the child, the young man,

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cnep, bumbac etc. pe care le mpodobete cu elemente discrete la mneci i guler, chiar i n prezent, se observ n modul de croire, proporionare a culorilor, a elementelor care compun ansamblul, dar, dincolo de aceste diferene, apariia unei earfe sau a unei banderole oblice, de exemplu, ca element simbolic, peste ntreaga pies, aduce din nou n discuie modul de relaionare la lume printr-un limbaj de comunicare a unor valori protective, de apartenen la o anume comunitate i for autonom a vemntului purtat, e acesta un frac sau iari i cma. Despre mantia de ncoronare a lui Eduard al II-lea i despre un costum de sear vorbeti n termeni complet diferii. Ce au fcut i ce au spus <<ei>> despre mantiile de ncoronare? A fost oare mantia de ncoronare confecionat de un croitor? Vemintele regale au desigur fastul necesar unor capete ncoronate, indiferent de ara din care provin, pe cnd costumul de sear poate prin comparaie destul de modest, numai c nici aici nu se pierde valoarea apotropaic a celor dou elemente aparent ndeprtate estetic i funcional. Echilibrul ntre linite i zgomot, ntre urt i frumos, bine i ru, sensibil i brutal, agresiv i calm este de multe ori rezultatul unor ciocniri ntre polariti universale. Refuz sosme de genul celor care susin c axiologia este valabil doar n psihicul nostru, fr legtur cu realul. Un costum popular este rezultatul unei sinteze efectuate de rani de-a lungul secolelor, reect ntregul univers interior afectiv i ontologia omului simplu: nelegerea rescului, a lumii aa cum a lsat-o Dumnezeu, cu bune i cu rele, cu principiile antagonice vzute n complementaritatea lor. Anumite costume i obiecte aveau o ncrctur ideatic complex, toate obiectele care nconjurau omul nscut n tradiia culturii rneti avnd o legtur att cu universul imaginarului arhaic transmis din generaie n generaie, ct i cu universul utilitar al aciunilor de zi cu zi care impuneau designul mbrcminii i acesoriilor venind din diverse liere estetice, e ecleziale, e laice. Spre deosebire de o anume vulgaritate evident n gustul pentru strident i kitsch al unor anumite zone geograce,

of present times, a woman weaving and sewing materials made of ax, hemp, cotton, etc., whose sleeves and collars she decorates with discrete elements, even in the present, is noticed in the way the item is patterned, in the proportion of colours, in the elements making up the ensemble, yet, beyond these differences, the appearance of a scarf or an oblique banderole, for instance, as symbolic elements, covering the whole item, emphasizes again the connection to the world through a language approached to communicate some protective values, to underline the afliation to a certain community and the autonomous force of the worn outt, no matter if this is a tail-coat, a pair of homespun peasant trousers or a shirt. You speak in different terms when you refer to the coronation mantle of Edward II or to an evening suit of clothes. What did they do and what did they say about the coronation mantles? Is it possible that the coronation mantle was made by a tailor? Royal clothing certainly emphasizes the needed pomp of some royal characters, regardless of the countries they originate in, while the evening suit of clothes can be rather modest, yet the apotropaic value of the two apparently different elements, from the esthetic and functional viewpoint, is not lost here either. The balance between silence and noise, ugliness and beauty, good and evil, sensibility and brutality, agressiveness and calmness, is mostly the result of some conicts between universal polarities. I refuse those sophisms which sustain that axiology is valid only in our psychic structure, without being connected to the real. A folk costume is the result of some synthesis carried out by peasants in time, it reects the whole inner and affective universe and the onthology of the simple man: the comprehension of simplicity, of the world in the way God left it to us, with good and bad sides, with antagonic principles seen in their complementarity. Certain costumes and objects were dened by a complex ideative expression, all the objects surrounding people who were born in the tradition of peasant culture were connected both
Luana PRDATU coordonator | coordinated by Unda POPP Serghei IACENIN coordonator | coordinated by Rzvan VASILESCU

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att n decoraiile arhitecturale, ct i n producia costumului de srbtoare sau eclezial, caracterele temperamentale, nu neaprat climatice, par a reecta caracterul mai rezervat sau mai violent al culorilor i ornamenticii, deseori kitsch-ul ind rezultatul unei imitaii de prost gust al hainelor boiereti. Dincolo de semiotica modelor culturale, costumul clugrului budist, de exemplu, reect nivelul ierarhic spiritual n funcie de culoarea pe care o poart. La fel, culorile centurilor costumului de karate arat att nivelul tehnic al lupttorului, ct i nivelul su losoc. Dar aceste culori nu sunt nsuite din propria voin de persoana care le poart, ci i sunt atribuite de ctre o contiin superioar, acceptat universal e de ctre breasl, e de ctre societatea sau comunitatea mai larg, e numai de ctre ucenicul care a fost nvestit de maestru. Aici avem exemple denitorii de haine sau obiecte kitsch achiziionate i expuse cu mndrie numai pentru faptul c provin de la rme sau personaliti recunoscute ca profesioniti sau maetri. Dei par apuse timpurile n care breasla nu mai are putere de hotrre asupra membrilor, interrelaionrile psihice ale diferitor grupuri sociale denot caracterul neschimbat al naturii umane. Accesoriile, de obicei, pot trda n mod voit o anume apartenen la un anumit grup social, pot simboliza puterea sau umilina, cum ar coroana, mitra, crucea n diverse forme, anumite simboluri grace, inele, bijuterii cu semnicaie ezoteric. Plriile, tichiile, epcile, cciulile aveau, pe lng rolul practic de protecie a capului i rolul de armare a unui rang social sau al unei atitudini estetice de acceptare sau negare a unei presiuni formale asupra psihicului uman. Dacii Tarabostes / Pileati (nobilime militar / boieri) i Comati / Capillati (rani liberi) se deosebeau n funcie de forma cciulii, n special. n contemporaneitate, vestimentaia nu i-a pierdut rolul de difereniere social, dar e mult mai uor s te ascunzi sub diverse mti exterioare printr-o mbrcminte care de fapt nu are legtur nici cu nivelul economic real al persoanei respective, nici cu nivelul de cultur estetic n special. Practic, armonia estetic a devenit o problem de gust educat din familie sau din coal, hainele pe care le poart copilul de mic

to the universe of the archaic imaginary context transmitted from generation to generation, and to the utilitarean universe of everyday actions imposing the design in the case of clothing and accessories deriving from different esthetic categories ecclesiastic or laic. Unlike a certain vulgarity which was evident in the preference for the striking and kitsch aspects of some geographic zones, not only in the architectural decorations but also in the production of the festive or ecclesiastic outt the temperamental characters, not necessarily climatic ones, seem to reect the more cautious or violent character of colours or ornaments, while the kitsch was often the result of some bad imitation of boyar clothes. Beyond the semiotics of cultural fashions, the vestment of the Buddhist monk, for instance, reects the hierarchic spiritual level depending on the colour worn. Similarly, the colours of the karate belts appear both at the technical level of the ghter, and at his philosophical level. Yet these colours are not appropriated willingly by the persons who wear them, they are attributed by a superior conscience, universally accepted either by the guild or by the society or larger community, or only by the apprentice of a master. Here we have dening examples of clothes or kitsch items acquired and exposed with vanity, not only because they come from rms or personalities who are well-known as professionists or masters. Although the times when the guild has no more power on members appear gone, the psychic interrelationships of various social groups denote the unchanged character of human nature. Accessories can usually betray a certain afliation to a certain social group, they can symbolize power or humility, such as the crown, the mitre, the crown in different forms, certain graphic symbols, rings, esoteric jewels. Besides their practical role to protect ones head, the hats, caps, hats were meant to highlight the social rank, or an esthetic attitude in the acceptance or denial of a formal pressure upon the human psychic. Dacians Tarabostes / Pileati (military nobility / boyars) and Comati / Capillati (free peasants) were especially differentiated according to their hats. In contempoDiana BOBN & Katia GUZUN coordonator | coordinated by Doina LUCANU

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intrndu-i n subcontient pentru a se reecta mai trziu, la maturitate, n exterior. Bunoar, ne putem mbrca elegant de la second hand sau kitsch din cele mai scumpe magazine, aspectul nostru exterior evideniind astzi nu att propria noastr cultur estetic i nici apartenena noastr social sau starea economic, ci numai atitudinea noastr fa de exterior. Cunosc n Romnia de astzi un exemplu al unei persoane cu o stare material mult peste medie care experimenteaz fenomenul prin i ceretor, aceeai persoan punndu-se din proprie iniiativ n cele dou situaii extreme, privind practic exteriorul, realul din diferite unghiuri. Filosoful de origine austriac Ludwig WITTGENSTEIN face o distincie celebr ntre a spune i a arta care exclude orice vorbire cu sens despre frumos, bine sau Dumnezeu. A purta o coroan nu mai nseamn a rege sau a avea putere. Este mai degrab un element istoric, liturgic sau strict limitat la poveti teatrale pentru copii. nsui teatralul clerical care aeaz o anume opulen este n pericol n faa uniformizrii contemporane, a percepiei banalizante. Accesoriului vestimentar cruia dorim s-i conferim un neles dat de noi nu rspunde percepiei societii. [WITTGENSTEIN spune: Vreau s joc ah, iar cineva i pune regelui alb o coroan de hrtie, lsnd neschimbat folosirea piesei, spunndu-mi ns c acea coroan are un neles pentru el n cadrul jocului, pe care ns nu-l poate exprima prin reguli. Eu spun: Att timp ct nu schimb folosirea piesei, nu are ceea ce eu numesc un neles.] Simbolistica anumitor monograme cu iniialele proprietarului hainei se regsete, de exemplu, pe pieptare (bundie) de piele care au fost purtate de persoana respectiv n momente deosebite sau de srbtoare, dar care nu mai au nici o semnicaie pentru turistul care le cumpr de la magazinul muzeului, n afar de calitatea strict estetic a obiectului. Aici, caracterul apotropaic dispare, dar limbajul rmne n continuare autonom. Lipsa de educaie care duce la vandalism i subcultur i care produce mode i curente de grup ca norme obligatorii, devenite chiar norme pentru tineri studeni, putem spune c mpinge societatea

raneity the clothes did not lose their role in social differentiation, yet it is much easier to hide yourself under various masks through an outt which is actually connected neither to the real economic level of the person, nor to the level of esthetic culture in general. Practically, the esthetic harmony has become an issue of preference developed in family or school, as the clothes one wears starting with childhood penetrate his subconscious level in order to reect later, during his adulthood, externally. For instance, we can dress up elegantly from the second hand stores, or in a kitsch style from the most expensive stores; nowadays our external aspect emphasizes not just our esthetic culture, neither our social afliation or economic condition, but our attitude regarding the external context. In Romania, today, I know a person whose material condition is quite good, yet he experiments the phenomenon of the prince and beggar; we have the same person coping, willingly, with the two extreme situations, considering the exterior and the real practically, from different angles. The originally Austrian philosopher, Ludwig WITTGENSTEIN, makes a famous distinction between telling and showing which excludes any speech about beauty, good or God. Wearing a crown does no longer mean being a king or having a certain degree of power. It is rather a historic, liturgical element, or one strictly limited to theatrical stories for children. The clerical play itself, suggesting a certain opulence, is in danger in the contemporary homogenization of the common perception. The clothing accessory which we want to invest with a meaning does not respond to the perception of society. [WITTGENSTEIN tells: I want to play chess, and someone offers the white king a crown made of paper, leaving the items usage unchanged, yet telling me that the crown has a certain meaning for him in the game, however this cant be expressed by means of rules. I tell: as long as it does not change the usage of the item, it does not have what I call as meaning.] The symbolism of these monograms with the initials of the clothings owner are re-found, for instance, on leather shirtfronts (small fur coats) worn by that

person in special or festive moments; yet they have no more signication for the tourist who purchases them from the museums store, only the strictly esthetic quality of the object. Here the apotropaic character vanishes, but the language keeps being autonomous. The lack of education, which drives towards vandalism and sub-culture, which produce group fashions and streams as obligatory norms, have become even norms for the young students, we can say that they push the contemporary society towards chaos and primitivism, as predicted by some series of futurologists who have already announced the effects of the informational epoch. The homogenization of rural and urban culture regarding the esthetic preference is otherwise the inherent result of globalization, and implicitly of the loss of identity. Whether the life philosophy, which would guide the young people in their gradual development, in the modelling of their mind to understand the traditions, is not transmitted from family to family, to be repeated in the case of younger generations as well, we shall nally get the supercial imitation of the ornaments from the traditional folk costume, reduced to rhomboidal sketches or crosed lines, in fact a disproportioned perception betraying the lack of esthetic education, general inculture, and axilogical ambiguity. The forma mentis of the generations succeeding each other today is no longer modelled by parents but incidentally by the Internet, provided with apparently diversied yet non-selective information. Whether during the communist period of time in Romania the sick society was developing towards the descendant, imposed homogenization, nowadays the phenomenon expressing the liberty of total expression featuring the componency of contemporary garderob, actually highlights the ock spirit and the majoritys subordination to the advertising slogan of must have. The authentic folkloric creations, overtaken by fashion creators and transformed stylistically in order to respond to the highly professional and esthetically rened demands dening some acknowl-

contemporan spre haos i primitivism, aa cum prevd de altfel o serie de futurologi care anun deja efectele epocii informaionale. Omogenizarea culturii rurale i urbane n ceea ce privete gustul estetic este de altfel rezultatul inerent al globalizrii, respectiv al pierderii identitii. Lipsa transmiterii n familie a losoei de via care s cluzeasc tinerii n formarea lor treptat, n modelarea minii lor n nelegerea tradiiilor i implicit n repetarea lor ctre alte generaii i mai tinere duce n prezent la imitarea supercial a ornamenticii din costumul popular tradiional, redus la schematizri romboidale sau cu linii ncruciate, n fond o percepie disproporionat care trdeaz lipsa educaiei gustului estetic, incultur general i ambiguitate axiologic. Forma mentis a generaiilor care se succed astzi nu mai este modelat de ctre prini, ci aleatoriu de ctre Internet cu informaie aparent variat, dar neselectiv. Dac n perioada comunist n Romnia societatea bolnav mergea spre deriva uniformizrii impuse, astzi fenomenul unei liberti de expresie totale n alctuirea garderobei contemporane face de fapt s transpar spiritul de turm i sclavia majoritii n faa sloganului publicitar al lui must have. Creaiile autentice folclorice preluate de creatori de mod i transformate stilistic pentru a rspunde cerinelor de nalt profesionalism i gust estetic ranat cu care se prezint colecii ale unor rme de renume nu fac mai puin periculoas joaca de-a ornamentul oral preluat din diverse surse/culturi i aplicat fr discernmnt estetic i mai ales capacitate de a nelege valori fundamentale tradiionale att artistice, ct i losoce. Faptul c ambientul gospodriei rneti expus n muzeele culturii rneti din ntreaga lume, cu toate elementele i obiectele universului acestei culturi de la casa de locuit la casa de curat, de la grajd, ur, ptul, cote (de purcel, de psri) pn la saivan, strung, beci, gherie, toalet, de la uneltele de gtit la cele de lucrat pmntul sau esut hainele , se poate compara ca microunivers rural, echilibrat volumetric i estetic, cu macrouniversul urban, de multe ori dezechilibrat volumetric i estetic, face ca acel

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edged rms, also cope with the oral ornament game overtaken from different sources/cultures and applied without any esthetic discernment to comprehend traditional fundamental values which are both artistic and philosophical. The fact that the ambiance of the rustic household, exposed in the museums of the rustic culture in the whole world, with all the elements and objects of this culture from the house, which used to be lived, to the clean house, from the stabble, penthouse, barn, hen coop or pigsty to the winter stable, sheepfold, cellar, ice house, or lavatory, from the cooking tools to those needed to work the ground or weave the clothes can be compared to a rural microuniverse, balanced volumetrically and esthetically, to the urban macrouniverse, frequently unbalanced volumetrically and esthetically, makes that imago Mundi of the peasant be more different than that of the man living in the town. This certainly occurs because of the unities of style conferred by the unity of onthological thinking in the case of rural people, who produce their own house and tools, clothing and food, unlike the lim-

imago Mundi al ranului s nu mai e acelai cu cel al oreanului. Aceasta se datoreaz bineneles unitii de stil conferite de unitatea de gndire ontologic a omului rural care-i produce singur casa i uneltele, mbrcmintea i hrana, spre deosebire de specializarea ngust a omului urban, care nu mai cnt la clac, nu mai are ritualuri de semnat, arat, recoltat, nu mai creeaz ziceri sau ipurituri cu caracter magico-religios. Omul urban mnnc de la alii, se mbrac cu ceea ce au desenat i cusut alii, i nclzete suetul cu informaie prelucrat i oferit sub diverse forme de alii, dar, cu toate acestea, caracterul apotropaic al gesturilor i opiunilor estetice ale omului contemporan este o constant fundamental a naturii umane i se camueaz n modul n care acesta se prezint n societate. De multe ori, aspectul nostru exterior trdeaz starea noastr interioar, mai ales n ceea ce privete lumea masculin, care este foarte uor citibil de ctre lumea feminin. Deoarece aparenta lips de ritual, regul, norm i sacralitate a gesturilor contemporane nu legitimeaz rutatea sau furtul, aceasta nseamn c sub masca ideologic a postmodernismului putem lua aleatoriu un obiect
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oarecare pe care s-l utilizm ca ind al nostru, s ne proclamm creatorii lui schimbndu-i contextul, n concluzie s facem ce vrem, pentru c oricum din punct de vedere moral nu ne pedepsete nimeni, ba chiar ne apreciaz pentru inovaii artistice deosebite. Celebra lucrare a lui Marcel DUCHAMP Fntn a demonstrat din plin ecacitatea schimbrii contextului. Modul n care este utilizat vemntul ntr-un anumit context pare s nu mai aib nevoie de comentariu, totul prnd a evident adecvat sau inadecvat , n funcie de obiceiurile i normele morale acceptate n societatea respectiv.

ited specialization of the urban man who no longer belongs to group works, he is no more interested in the rituals of sewing, ploughing, or harvesting, he stops creating sayings provided with a magical and religious character. The urban man is eating from the others, he dresses up in what the others have drawn and sewn, he enchants his soul with the information processed and provided under different forms by the others, however the apotropaic character of the esthetic gestures and options of the contemporary man represents a fundamental constant of human nature and is concealed in the way in which it is presented in society. Our external aspect often betrays our internal condition, especially regarding the masculin world, which can be read in a much easier way by the feminin world. Since the apparent lack of rituals, rules, norms and sacredness of contemporary gestures does not legitimize malice or theft, this means that under the ideological mask of postmodernism we can take a certain object incidentally to use it as ours, to proclaim ourselves as its creators by changing its context, in conclusion to do what we want as, anyway, from the moral viewpoint, nobody is going to sanction us, on the contrary, we are appreciated for special artistic innovations. The famous work of Marcel DUCHAMP, Fountain, has fully demonstrated the effectiveness of the change of contexts. The way in which the clothing is used in a certain context does not seem to need any commentary, everything seems evident appropriate or inappropriate depending on the customs and moral standards accepted by the respective society.

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Lcrmioara CRIAN coordonator | coordinated by Unda POPP

Eveniment | Event
Artiti i loso | Artists and philosophers
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The collaboration between the National University of Arts, the Fashion Depatment, Bucharest, Romania, and the University of British Columbia, Canada, facilitated the creation of an interesting interdisciplinary project. A consistent group of Canadian young people, registrated for a course named Eastern Europe at a Cross Roads was to cover a thematic route in Romania, ending in Bucharest, in order to make themselves familiar with the past, history, geography, traditions and customs of this part of the world. The group consisted of sociologists, psychologists, philosophers and historians in the making preoccupied both with the system transformations in Eastern Europe and all thats related to cultural anthropology, interculturality and globalization. They were invited to work in small teams with the fashion design students and translate the motives or themes of local and universal myths they knew, and in which they found themselves, in artistic installations. A studio activity, based on the study of signs and symbols, as well as of some techniques of reproduction applied in artistic forms and values. This is the way they carried out a new performance
Eva | Eve coordonatori | coordinated by Unda POPP & Manuela UNGUREANU

Un interesant proiect interdisciplinar s-a nscut din colaborarea UNAB Departamentul Mod i University of British Columbia din Canada. Un consistent grup de tineri canadieni nscrii la un curs intitulat Eastern Europe at a Cross Roads urma s parcurg un traseu tematic n Romnia, cu punctul terminus Bucureti, pentru a se familiariza cu trecutul, istoria, geograa, tradiiile i obiceiurile acestei pri a lumii. Erau printre ei sociologi, psihologi, loso, istorici n devenire preocupai de transformrile de sistem din Europa de Est, ca i de tot ceea ce ine de antropologie cultural, interculturalitate i globalizare. Ei au fost invitai s lucreze, n echipe mici, cu studenii de la Design Mod i s traduc, n instalaii plastice, motive sau teme ale miturilor locale i universale pe care le cunosc i n care ntr-un fel sau altul se regsesc. O activitate de atelier, bazat pe studiul unor semne i simboluri, precum i al unor tehnici de redare n forme i volume cu valene artistice. Aa au aprut ntr-un inedit spectacol-expoziie din curtea colii, cu prilejul Galei Absolvenilor 2012: Adam i Eva ecologiti,

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Maurul transgurat n Zmeul tandru i nu gelos cu prinesa Ileana Cosnzeana i alte construcii, ilustrnd concepte legate de toleran n convieuirea global ori cultivarea respectului pentru natur i resurse. Conlucrarea a dus, rete, la cunoatere i nelegere reciproc, la mprtirea unor valori i la legarea unor prietenii. A fost i un bun prilej de exersare a unor abiliti de exprimare plastic i verbal de ambele pri, de comunicare transnaional, care ar merita repetat.
Workshop-ul a fost coordonat de Unda POPP i Manuela UNGUREANU.

an exhibition in the school yard on the occasion of the Graduates Festivity, 2012: Adam and Eve, ecologists, The Moor transformed into the tender, not jealous Dragon in his relationship with princess Ileana Cosnzeana and other new constructions, illustrating concepts related to tolerance in the global cohabitation, or the cultivation of the respect for nature and resources. The cooperation had certainly led towards mutual knowledge and understanding by sharing some values and setting up some friendships. It also represented a good opportunity to practise some mutual abilities of artistic and verbal expression, and transnational communication, which would deserve to be repeated. The workshop was coordinated by Unda POPP and Manuela UNGUREANU.

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Editura

Publishing House UNArte ISBN 978-606-8296-78-4