150 de ani - coal de arte MODA 150 years - school of arts life art passion FASHION 2 3 MODA via art pasiune 150 de ani - coal de arte M 2 prefa preface autori authors volum coordonat de a volume coordinated by traductor translator layout credit fotograi photos credits Doina Berchin . Unda Popp Venera Arapu . Matei Arnutu . Ioana Avram . Paula Barbu . Adina Cezar Sergiu Chihaia . Alina Maria Griga . Bogdan Hojbot . Liliana Ifrim . Doina Lucanu Leontina Mailatescu . Alexandru-Ioan Mrginean . Adina Nanu . Aurelia Pomponiu Unda Popp . Gheorghe Preda . Oana Maria Roca . Liliana uroiu . Rzvan Vasilescu Doina Berchin . Unda Popp Margareta Tasi Bogdan & Romana Mateia arhiva EMI din cadrul UNAB the EMI Archive at the National University of Arts Bucharest Acest volum face parte din programul aniversar al Universitii Naionale de Arte Bucureti, realizat cu ocazia mplinirii a 150 de ani de la ninare. This volume is related to the anniversary program of the National University of Arts, Bucharest, at its 150th anniversary. Descrierea CIP a Bibliotecii Naionale a Romniei Moda : via, art, pasiune / Unda Popp, Paula Barbu, Doina Lucanu, ... ; pref.: Doina Berchin ; design grac: Bogdan Mateia. - Bucureti : Editura UNARTE, 2014 ISBN 978-606-720-008-9 I. Popp, Unda II. Barbu, Paula III. Sbrciu Lucanu, Doina IV. Berchin, Doina (pref.) V. Mateia, Bogdan (il.) 687.1/.3(084) 3 150 years - school of arts FASHION life art passion 15 FASHI 4 5 edina foto a profesorilor din cadrul Departamentului Mod, cu accesorii vestimentare din colecia Adina Nanu, 2014 The photo session of the Fashion Department professors with Alina Nanu clothing accessories, 2014 6 Unda POPP profesor universitar doctor coordonator al Departamentului Mod professor doctor the Fashion Department coordinator 7 Anul acesta UNAB mplinete 150 de ani! Numeroasele materiale editate cu acest prilej vorbesc despre artitii care au nvat sau au pre- dat n aceast prestigioas instituie. Printre ei sunt bunicul meu Sabin Popp, mama mea Adina Nanu i brbatul meu Gheorghe I. Anghel, fapt ce mi face locul acesta de-a dreptul familiar! Dar mai ales m determin s neleg, poate mai bine dect o pot face alii, c exist un ux care curge de la o generaie la alta, de la o personalitate artistic la alta, ce adun experiene din cele mai diverse n beneciul celor mai tineri. Oricum, sunt extrem de onorat c acest moment m prinde i pe mine aici, ca profesor al colii, pe care am absolvit-o cu ceva timp n urm. Ioana Avram, Paula Barbu i cu mine am f- cut parte din primele serii de studeni ai Seciei de Mod, ninat la nceputul anilor 70 de Leontina Mailatescu i de Adina Nanu, i la rndul nostru am pregtit urmatoarea generaie de tineri profe- sori: Venera Arapu, Alina Griga, Liliana uroiu i Rzvan Vasilescu alturi de care lucrm astzi ca ntr-o echip rodat. i dac cei mai sus amintii au fost doar studenii mei sau ai Paulei urmtoa- rea serie: Oana Roca i Sergiu Chihaia, cei mai tineri asisteni, sunt deja considerai ai notri ai tuturor, ca rod al efortului colectiv de a transmite ct mai multe i mai diverse informaii. nc de acum 9 ani, cnd Departamentul Mod s-a desprit de Textile i i-a conturat un Viziune idilic La familia This year the National University of Arts Bu- charest is going to be 150 years old! The numerous materials edited on this occa- sion evoke the artists who have learned or taught at this prestigious institution. Among these, my grandfather, Sabin Popp, my mother, Adina Nanu, and my husband, Gheorghe I. Anghel, which makes me feel really familiar here! Moreover, it makes me understand, perhaps better than oth- ers, that there is a ux owing from one gen- eration to another, from an artistic personality to another, collecting a wide range of diversied experience for the sake of young people. Anyway, I am extremely honoured that this moment nds me here as well, as a profes- sor of the school which I graduated from some time ago. Ioana Avram, Paula Barbu and myself had belonged to the rst series of students attend- ing the Fashion Department, initiated at the be- ginning of the 70s by Leontina Mailatescu and Adina Nanu; subsequently, we also prepared the following generation of young professors: Venera Arapu, Alina Griga, Liliana uroiu and Rzvan Va- silescu, who we are working with today, as a very good team. And whether those mentioned above were only my students or Paulas, the next series, represented by Oana Roca and Sergiu Chihaia, the youngest assistants were already considered ours, the result of some collective effort to con- vey more and more diverse information. Idyllic vision La familia 8 traseu multi i interdisciplinar, cu o structur de predare modular, alturi de noi, cei care am studiat moda (dar care ne-am specializat pe di- recii att de diferite), au fost cooptai i profe- sorii Aurelia Pomponiu (absolvent a Seciei de Tapiserie) i Doina Lucanu (absolvent a Seciei de Textile de la Cluj), care au contribuit la for- matul complex al programului nostru de nv- mnt. Apoi ali doi tineri asisteni, Matei Arn- utu (absolvent al Departamentului de Pictur) i Alexandru Mrginean (absolvent al Seciei de Art Monumental) ni s-au alturat i au adus cu ei noile tehnici digitale i foto/video. Echipa a crescut cu colaboratorii externi Doi- na Berchin, Gheorghe Preda, Adina Cezar i Lili- ana Ifrim importante personaliti ale diferitelor domenii (artistice i tehnice), care completeaz pregatirea studenilor de la Mod. Catedra noastr cuprinde profesori cu personaliti artistice diferite, astfel nct ex- periena, intransigena, dar i entuziasmul i jocul s e ct mai bine dozate i administrate grupelor de studeni. Vreau s cred c toi cei implicai astzi n pasionantul parcurs propus de departamentul nostru se simt la ei acas la coal, aa cum se poate vedea i n fotograile aniversare, i poate peste nc 50 de ani profesorii care vor preda aici (printre care sper s se numere mcar unul din cei 5 nepoi ai mei) se vor poza, la fel ca noi astzi, tot cu plriile din colecia Adinei Nanu. P.S. Fiul meu Iosif Oprescu, lector universitar doctor n cadrul Departamentului Design la UNAB, propune lansarea termenului de strnepotism. For nine years, since the Fashion Depart- ment had separated from the Textile Depart- ment and dened its multi- and interdiscipli- nary orientation, focused on modular teaching, we those who had studied Fashion (but who specialised so differently) got associated with professors Aurelia Pomponiu (who graduated from the Tapestry Department) and Doina Lu- canu (a graduate from the Textile Department Cluj), who developed the complex pattern of our educational program. Then other two young assistants, Matei Arnutu (a graduate from the Painting Department) and Alexandru Mrginean (a graduate from the Section of Monumental Art) joined us and brought the new digital and photo/video techniques with themselves. The team was completed with some external contributors Doina Berchin, Gheorghe Preda, Adina Cezar and Liliana Ifrim important person- alities in various artistic and technical domains, completing the training of students attending the Fashion Department. Our department comprises professors ex- pressing different personalities thus experi- ence, relentlessness, enthusiasm and play are well balanced and administered to the groups of students. I would like to believe that all those involved in the fascinating route proposed by our depart- ment feel themselves like home at school, as one could also see in the anniversary photos, and perhaps in 50 years from now the professors, who are going to teach here (I hope at least one of my 5 grandchildren), will be photographed, just like us today, in the Adina Nanu collection hats). In short. My son, Iosif Oprescu, dr. Lecturer at the Design Department, the National Univer- sity of Arts Bucharest, proposed the promotion of a new term, great-nepotism. 9 10 Doina BERCHIN jurnalist, comentator i promotor de mod journalist, fashion commentator and promoter 11 Regis Michel, conservator la Muzeul Luvru, spune c n perioada actual cultura cunoate un fenomen de disneyland-izare i tie bine ce spune! Nu e de mirare deci s observm c n plin globalizare i la vreme de criz, moda, care n anii 80 abia ncepuse a acceptat ca art, traverseaz acum o etap, de loc dori- t de manelizare. Mai mult dect pe alte meridiane, la noi, unele publicaii promoveaz kitschul de lux i cultiv personaje discutabi- le, cu o notorietate dobndit prin expunere excesiv i scandal, cu un background cultural decitar. Designerii, chiar i cei cu studii, se vd ade- sea nevoii (i asta nu numai la noi) s accepte proiecte ndoielnice i s fac numeroase con- cesii unei clientele semidocte, dar potente din punct de vedere nanciar. Lumea fashion, ca i cea media, ind din ce n ce mai ahtiat de rating i vizibilitate dobndite prin provocare i oc agreeaz preferenial, ca form de exprima- re, spectacolul generalizat, altul dect cel strunit de rigoarea scenei. De aceea, multe propuneri vestimentare penduleaz descumpnitor ntre un erotism lipsit de mister i mpins din ce n ce mai mult spre o exhibare cu conotaii porno i (sau) urtul asumat, deliberat, condimentat de ati- tudini groteti. Adugai la asta multitudinea sufocant de debuturi n Sptmnile Modei ce se organizeaz n tot mai multe locuri pe mapamond i nevoia de consacrare cu orice Aventura Regis Michel, who had worked in conserva- tion at the Louvre Museum, states that at present culture becomes familiar with a disneyland-iza- tion phenomenon and he knows very well what he says! Thus we are not surprised to notice that in full globalization and in times of crises, fash- ion - which in the 80s had been hardly accepted as art - experiences a cycle of... manelization, which is not desired by anybody. More than any- where else in the world, in our country there are some publications which promote the luxurious kitsch and develop questionable characters de- ned by some notoriety gained through an ex- cessive exposure and scandal, or a scanty and poor cultural background. Designers, even the professional ones, often nd themselves (and this occurs elsewhere too) in a new context, accepting doubtful projects and making numerous concessions to a half-erudite yet nancially potent clientele. The world of fash- ion, as well as the media world, both more and more interested in the idea of rating and visibility, obtained by means of challenge and shock, pre- fer the generalized show as a form of expression, which is more different than the one restrained by the rigor of stage. That is why there are many fashion sugges- tions which oscillate disappointingly between an eroticism deprived of mystery and driven towards an act suggesting porn connotations and (or) the assumed and deliberate ugliness, seasoned with grotesque attitudes. Add to all these the suffocating Adventure 12 pre, prin gesturi i creaii care s intrige. Un carnaval zgomotos i foarte colorat pare s cucereasc rapid publicul, mai mult sau mai puin avizat. E un peisaj descurajant pentru unii, stimu- lator pentru alii. Internetul face acum posibi- l participarea simultan, n direct, a oricui la prezentrile de mod, altdat considerate eve- nimente foarte elitiste. Mai puin elegan i mai mult spectacol gsim i n imaginile oricrui participant la un eveniment, fotograat la pa- noul de la intrare i devenit astfel vedet prin postarea pe Facebook. n timp ce creaia vestimentar cu aspiraii artistice nregistreaz aceste convulsii, indus- tria modei se regrupeaz, i externalizeaz producia, coaguleaz mari concerne care i per- mit din cnd n cnd s ofere maselor, la pre accesibil, produse sub semntura unor designeri consacrai. n felul acesta democratizarea luxului d roade, iar croitoria la comand devine un lux. Care este i care trebuie s e rolul colii de prol n acest peisaj? Marile coli i diversic i specializeaz la maximum programa, oferind n acelai timp burse, stagii de practic n ateliere renumite i alte forme de lidership celor interesai din lu- mea ntreag. Pregtirea nu e att substanial, aplicat, pe ct e de general, deschiztoare de orizonturi. Vorbim de un domeniu n care au atins celebritatea i au avut succes nanciar destui autodidaci. Aa c nvmntul superior de mod, adaptat noilor circumstane, ncearc pe de o parte s ofere instrumente de lucru i s formeze capabiliti pentru integrarea relativ uoar n toate industriile modei, i pe de alt parte pstreaz obligaia de a forma un bagaj de cunotine de ordin teoretic i artistic la care se adaug o serie de activiti cu valoare experimen- tal menite a-i pune pe studeni i masteranzi n contact direct cu publicul i viitorii beneciari ai muncii lor. Universitii Naionale de Arte Bucureti (UNAB) Departamentul Mod, sub conducerea profesor doctor Unda Popp lucreaz de mai muli ani ntr-o formul nou, pe module, care d posi- bilitatea studenilor de a se familiariza cu domenii i metode de lucru diferite, dar toate legate de viitoarea lor formaie i condiie profesional. E multitude of debuts during the Weeks of Fashion or- ganized in more and more places in the world and the need to become famous by all means through gestures and creations meant to intrigue. A noisy and very colorful carnival seems to overwhelm the more or less competent public rapidly. It is a context which is discouraging for some, and stimulating for others. Nowadays the Internet facilitates anybodys simultaneous and direct par- ticipation in fashion performances, once considered very elitist events. We nd less elegance and more performance in the images of any participant, who is photographed at the entrance pannel thus be- coming a star when posted on the Facebook. While the creative clothing expressing artistic aspirations records these convulsions, the fash- ion industry re-structures, externalizes its pro- duction, and coagulates large chains, which can sometimes provide the masses with some tradi- tional brand products at an affordable price. In this way the democratization of luxury becomes more productive and the custom tailoring be- comes a luxurious habit. What is and what must be the role of such a school in this context? The famous schools diversify and specialize their program to the maximum while also of- fering scholarships, internships in well-known studios, and other leadership forms to those in- terested all over the world. The training is not so substantial and applied, it is rather general, opening new horizons. We refer to a domain where self-educated people reached celebrity and enjoyed a nancial success. Thus the Fash- ion higher education, adapted to new circum- stances, tries, on one hand, to provide work instruments and develop skills for the relatively easy integration in all fashion industries and, on the other hand, preserves the obligation to form a theoretical and artistic stock of knowledge as- sociated with a series of experimental activities meant to directly connect the students to the public and future beneciaries of their work. The National Art University, Bucharest (UNAB) the Fashion Department, conducted by professor doctor Unda Popp, had worked in a new formula, in modules, for several years, making the students familiar with different domains and work methods, however they are all related to 13 Doina Berchin n atelier, 2013 Doina Berchin in studio, 2013 14 their future education and professional condition. It is about a benecial and useful perspective in a continuously changing world, which appreciates pluralism, interdisciplinarity, multiqualication more than anything else. The students opportu- nities are extremely diverse, just like the present Romanian fashion which is various and polymor- phous. The postgraduate development of more graduates is going to be a slalom among already consolidated groups and a dangerous balancing according to the preferences and culture of the public and clientele. The suggestions and work style of each profes- sor are not concurential but complementary. Each of them comes with his own artistic and life experi- ence, exposed simultaneously with the course, for the students who will analyse what theyve found and experimented. The mixture of alternatives rep- resents a complex and extremely precious offer, especially in a social context with such a confused system of values. The imitation of a single model or the development guided by a single master oppose to the development of ones creative personality by collecting the compatible elements from each course. This stimulated the development of the Na- tional University of Arts, Bucharest, and the subse- quent development of different personalities such as Venera Arapu, Liliana uroiu, Lena Criveanu, Wilhelmina Artz, Iris erban, Irina Marinescu, Ade- lina Ivan, Alexandra Calafeteanu, Sandra Galan, Lana Dumitru, Ioana Ciolacu, Alex Tunsu. UNAB is the only place in the country where the students could practically access the costume performing simultaneously with its international promotion. This is also the place where fash- ion is studied through a continous rappel to the history of culture and art not only through the techniques used in the composition and execu- tion of some fashion collections meant for sale. Fashion is permanently approached, understood and studied as art, without ignoring the aspects connected to all the other jobs and industries. Crisis, as well as the new Eco tendencies, im- posed a new orientation: the creative recycling, respectively REFASHIONED, highly practised at the New York school. The Fashion Department of the National University of Arts Bucharest was synchronous and even outran these global pre- occupations for the preservation of nature, the vorba de o deschidere de perspectiv benec i util ntr-o lume n schimbare, care aprecia- z mai mult ca orice pluralismul, interdiscipli- naritatea, policalicarea. Drumurile deschise n faa studenilor sunt extrem de diverse, aa cum variat i polimorf e i lumea modei romneti actuale. Parcursul postuniversitar al multora dintre absolveni va un slalom printre grupri deja consolidate i o echilibristic periculoas, n funcie de gustul i cultura publicului vizat i a clientelei (comenzilor) obinute. Propunerile i stilul de lucru al ecrui pro- fesor nu sunt concureniale, ci complementare. Fiecare vine cu propria lui experien artistic i de via pe care o prezint n timpul cursului, studenilor care ulterior vor cntri ce din ceea ce au aat i experimentat n cadrul programei li se potrivete. Mozaicul de alternative este o ofert complex i extrem de preioas, mai ales ntr-un peisaj social cu un sistem de valori att de bulversat ca la noi. Imitrii unui singur mo- del sau creterii la umbra unui singur maestru i se opune dezvoltarea propriei personaliti creative prin culegerea elementelor compatibile din ecare curs. Tocmai de aceea a fost posibil formarea n UNAB i dezvoltarea ulterioar a unor personaliti att de diferite precum: Venera Arapu, Lilia- na uroiu, Lena Criveanu, Wilhelmina Artz, Iris erban, Irina Marinescu, Adelina Ivan, Alexandra Calafeteanu, Sandra Galan, Lana Dumitru, Ioana Ciolacu, Alex Tunsu. UNAB este singurul loc din ar unde studenii au putut practic accesa, concomitent cu lansarea sa n plan internaional, performing-ul de costum. Tot aici moda e studiat printr-un rapel continuu la istoria culturii i artei, i nu doar sub aspec- tul tehnicilor de compunere i executare a unor colecii vestimentare destinate vnzrii. Adic moda este n permanen tratat, neleas i studiat ca art, fr a neglija ns aspectele le- gate de toate celelalte meserii i industrii ale ei. Criza, dar i noile tendine Eco au impus o nou orientare: reciclarea creativ, respectiv RE- FASHIONED, practicat cu mult determinare n coala de prol de la New York. Departamentul Mod al UNAB a fost sincron i chiar a devan- sat aceste preocupri mondiale pentru prezerva- rea naturii, economisirea resurselor i exersarea creativitii n aceste direcii. 15 saving of resources and the practice of creativity in these areas. Just like woodwork or tinsmithing or even small sculpturing are not similar to the object de- sign, the clothing design does not mean tailoring, luxurious or not. There are many people in Roma- nia who make this confusion. It certainly means conception, projection and the careful supervision of the execution. The fashion designer means a lot more than those present at the very begin- ning, only few of them will enjoy their nancial success or celebrity, and this no longer depends on school. The implication of young students in different types of experiments, their engagement in new projects, their connection with new ideas considered from various perspectives, or the ex- perimentation of some concrete situations related to their future profession represent a new type of education and a modern form of training. And whether the clothing design represents a conception or projection, contemporary fash- ion represents a particular MESSAGE. In order to obtain, formulate and transmit it, we need some previous cultural acquisitions, and to facilitate its decoding by the public we need some visual edu- cation and something more. School cannot offer talent to its students, only the tools needed to subsequently chasten and improve. It is the crisis, but also a circle of other fac- tors which will contribute, in the very close fu- ture, to the replacement of the classical live fash- ion parades with fashion video-clips, a distinct artistic genre, which emphasizes fashion by us- ing another type of language. The theatrical one is replaced with the cinematographic and digital one. Visionary again, the University of Arts has already got a little archive of such productions; some of these collective, others BA works, certi- fying a considerable and brave pioneerdom. In the society of consumption, the artist is considered a service provider and he is treated like one. Consecration and notoriety come later and harder... or never. However, this must not cast one down. The graduate of this faculty will keep working, according to the context, for townsfolk, politicians, cocottes, bourgeois land- lords, parvenus, ne intellectuals, hipsters, cler- ics, provincial people, corporatists, or members of the Royal House. Buonarroti was also a tailor- Aa cum tmplria sau tinichigeria, sau chiar sculptura mic nu sunt totuna cu designul de obiect aa nici designul vestimentar nu e doar cro- itorie, e ea i de lux. Muli n Romnia fac aceast confuzie. Design nseamn concepie, proiectare i supravegherea atent a execuiei. Creator de mod nseamn mult mai mult i din cei aliniai la start doar civa vor avea succes nanciar sau celebritate, i asta nu mai depinde de coal. Ex- punerea tinerilor studioi n timpul procesului de nvmnt la diferite tipuri de experimente, an- trenarea lor n proiecte inedite, punerea n con- tact cu idei noi privite din diferite perspective, sau exersarea unor situaii concrete n care profesia aleas i va putea pune n viitor reprezint un tip nou de educaie i o form modern de pregtire. i dac designul vestimentar nseamn concepie, proiectare, moda contemporan n- seamn mai ales MESAJ. Pentru a-l obine, for- mula i transmite e nevoie n prealabil de multe achiziii culturale, iar pentru a face posibil desci- frarea lui de ctre public mai e nevoie de educaie vizual i nu numai. coala nu poate oferi talent absolvenilor, ci doar instrumentele necesare ci- zelrii i valoricrii lui ulterioare. Tot criza, dar poate i ali factori vor contribui n viitorul foarte apropiat la nlocuirea clasicelor prezentri de mod live cu videoclipuri fashion, gen artistic distinct, care poate pune n valoa- re creaiile vestimentare, folosind un alt tip de limbaj. Este nlocuit cel teatral, al podiumului, cu cel cinematograc i cel digital. Din nou vizionar, colectivul UNAB are deja o mic arhiv de astfel de producii, unele creaii colective, altele lucrri de Licen, care vor sta mrturie unui apreciabil i ndrzne pionierat. n societatea de consum artistul e considerat un prestator de servicii i tratat ca atare. Con- sacrarea, notorietatea vin mai trziu i mai greu uneori niciodat. Asta ns nu trebuie s descu- rajeze. Absolventul de la Arte va lucra, dup caz, pentru trgovei, politicieni, cocote, burghezi, parvenii, intelectuali ni, hipst-eri, clerici, pro- vinciali, corporatiti, sau membri ai Casei Regale. i Buonarroti a lucrat la comand! Nu asta e pro- blema! Pn la urm nu intereseaz pentru cine lucrezi i uneori nici mcar n ce condiii. Contea- z doar dac ceea ce faci este oper, eventual capodoper. 16 edina foto a profesorilor din cadrul Departamentului Mod, cu accesorii vestimentare din Colecia Adina Nanu, 2014 The photo session of the Fashion Department professors with Alina Nanu clothing accessories, 2014 17 18 Scurt istorie personal Brief personal history I used to read Adina Nanu before 1989. I must say that back then reading was trendy. Everybody was reading! If you read (showing respect for the previous values) you could learn and understand much more. Among other things, that the discovery of a new domain of activity could be an adventure full of satisfaction. For me, a philosophy graduate, this was represented by fashion, the stage and its coulisses. I invited Unda Popp, together with her students, to the Magic of Fashion in 1999, without knowing that she was Adinas daughter. This was the way I met students Alina Griga and Rzvan Vasilescu, today lecturers at the University of Arts, the Fashion Department. The TV show from Cazino Victoria was an outstanding example in the anthology of Romanian fashion. Then, Mrs. Nanu honoured me with her presence and support when I launched my little subjective fashion dictionary published at Nemira Publishing House. Venera Arapu and Liliana uroiu were also young designers promoted at the Magic of Fash- ion and Radiofashion. Professors Paula Barbu and Ioana Avram had already been my invited guests at the radio centre given their activity in the domain. Aurelia Pomponiu participated with her creation in FEM- FEST, a complex event dedicated to women, also presented at the Radio Room. I met Doina Lucanu, Sergiu Chihaia, Oana Roca, Alex Mrginean, Matei Arnutu, Gic Pre- da and Liliana Ifrim later, when I conrmed their invitation to teach a course of Image and com- munication strategies in fashion at the UNAB. About my students: Lana Dumitru, Ioana Ciol- acu, tefana Maior, Alex Tunsu, from my rst class- es I was aware they were going to have a strong word to say in the profession they have chosen. Pe Adina Nanu o citeam nainte de 1989. Trebuie precizat c pe atunci cititul era n trend. Toat lumea citea! Procednd aa (cu respect adic fa de valorile anterioare) puteai aa, i mai ales nelege, foarte multe. ntre altele i c descoperirea oricrui nou dome- niu de activitate poate o aventur plin de satisfacii. Pentru mine, absolvent de lozoe, aceasta a fost moda, scena i culisele ei. Pe Unda Popp am invitat-o, mpreun cu studenii cu care lucra atunci, la Magia Modei n 1999, fr s tiu n momentul respectiv c este i- ca Adinei. Aa i-am cunoscut pe studenii Alina Griga i Rzvan Vasilescu, azi lectori la UNAB, Departamentul Mod. Spectacolul televizat de la Cazino Victoria a fost unul de referin pen- tru o antologie a modei romneti. Apoi, doam- na Nanu m-a onorat cu prezena i susinerea la lansarea micului meu Dicionar Subiectiv de Mod, aprut la editura Nemira. Venera Arapu i Liliana uroiu au fost la rn- dul lor tineri designeri promovai la Magia Modei i la Radiofashion. Profesoarele Paula Barbu i Ioana Avram fu- seser deja de mai multe ori invitatele mele la radio, pentru rezultatele activiii lor n domeniu. Aurelia Pomponiu a participat cu creaiile sale la FEM-FEST, eveniment complex dedicat femeilor, desfurat tot la Sala Radio. Pe Doina Lucanu, Sergiu Chihaia, Oana Roca, Alex Mrginean, Matei Arnutu, Gic Preda i Liliana Ifrim i-am cunoscut mai trziu, cnd am rspuns invitaiei de a susine la UNAB un curs de Strategii de imagine i comunicare n Mod. Despre studenii mei: Lana Dumitru, Ioana Ciolacu, tefana Maior, Alex Tunsu am tiut nc de la primele ore de curs c vor avea ceva de spus n meseria aleas. La UNAB Departamentul Mod exist o echip bine construit, clit n timp, ro- dat n evenimente extracolare n folosul comunitii. O echip care i face cu discreie i contiinciozitate treaba, ignornd elegant adversitile de conjunctur, dar i dicultile made! That is not a problem! Finally, it does not really matter who you work for and sometimes the circumstances do not matter either. It is only the work, perhaps a masterpiece, that matters. 19 care inerent apar pe traseu. Cu mijloace mate- riale puine, cei de aici au reuit performana unor realizri remarcate de unii, exploatate de alii, greu de trecut cu vederea ns, mai ales pentru cunosctori i profesioniti reali. Studenii notri care au beneciat de burse n strintate, ca i studenii strini venii n vi- zit au apreciat eforturile care se fac pentru a transmite ct mai multe lucruri utile celor angajai n dicilul drum al devenirii unui crea- tor performant. Acum, acestei echipe i s-a alturat i doamna Adina Cezar, coregraf cu experien internaional, care va participa la concretizarea unor experimente interesante. Aniversarea celor 150 de ani de existen a colii de arte i gsete pe cei de la Design Vestimentar pregtii pentru noi realizri spectaculoase. At UNAB the Fashion Department there is a well constructed team, strengthened in time and polished in extracurricular events to artistically support the community. One which keeps working dilligently and discretely, ignoring the adversity but also the emerging difculties in an elegant way. With few material means, these people realized a lot of performances noticed by some and exploit- ed by others difcult to ignore especially by real professionals. Our students, who beneted from scholarships abroad, like the foreign students, who came to visit, appreciated the efforts made to convey more useful things to those engaged in the difcult way of a performing creator. Mrs. Adina Cezar, an internationally known choreographer, has also joined the team, and she will take part in the accomplishment of some in- teresting experiments. The 150th anniversary of the art school nds those belonging to the Cloth- ing Design Department ready to achieve spec- tacular performances. Cu Venera Arapu i Liliana uroiu, 2013 With Venera Arapu and Liliana uroiu, 2013 20 EMI The Research Centre named Event Fashion Image (EMI) is still an interesting initiative of the Fashion Department Clothing Design. In this context they initiated courses for those inter- ested in the universe of fashion. The EMI program represents the simplied and concentrated variant of the courses devel- oped during a whole academic year at the Fash- ion Department of the UNAB. It comprises the following courses: THE ROLE OF COSTUMES IN THE EXPRES- SION OF HUMAN BODIES Coordinator: prof. dr. Unda Popp The course focuses on each artistic genre in which the human body has become an artistic sign in the elaboration of the general composi- tion. After a short introduction in performing arts emphasizing the unconventional artistic manifes- tations, students will practise a number of exer- cises to read the human appearance. It concentrates on the analysis of different modalities used to modify human appearance starting from the everyday clothes to the cer- emonial and performing costumes to acquire the clothes visual langage. The COSTUME PERFORMING Coordinator: prof. dr. Unda Popp This interdisciplinary artistic genre can be found at the limit between disguised art, theatre and dancing. The course will place the costume performing among the events which are generically dened as arts of action, besides all the unconventional artistic forms lasting for a certain time: real time work, time base action, Live Art, Happening. In the context of these manifestations the costume had become an artistic sign in the show and is meant to characterize the characters. THE HISTORY OF THE COSTUME Coordinator: prof. dr. Unda Popp The course suggests the integration of the costume in the visual arts, considering it a mo- dality of artistic expression which can be used by everybody, provided with a great capacity to coagulate the essence of each epoch in the EMI Centrul de cercetare Eveniment Mod Ima- gine (EMI) este nc o iniiativ interesant a Departamentului Mod Design Vestimentar. n cadrul acestuia au fost iniiate cursuri pentru cei din afara colii, preocupai de universul fashion. Programa EMI reprezint varianta simplica- t i condensat a cursurilor care se desfoar pe parcursul unui an universitar n Departamen- tul Mod al UNAB. Aceste cursuri sunt urmtoarele: ROLUL COSTUMULUI N EXPRESIVIZAREA CORPULUI UMAN Coordonator: prof. univ. dr. Unda Popp Cursul are n vedere toate genurile artis- tice n care trupul uman a devenit semn plas- tic n elaborarea compoziiei generale. Dup o scurt introducere n artele spectacolului, cu accentul pus pe manifestrile artistice ne- convenionale, se vor face exerciii de citire a nfirii umane. Vor analizate diferitele modaliti de modi- care ale nfirii umane, ncepnd cu hainele cotidiene i pn la costumele de ceremonial i de spectacol, n vederea stpnirii limbajului vi- zual de comunicare al vemintelor. PERFORMING-UL DE COSTUM Coordonator: prof. univ. dr. Unda Popp Acest gen artistic interdisciplinar se a la grania dintre arta costumar, teatru i dans. Cursul va plasa Performing-ul de costum n rndul evenimentelor numite generic arte ale aciunii, alturi de toate formele artistice necon- venionale care au un anumit timp de desfu- rare: real time work, time base action, Live Art, Happening. n cadrul acestor manifestri cos- tumul a devenit semn plastic n spectacol i are rolul de a caracteriza personajele. ISTORIA COSTUMULUI Coordonator: prof. univ. dr. Unda Popp Cursul i propune integrarea costumului n rndul artelor vizuale, considerndu-l o modali- tate de exprimare artistic la ndemna tuturor, dar cu o mare capacitate de a coagula n imagi- nea uman propus, chintesena ecrei epoci. Cursul va prezenta modalitile de nvemn- 21 tare n ordine cronologic, astfel nct s se ne- leag procesele de transformare costumar de la o perioad la alta, motivele apariiei, modicrile, paii mai mici sau mai mari prin care hainele s-au schimbat odat cu diferitele societi sau civiliza- ii. Costumul secolului al XX-lea se va prezenta att din punct de vedere al modei, ct i al sce- nei, cu referiri la istoria teatrului i a lmului. Se vor studia modalitile de nvemntare specice manifestrilor neconvenionale de la avangarda artistic a secolului al XX-lea i pn astzi. SIMBOLURI I MESAJE N VESTIMENTAIE Coordonator: conf. univ. dr. Doina Lucanu Disciplina urmrete aprofundarea aptitudi- nilor de operare n aria dezvoltrii de concept. Depirea funciei pur estetice a costumu- lui (ansamblului vestimentar), provocnd valori creative bazndu-se pe principiile experimentu- lui, coexistena limbajelor (o abordare din per- spectiva Postmodernismului), realizndu-se o sintez de aplicaii i limbaje ct mai persona- le, disciplina urmrind dezvoltarea abilitilor n concordan cu cerinele contemporane. VOLUMETRIE I TRANSPUNERE N TRIDI- MENSIONAL Coordonator: conf. univ. dr. Paula Barbu Cursul i propune o abordare creativ de realizare a vemintelor, pornind de la forme ge- ometrice simple sau de la tiparele de baz prin supradimensionri sau repoziionri. RESTAURARE COSTUM Coordonator: conf. univ. dr. Aurelia Pomponiu Experiena personal de restaurator n do- meniul Artelor Textile, n ar i n strintate, este cea de la care s-a pornit n conceperea acestui curs. Acesta urmrete s dea posibilita- tea absolvenilor s profeseze n acest domeniu slab reprezentat n Romnia. TEORIA CONCEPERII I IMPLEMENTRII COLECIEI DE MOD Coordonator: lect. univ. dr. Ioana Avram Cursul este unul dintre suporturile de baz ale formrii profesionitilor n domeniul creaiei de mod. Obiectivul principal al acestui curs este de a forma specialiti capabili s conceap, s dezvolte i s implementeze profesionist colecii sau imagine de mod compatibile cu cerinele internaionale. proposed human image. The course will present the dressing modalities in a chronological order to facilitate the compre- hension of costumes from a period to another, its emergence, modications, the slow or fast evolu- tion of clothes in different societies or civilizations. The costume of the 20th century will be presented from the perspective of fashion and stage, with references to the history of theatre and lm. Students will study the dressing methods spe- cic to the unconvetional manifestations in the ar- tistic avant-garde starting with the 20th century. SYMBOLS AND MESSAGES IN FASHION Coordinator: lecturer dr. Doina Lucanu The discipline aims to present and deepen the study of operative skills in the context of con- cept development. It goes beyond the purely aesthetic function of the costume (the clothing ensemble), stimu- lating creative values by relying on experimental principles, the co-existence of languages (an ap- proach from the perspective of postmodernism), realizing a synthesis of personal applications and languages; the subject considers the development of abilities according to contemporary demands. VOLUMETRY AND TRANSPOSITION IN TRI- DIMENSIONAL Coordinator: lecturer dr. Paula Barbu The course suggests a creative approach in the achievement of clothes starting from simple geometrical forms or the main patterns by means of oversizings and reconsiderations. COSTUME RESTORATIONS Coordinator: lecturer dr. Aurelia Pomponiu The personal restoring experience in the do- main of textile arts, in the country and abroad, has been the stimulating factor of this course. This is meant to provide students with the op- portunity to work in this domain which is slightly represented in Romania. THE THEORY REGARDING THE CONCEP- TION AND IMPLEMENTATION OF FASHION COL- LECTIONS Coordinator: lecturer dr. Ioana Avram The course is aimed to mainly support the development of professionals in the domain of fashion. The main objective of this course is to form specialists who are able to conceive, de- velop and implement fashion collections and im- 22 CONCEPT STILISTIC I COORDONAREA COLECIEI DE MOD Coordonator: lect. univ. dr. Ioana Avram Aceast disciplin de specialitate are ca obiectiv nal crearea de abiliti (pe baza unor situaii reale sau simulate) care permit denirea i adoptarea unui concept stilistic, care poate ge- nera produse sau seturi de produse din domeniul modei vestimentare, precum i exprimarea i re- alizarea lui ntr-o colecie de mod compatibil cu standardele de consum de mod. Ne propunem s realizm familiarizarea studenilor cu elemen- te de practic profesional: capacitatea de asu- mare a propriilor idei i nalizarea lor conform proiectului; cunoaterea i utilizarea standardelor de consum de mod; managementul creativ al coleciei de mod; realizarea coleciilor de mod. ANTREPRENORIAT N DESIGNUL VESTI- MENTAR Coordonator: lect. univ. dr. Liliana uroiu Panou la anul III, Departamentul Mod, 2013 Pannel, third year students, the Fashion Department, 2013 ages compatible with international demands in a professional way. STYLISTIC CONCEPTS AND THE COORDINA- TION OF FASHION COLLECTIONS Coordinator: lecturer dr. Ioana Avram The nal objective of this subject is to cre- ate abilities (focused on real or simulated situa- tions) permitting the denition and adoption of a stylistic concept, which can generate products or sets of products in the domain of fashion, and to express and realize this in a fashion collection which is compatible with fashions standards of consumption. We aim to make students familiar with the elements of professional practice: the capacity to assume personal ideas and their - nalization according to the project; the usage of fashions standards of consumption; the creative management of fashion collections; the achieve- ment of fashion collections. ENTREPRENEURSHIP IN FASHION DESIGN 23 Moda este un sistem care reunete resurse materiale, capital uman i viziune artistic ntr-un singur articol de mbrcminte. Cursul Antreprenoriat n designul vestimen- tar va permite cursanilor s gseasc soluii strategice proprii pentru dezvoltarea unor planuri de afaceri, folosindu-i creativitatea, spiritul an- treprenorial i experiena dobndit anterior. Cursul este potrivit pentru o multitudine de posibili cursani de la tineri absolveni pn la profesioniti aai la mijlocul carierei i manageri ai unor rme care folosesc n mod curent ele- mente din domeniul designului. Se va insista foarte mult pe importana pro- iectrii unui produs sau a unei colecii vestimen- tare i se vor exemplica modaliti de lucru pornind de la tendine, lifestyle, descoperind in- strumente specice precum mood board-ul, sto- ryboard-ul, schiele, texturile, tiparele i ncheind cu tipuri de ambalare, expunere i promovare. Cursuri n cadrul EMI, 2013 EMI courses, 2013 Coordinator: lecturer dr. Liliana uroiu Fashion represents a system which reunites the material resources, human capital and artistic vision into a single item of clothing. The course we refer to, Entrepreneurship in fashion design, aims to permit the students to nd their own strategic solutions in order to develop some business plans by using the creativity, entre- preneurial spirit and experience gained before. The course is appropriate for a multitude of possible students, from young graduates to pro- fessionals in mid-career and the managers of some rms, who currently use elements related to the domain of design. It will highly approach the projection of a product or a fashion collection by exemplifying work modalities starting from trends and life- style, while nding specic instruments such as the mood board, storyboard, sketches, textures, patterns, and completing all this with packing, 24 CONCEPT I EXPRIMARE Coordonator: lect. univ. dr. Alina Griga Temele propuse studenilor abordeaz i dezvolt capacitatea cursantului de a inovator n vestimentaie. Punctul de plecare este ntot- deauna conceptul original n cadrul cerinelor temei propuse de profesor, apoi conectarea sur- selor de inspiraie i adaptarea lor ntr-o idee de mod, cu mijloace specice domeniului. STRATEGII DE COMUNICARE I IMAGINE N MOD Coordonator: lect. univ. Doina Berchin Cursul va familiariza pe viitorii designeri cu o serie de elemente ce in de tiina comunic- rii: comunicarea verbal, prin imagini i gestual- comportamental, pentru ca mesajul coleciei i al evenimentului de mod s e coerent i eci- ent. Va crea abiliti de transmitere a mesajelor, text i verbal plus imagine, de alctuire a unei mape de pres, de ntreinere a relaiilor cu pre- sa i cu publicul vizat. Va familiariza studenii display and promotion types. CONCEPT AND EXPRESSION Coordinator: lecturer dr. Alina Griga The topics suggested to students approach and develop the capacity of the student to be in- novative in dressing. The starting point is always expressed by the original concept according to the topic recommended by the professor, then by the connection of the sources of inspiration and their adjustment into a fashion idea, with the specic means of the domain. COMMUNICATION AND IMAGE STRATEGIES IN FASHION Coordinator: lecturer Doina Berchin The course will make the future designers familiar with a series of elements related to the science of communication: verbal communica- tion, images and gesture or behaviour, for the message of the collection and fashion event to be coherent and efcient. It will create the abili- ties needed to convey the messages, in the form Anul I Licen, Colecia Gaudi, fotograe realizat n cadrul evenimentului Fashion Mob, Sun Plaza, Bucureti, 2012 First year BA student, the Gaudi collection, photo realized as part of the Fashion Mob event, Sun Plaza, Bucharest, 2012 25 cu unele elemente i genuri publicistice, care in de jurnalismul de mod. Va dezvlui rolul i importana comunicrii n procesul de branding i n oricare dintre meseriile existente n sistemul modei, precum i n promovarea n spaiul media (scris, TV, virtual etc.) Va prezenta instrumentele necesare alctuirii unei strategii de comunicare absolut necesar n acest domeniu de activitate. COMUNICARE VIZUAL Coordonator: asist. univ. dr. Alexandru Mr- ginean Cursul urmrete descifrarea unor aciuni specice profesionitilor din domeniul artelor vizuale: a vedea, a nelege i a mprti sem- nicaia la un anumit grad de universalitate pre- vizibil. TEHNICI DE REPREZENTARE BI I TRIDI- MENSIONALE COSTUMBRE Coordonator: asist. univ. dr. Rzvan Vasilescu Cursul urmrete lrgirea plajei de metode de exprimare artistic a studentului, ct i apro- fundarea cunotinelor de istorie a costumului, prin realizarea unor lucrri practice care s cu- prind o trimitere ctre un personaj istoric de referin i o imagine ct mai actual, cu ele- mente de costum aparinnd ultimelor tendine ale modei. TEHNOLOGIA I CONSTRUCIA TIPARULUI Coordonator: ing. dr. Liliana Ifrim Cursul, prin coninut i modul de structura- re, ofer soluii cu caracter tiinic i tehnico- aplicativ problemelor specice proiectrii mbr- cmintei tradiionale, din esturi. PROIECTARE DIGITAL I PRELUCRAREA COMPUTERIZAT A IMAGINII Coordonator: lect. univ. drd Matei Arnutu Cursul i propune s transmit studenilor noiuni aprofundate despre prelucrarea imaginii de tip bitmap pe calculator, folosind soft-ul Ado- be Photoshop, precum i noiuni primare des- pre generarea imaginilor vectoriale cu ajutorul soft-ului Adobe Illustrator. Se vor face aplicaii n domeniul modei. of texts and verbally, plus the image itself, to set up a press kit to preserve the connection with the media and the audience. It will make the students familiar with publicistic elements and genres related to fashion journalism. It will re- veal the role and importance of communication in the branding process and in any profession in the system of fashion as well as the promotion in the media space (written, TV, virtually, etc.) It will present the instruments needed to set up a strategy of communication which is absolutely necessary in this domain of activity. VISUAL COMMUNICATION Coordinator: junior lecturer dr. Alexandru Marginean The course aims to decode some specic acts of the professionals in the domain of visual arts. To see, understand and share the signication at a certain foreseeable degree of universality. BI- AND TRIDIMENSIONAL TECHNIQUES OF REPRESENTATION COSTUMBRE Coordinator: junior lecturer dr. Rzvan Vasi- lescu The course aims to increase the students range of artistic expression, as well as the im- provement of historical knowledge concerning the costume by realizing some practical works meant to comprise a reference to a specic his- torical character and an actual image with cos- tume elements belonging to the latest fashion tendencies. THE TECHNOLOGY AND CONSTRUCTION OF PATTERNS Coordinator: eng. dr. Liliana Ifrim Through its content and structure, the course provides scientic and technical solutions to the problems specic to the design of traditional clothing, made of fabric. DIGITAL PROJECTION AND THE COMPUTER- IZED PROCESSING OF IMAGES Coordinator: junior lecturer drd. Matei Arnutu The course aims to transmit the students some complex notions about the bitmap image processing on the computer by using the Adobe Photoshop program, as well as primary notions regarding the generation of vectorial images in the Adobe Illustrator program. Applications in the domain of fashion are going to be carried out. 26 Unda POPP profesor universitar doctor coordonator al Departamentului Mod professor doctor the Fashion Department coordinator 27 ntotdeauna mi imaginez c ideile i gn- durile care m bntuie pe mine se vor coagula ntr-un fel diferit n imaginile realizate de stu- deni, i ntr-adevr, de ecare dat tinerii m uimesc cu cte ceva care mi-a scpat sau cu simpla lor abordare reasc i deconcertant. Oricum, ideile circul de la mine la ei, apoi ntre ei, de la unul la altul i napoi la mine, ca ntr-un scurtcircuit cu un traseu total neprevzut i cu efecte din cele mai nebnuite. Sistemul neconcurenial n care este orga- nizat Departamentul Mod face ca de cele mai multe ori profesorii (specializai pe direcii diferi- te) s intre i ei unul n jocul celuilalt, ducnd o idee mai departe sau n alt parte, fapt ce con- stituie un excelent mod de conlucrare creativ i un bun exemplu la care particip vrnd-nevrnd toi studenii. Am ales s ilustrez performing-ul de costum, aceast preocupare constant n cercetarea mea, pe care o consider extrem de util n parcursul formrii artistice a studenilor de la Mod, prin dou teme diferite: una mai aproape de zona spectacolului (de teatru sau de dans), prin impu- nerea unui scenariu Buna Vestire i o alta, n care aciunea este determinat strict de imaginea vemintelor DeConFashion. n ambele cazuri interdisciplinaritatea con- Performing-ul de costum sau cum i dai via unei teme de coal I have always imagined that my ideas and thoughts are going to coagulate differently in the students images and, in good sooth, the young people keep surprising me with some details I have missed, or with their natural and disconcert- ing approach. However, ideas circulate, from me to them, then among them, from one to another, then back to me, like in a shortcut provided with a completely unpredictable route and the most unexpected effects. The non-competitive system, in which the Fashion Department is organised, makes the professors (who are specialised in different ar- eas), accept each others challenge by further developing an idea, or from another viewpoint, which represents an excellent way of creative co- operation and a good example which is nally respected by all students. I have decided to illustrate the costume per- forming, a constant preoccupation in my research, which I consider extremely useful in the artistic evolution of the students attending the Fashion classes by means of two different themes: the former, much closer to the performance zone (theatre or dance), by imposing a scenario the Annunciation and the latter, in which the action is strictly determined by the image of garments DeConFashion. The costume performance or how can you render life to a school topic 28 Isabela Toader, Buna Vestire, 2013 Isabela Toader, Annunciation, 2013 29 edina foto, Buna Vestire, 2013 Photo session Annunciation, 2013 30 In both cases interdisciplinarity represents the essential work method approached by students in challenging projects and events. The studio themes were followed by photo sessions (with Alexandru Mrginean, Gic Preda and Gelu Ser- ceniuc), motion exercises (with Adina Cezar) and they became the pretext of some lm copyright like the one signed by Gelu Serseniuc. The Annunciation belongs to a series of ex- ercises expressing creativity through the image achieved by the transgured human body through the agency of garments, certainly in motion. Each time the pretext reveals some history, that is well imprinted in the memory of every- one, who is both a creator and a viewer. In the costume performing the story and the scenario are essential in the organisation of events. Fur- thermore, since the whole history is related only through images, the subject must be very gen- eral and easy to recognise. The presence of some powerful feelings regarding the scenarios heroes, no matter if they are positive or negative, makes the char- acters description, by means of their costume, much easier. The conception of garments determines a clarication of some extremely different messages conveyed by each student through the image of his body by means of typology, proportions and corporality (beyond desires or the ideal of beauty, which everybody is related to during a given pe- riod of time). Through its construction, form and volume, each costume claims for a certain type of motion, settled as far as possible from the common forms of the classical or modern dance or the pantoni- mas. The exploration of the most appropriate ex- pressions to emphasise the costume and the cre- ated character extends beyond the production of garments thus the interpretation can change from a representation to another by essentially contrib- uting to the uniqueness of the performance. The nal goal is to obtain an original event, to incite the public to a wider range of interpre- tations according to the sensibility, culture and experience of each. The Angel and the Holy Virgin, a couple which had been largely represented in the paintings of stituie modalitatea de lucru esenial n care studenii sunt antrenai n proiecte i evenimen- te ct mai provocatoare. Temele de atelier au fost urmate de edine foto (cu Alexandru Mr- ginean, Gic Preda i Gelu Serseniuc), de exer- ciii de micare (cu Adina Cezar) i au devenit pretextul unor lme de autor, aa cum a fost cel semnat de Gelu Serseniuc. Buna Vestire face parte dintr-o serie de exer- ciii de exprimare a creativitii, prin intermediul imaginii realizat de corpul uman, transgurat prin prezena vemntului i aat neaprat n aciune (n micare). Pretextul este de ecare dat o istorie foarte bine ntiprit n memoria tuturor, creator i privi- tor n egal msur. Pentru performing-ul de cos- tum povestea i scenariul sunt eseniale n orga- nizarea manifestrii. i pentru c ntreaga istorie se spune doar prin intermediul imaginii, subiectul tratat trebuie s e foarte general, unanim cunos- cut i uor de recunoscut. Prezena unor sentimente puternice vizavi de eroii scenariului (indiferent dac sunt pozitive sau negative) face mai uoar caracterizarea perso- najelor prin costum. Conceperea vemintelor pe propriul trup de- termin o claricare a mesajelor extrem de di- ferite, pe care ecare student le transmite prin imaginea corpului su, prin tipologia, proporiile, corporalitatea sa (dincolo de dorina sau idealul de frumusee la care toat lumea se raporteaz ntr-o anumit perioad). Fiecare costum impune prin construcie, for- m, volum un anume gen de micare, ct mai departe de formele uzuale ale dansului clasic, modern sau de pantomim. Cutarea celei mai nimerite expresii, pentru a pune n valoare cos- tumul i deci personajul creat, se ntmpl s se prelungeasc dincolo de producia vemintelor, astfel nct interpretarea se poate schimba de la o reprezentaie la alta, contribuind major la unici- tatea performanei. Scopul nal este obinerea unui eveniment original, care s incite publicul la ct mai multe interpretri n funcie de sensibilitatea, cultura i experiena ecruia. ngerul i Fecioara, un cuplu care a fost att de mult reprezentat n picturile marilor maetri 31 Denis Oan, Silviu Gruianu, Buna Vestire, 2013 Denis Oan, Silviu Gruianu, Annunciation, 2013 32 Constana Balaban, Buna Vestire, 2013 Constana Balaban, Annunciation, 2013 33 great Renaissance masters, Fra Angelico, Piero della Francesca, Leonardo da Vinci, constitute the starting point of this performance. The general idea regarding the mystery of life and a way to communicate it had to be transposed in more or less actual, more or less conventional garments. Each student was free to choose the most eloquent image in order to catch and trans- mit the accomplishment of the miracle. Whether for the Renaissance people the an- gel was surely a beloved character, a patronal authority and a presence desired by every indi- vidual, nowadays the connection between man and angels seems to be more difcult to imagine and represent. The angel was seen as a fantastic character, approached without too much closeness or love, mostly similar to a bird of prey. And whether the Angel does no longer belong to our everyday life, the innocent Virgin had not been a character the young women could have liked to identify with either. The Angel, representing the messenger, was approached more dynamically while the Virgin was seen as a passive character and remained in the background. The deliberate distancing and convention made these costumes be generally conceived in a theatrical manner. Emotions and mysteries either vanish or can be hardly translated into the image of an outt. Conversely, surprise represented the essen- tial element stimulating the ideas in order to nd solutions. Surprise had been the only element which stayed actual. We got used to cope with it daily and everywhere, when we watched the images on billboards, when we saw the com- mercials on TV screens, or when we admired the works of contemporary art. Shock was the factor which replaced the magic atmosphere we had expected in vain. The angels were placed in the middle of streets surprising the pedestrians who were crossing a large boulevard. Thus, the best solu- tions developed when placing the Angel (emerged from the future, a sort of SF) into the present urban context. Both the Angel and the Virgin lost their ini- renascentiti Fra Angelico, Piero della Francesca, Leonardo da Vinci, a constituit punctul de pornire al acestui performing. Ideea general a misterului vieii i mo- dalitatea comunicrii lui trebuiau transpuse n veminte mai mult sau mai puin actuale, mai mult sau mai puin convenionale. Fiecare stu- dent a avut libertatea de a alege imaginea cea mai elocvent, pentru a surprinde i a transmite nfptuirea minunii. Dar dac pentru oamenii Renaterii ngerul era cu siguran un personaj ndrgit, o autori- tate ocrotitoare i o prezen dorit de ecare individ n preajma sa, relaia om-nger n prezent pare s e mult mai greu de imaginat i de re- prezentat. ngerul a fost vzut ca un personaj fan- tastic, tratat fr o prea mare apropiere sau simpatie, semnnd de cele mai multe ori cu o pasre de prad. i dac ngerul nu mai face parte de mult din existena noastr cotidian, nici inocenta Fe- cioar nu a fost un personaj cu care tinerele au dorit s se identice. ngerul reprezentnd mesagerul a fost tratat mai dinamic, n timp ce Fecioara a fost privit ca un personaj pasiv i a rmas n plan secund. Distanarea voit i convenia au fcut ca aceste costume s e, n general, concepute ntr-o manier teatral. Emoia i misterul e nu mai exist, e sunt foarte greu de tradus ntr-o imagine costumar. n schimb, surpriza a fost elementul esenial n jurul creia s-au coagulat ideile i s-au gsit soluiile. Surpriza este singura care a rmas ac- tual. Ne-am obinuit s ne confruntm cu ea zilnic i la tot pasul, atunci cnd privim imaginile de pe panourile publicitare, cnd vedem recla- mele transmise pe ecranele televizoarelor sau cnd admirm lucrrile de art contemporan. ocul imaginii a fost cel care a suplinit atmosfera de vraj pe care am ateptat-o zadarnic. ngerii au fost aezai n mijlocul strzilor, uimind tre- ctorii care se aau pe un mare bulevard. Cele mai bune soluii au aprut astfel prin plasarea ngerului (venit mai curnd din viitor, un fel de personaj SF) n mediul urban actual. Dac att ngerul, ct i Fecioara i-au 34 35 Constana Balaban, Buna Vestire, 2013 Constana Balaban, Annunciation, 2013 36 pierdut semnicaia iniial i relaia dintre ei s-a modicat dramatic. Nici urm de ncredere sau de comunicare, doar o apropiere forma- l. Totui, n rarele momente n care aceast legtur pare s existe, relaia dintre nger i Fecioar se stabilete prin utilizarea unor ve- minte foarte asemntoare. Aa cum Sfntul Gheorghe s-a acoperit cu solzi ca s pcleasc balaurul pe care trebuia s-l rpun, tot aa ngerul s-a nvemntat precum tinerele fete, pentru a mai credibil, sau poate c Fecioarele din experimentul nostru artistic s-au mbrcat asemntor cu ngerul care li s-a artat lor, doar dintr-un exces de bunvoin, pentru a-i nlesni acestuia comunicarea unei minuni n care nimeni nu mai crede. Dup tema Buna Vestire, planicat s e gata exact la data srbtorii cretine, gndit ca un performing n care vemintele au fost schiate ca ntr-o ebo, pentru a privite din perspectiva conveniei impus de un spectacol (neconvenional), a urmat o alt tem Patimile pentru care studenii au lucrat cu Paula Barbu o colecie de sacouri de o mare acuratee i valoare artistic, dezvluit publicului ntr-o prezentare de mod, chiar n preajma Patilor. Abordarea acestor subiecte religioase a fost un pretext pentru a demonstra studenilor Depar- tamentului Mod cum pot transpuse n imagini costumare idei i concepte venite din zone apa- rent foarte ndeprtate. Autorii acestui performing au fost studenii anului II Master: Constana Balaban, Laura Sma- randache, Silviu Gruianu, Denis Oan, Isabela Toader, Serghei Iacenin, Roxana Prvu, Lavinia Botuanu, Mirela Barbu i Roxana Rusu. La realizarea proiectului au participat i asis- tenii Oana Roca i Sergiu Chihaia. DeConFashion, titlul coleciei, este un joc de cuvinte inspirat de iniiatorul deconstructivismului Jacques Derrida. Deconstrucia, Confesiunea i Moda sunt toate cuprinse n acest cuvnt, stabi- lind dintr-o singur citire regulile jocului. DeConFashion este o tem amuzant i apa- rent facil, n care hainele vechi de care suntem legai afectiv se transform, la vedere, n alte veminte. Amplasarea diferit a hainelor pe trup (ca de pild pantalonii devenii rochie) este una tial signication and the relationship between them modied dramatically. No trace of faith or communication, only some formal closeness. However, when this connection seems to exist, the relationship between the Angel and the Vir- gin is established through the usage of some very similar garments. Just like St. George covered himself with scales to cheat the dragon he was supposed to defeat, the Angel got dressed like the young women in or- der to be more credible, or perhaps the Virgins in our artistic experiment got dressed similarly to the Angel they saw, only from an excess of goodwill, to facilitate the communication of some magic which nobody else believed. After the Annunciation topic, planned to be completed until the Christian holiday, considered as a performing in which the garments were sketched like in a draft, in order to be watched from the perspective imposed by a non-conven- tional show, there was another subject, the Pas- sions, approached by the students with Paula Bar- bu, a collection of jackets dened by some high accuracy and artistic value, revealed to the public in a fashion performance, close to Easter. The approach of these religious subjects repre- sented a reason to provide the students attending the Fashion Department with the related ideas and concepts derived from apparently remote areas. The authors of this performing were the MA students: Constaa Balaban, Laura Smarandache, Silviu Gruianu, Denis Oan, Isabela Toader, Seghei Iacenin, Roxana Prvu, Lavinia Botuanu, Mirela Barbu and Roxana Rusu. Two assistants, Oana Rosca and Sergiu Chi- haia, also took part in the project. DeConFashion, the collections title, repre- sents a wordplay inspired by the initiator of de- constructivism, Jacques Derrida. Deconstruction, Confession and Fashion are all comprised in this word, establishing the rules of the game at once. DeConFashion is an amusing and apparently facile topic in which the old clothes, they are emo- tionally related to, transform into other garments. The different arrangement of clothes (like the trousers transformed into a dress) is one of the rst surprising solutions subsequently followed by the arrangements of classical items in unexpected 37 Raluca Ptru, DeConFashion, 2013 38 Elide Toma, DeConFashion, 2013 Anca Pancu, DeConFashion, 2013 39 combinations, which produce humorous and de- lightful clothes, according to the authors desire. Starting from the topicality of Deconstruc- tivism in Visual Arts, in general, and in Fashion, in a particular way, each student realized a mini- collection composed of three fashion outts an- alysing the development and communication of some highly original ideas. Each item relates a certain story through the evident presence of initial ready-mades, a story continued through the unusual usage of the elements composing a garment or through some surprising combi- nations. The garments are sometimes poetical, some other times absurd, but each time they express exciting messages such as those refer- ring to the conventions delimiting the garments according to genres. The students creations were considered and analysed from the perspective of composition, vol- umes and chromatic agreements; for each item the author, together with Adina Cezar, imagined a certain succession of movements meant to in- crease the expressiveness of the costume. The professional mannequins were replaced by the garments creators, the students attend- ing the MA 1 classes, assisted by the younger students who interpreted the characters pro- posed by their older and more experimented colleagues enthusiastically. Beyond this omnipresent game, related to words and garments, DeConFashion is the theme we had been suggesting for a long time to our students, a warming up exercise. The topic is as- sociated with a very actual and serious direction slow fashion which tries to stop the fast engine of the industrial fashion and provide fashion with a more personal and intellectual character, and probably that is why it is difcult to be accepted by the consumer public and the interpreters of Ro- manian fashion, still inuenced by the tendencies of commercial fashion. This preoccupation, focused on the useless consumerism and creativity, is already found in the programs of great fashion schools and in the suggestions of famous fashion designers. In this respect, I would mention a recent work, Refash- ioned, published in 2013 by Sass Brown, the dean of Fashion Institute of Technology, New York, who din primele soluii surprinztoare, urmat apoi de asamblri ale pieselor clasice, n combinaii nea- teptate, care nasc veminte pline de haz sau de farmec, n funcie de dorina autorului. Pornind de la actualitatea Deconstructivis- mului n Artele Vizuale, n general, i n Mod n special. studenii au realizat ecare cte o mini colecie format din trei ansambluri vestimentare urmrind dezvoltarea i transmiterea unor idei ct mai originale. Fiecare pies spune cte o poveste prin prezena evident a ready-made-urilor de la care s-a pornit, poveste dus mai departe prin utilizarea neobinuit a elementelor care com- pun o hain sau prin alturrile surprinztoare. Vemintele realizate sunt uneori poetice, alteori absurde, dar de ecare dat ncrcate de mesaje incitante, ca de pild cele referitoare la convenii- le care delimiteaz vemintele dup gen. Creaiile studenilor au fost privite i analizate din punctul de vedere al compoziiei, al volumelor i al acordurilor cromatice propuse i pentru e- care pies autorul alturi de Adina Cezar au ima- ginat o anumit succesiune de micri menite s sporeasc expresivitatea costumului. n locul manechinelor profesioniste au fost creatorii vemintelor, studenii anului 1 Master, secondai de studenii anilor mici, care au inter- pretat cu entuziasm personajele propuse de cole- gii lor mai mari i mai experimentai. Dincolo de acest joc omniprezent, cu vor- bele i cu hainele, DeConFashion este o tem pe care o propunem de civa ani buni ncoace studenilor, ca pe un exerciiu de nclzire. Tema se nscrie pe o direcie foarte actual i serioa- s slow fashion care ncearc s opreasc tvlugul fast fashionului industrial i s impri- me modei un caracter mult mai personal, mai intelectual, i probabil de aceea i mai dicil de acceptat de publicul consumator i de comenta- torii modei romneti, aai nc doar sub vraja tendinelor modei comerciale. Aceast preocupare de a atrage atenia asu- pra consumerismului inutil i de a miza pe crea- tivitate se regsete deja n programele marilor coli de mod i n propunerile unor fashion de- signeri consacrai. n acest sens a aminti recenta lucrare Refashioned, publicat n 2013 de Sass Brown, decan al Fashion Institute of Technology 40 41 refers to the ethical practice in the fashion design around the world. For the present, in the inherent game of their interdisciplinary experiments, the students of our department get closer to the major aspects of fashion and contemporary art. By proposing these different themes, we en- courage a holistic approach in order to develop a complex and powerful artistic personality which is able to impose his point of view. The experiment we have described was car- ried out together with lecturer Sergiu Chihaia, the MA 1 students: Alina Gurgu, Andrea Pos- telnicu, Carmen Popa, Laureniu Buglea, Raluca Mndi, Raluca Ptru, Anamaria Beleag, Irina Ghizdianu, Anca Pancu, Monica Ivanovici, Ellida Toma, Gina Casapu, Ruxandra Iosif, Lcrmioara Crian and Ana Ancua. din New York, care vorbete despre practici etice ale designului de mod din lumea ntreag. Deocamdat, doar n joaca inerent a unor experimente interdisciplinare studenii departa- mentului nostru se apropie de aspecte majore ale modei i artei contemporane. Prin propunerea acestor teme diferite, ncura- jm o abordare holistic n ideea dezvoltrii unei personaliti artistice compexe i puternice, capa- bil s-i impun punctul de vedere. Experimentul descris a fost realizat al- turi de asistentul Sergiu Chihaia, de studenii anului 1 Master: Alina Gurgu, Andrea Postel- nicu, Carmen Popa, Laureniu Buglea, Raluca Mndi, Raluca Ptru, Anamaria Beleag, Irina Ghizdianu, Anca Pancu, Monica Ivanovici, Elide Toma, Gina Casapu, Ruxandra Iosif, L- crmioara Crian i Ana Ancua. Lcrmioara Crian, DeConFashion, 2013 Raluca Ptru, DeConFashion, 2013 42 43 Andrea Postelnicu, DeConFashion, 2013 44 Paula BARBU confereniar universitar doctor senior lecturer doctor 45 Prima ntlnire a fost demult de tot, pe vre- mea cnd nu nelegeam prea bine ce este moda i cnd totul se raporta doar la mirajul descoperi- rilor mele (care n general erau frumoase): mama mbrcat n stilul anilor 50, care o preschimba ntr-o div din lmele italiene, revistele cu mo- dele i tipare dup care i croia tot felul de ve- minte, jupele apretate care i foneau sub fustele ample, caietele mele cu desene naive, cu rochii pline de culorile cmpurilor norate pe care m jucam toate mi revin n memorie ca nite ash- uri care fac parte din lmul copilriei mele. M jucam observnd lumina i umbra, dinamismul i repausul, ordinea i dezordinea. Toate astea m captivau, mi ineau mintea permanent ocupat i le rspundeam prin desen i culoare. ntmplarea sau destinul a fcut ca dup coala primar s urmez un liceu de art, unde am avut ansa s mi dezvolt abilitile artistice prin desen i culoare i unde am primit primele noiuni de compoziie, cultur i limbaj plastic. Revelaia, n ce privete adevrata semni- caie a modei, a aprut ntr-o zi de var cnd am descoperit pur i simplu, ntr-o librrie, o carte care m-a surprins: autoarea avansa ideea c moda st lng celelalte arte, asemenea lor, integrndu-se n epoci, stiluri i curente artistice i reprezentnd statutul social, modul de gndire i personalitatea oamenilor. Art, stil, costum, cartea Adinei Nanu, a fost pentru mine ca o pre- moniie a parcursului meu profesional: dintr-oda- Trei plrii pentru ntlnirea cu moda The rst encounter was a long time ago, when I could hardly understand the meaning of fashion, when everything was related only to the mirage of my ndings (which were gener- ally beautiful): my mother, dressed like in the 50s, a style which was transforming her into a diva acting in Italian lms, inuenced by fashion magazines with patterns and samples, which she used in order to device all kinds of garments, the starched petticoats, swishing under her ample skirts, my notebooks with naive drawings, where the dresses were displaying the colours of those ower elds where I used to play all these re- turn to my mind like some ashes derived from the lm of my childhood. I was playing while observing the light and shadows, the dynamism and repose, the order and disorder... All these were captivating me, they were always keeping my mind busy; I replied to these by means of drawings and colour. After completing the primary school, I hap- pened to attend an art high-school, where I had the chance to develop my artistic skills by means of drawings and colours, where I got the rst notions of composition, culture and artistic language. Regarding the real signication of fashion, my revelation emerged one summer day when I simply discovered, in a bookshop, a book which surprised me: the author stated that fashion can be associ- ated with other types of art and, just like these, it integrates in artistic epochs, styles and genres, Three hats for the encounter with fashion 46 t, am avut convingerea c tot ce voi ntreprinde va legat de mod. i ca totul s e rotund, cnd am ajuns la facultate, destinul a fcut s m numr ntre studenii acestei doamne i s fac parte din pri- mele generaii care absolveau o coal de mod n cadrul unei instituii de art. Ideea c ntr-o zi voi face pictur nu m-a prsit niciodat, dei la vremea aceea nu tiam n ce fel m voi putea ocupa de ambele profesii, iar pe a treia nici nu o ntrevedeam Au urmat ani n care am lucrat ca designer de mod (o ocupaie pe care nu o gseai n no- menclatorul meseriilor, nainte de 1990) i am avut norocul s m specializez n transpunerea n moda contemporan a elementelor costumului popular romnesc. Pentru coleciile acelea ignoram toate greutile acelor vremuri i m bucuram de do- cumentrile ntr-unele dintre cele mai interesante Ciclul Marea, acrilic pe pnz, 80 x 240 cm., 2013 The Sea cycle, acrylic on canvas, 80 x 240 cm., 2013 representing the social status, the way of think- ing and peoples personality. Art, style, costume, Adinei Nanus book, represented a premonition during my whole professional development. Sud- denly, I was convinced that all, that I was meant to make, was going to be related to fashion. And, to make it all complete, when I reached the faculty, I happened to be one of this ladys students and belong to the rst generations graduating from a fashion school in the context of an art institution. The idea that one day I was going to paint had never abandoned me although at that time I did not know how I was going to manage both professions, and the third one... I didnt even think of... Subsequently, I worked as a fashion designer (an occupation you could not nd in the list of professions before 1990) and I was lucky to spe- cialize in the transposition of the Romanian folk 47 costume elements in the contemporary fashion. While concentrating on those collections, I was ig- noring all the hardships of those times and I was enjoying the research periods in some of the most interesting ethnographic areas: Cmpulung Mus- cel, Breaza, Tismana, Suceava, Braov real cores of traditional culture stimulating profound feelings of admiration and respect for the generations of women who were devloping the idea of beauty. Those places were sources of inspiration for many of the clothing items I conceived then and I was not the only one: the uniqueness and splendour of some elements composing the Romanian tra- ditional garment, as well as the peasant womans skirt, stirred real passions among designers, paint- ers and sculptors and this strengthens my belief that our traditional values must be respected and capitalised to assert our cultural identity. In the meantime, I continued to study the zone etnograce: Cmpulung Muscel, Breaza, Tis- mana, Suceava, Braov adevrate oaze de cul- tur tradiional, care mi trezeau sentimente pro- funde de admiraie i respect pentru generaiile de femei creatoare de frumos. Locurile acelea au fost surs de inspiraie pentru multe dintre piesele vestimentare pe care le-am conceput atunci i nu eram singura: unicitatea i splendoarea unor elemente care compun vemntul tradiional ro- mnesc, ia i catrina, au dat natere unor ade- vrate pasiuni printre designeri, pictori i sculptori iar asta mi ntrete credina c valorile noastre tradiionale trebuie respectate i valoricate, pen- tru armarea identitii noastre culturale. ntre timp, continuam s studiez pictura i participam cu regularitate la expoziiile de art organizate n slile Muzeului Naional de Art sau la Galeriile Dalles, Orizont, Simeza. Prima expo- ziie personal a venit n 1996, odat cu matu- Paula Barbu, Vemntul din abis, expus n cadrul expoziiei Peisaje Abisale, Galeria Orizont, Bucureti, acrilic pe pnz, 2012 Paula Barbu, The garment from the abyss, exhibited as part of the Abyssal Sceneries event, Galeria Orizont, acrylic on canvas, 2012 48 rizarea profesional: Ecrane vegetale. Au urmat altele, cu teme care fceau parte din aceeai mare familie a impresionismului abstract: Pasaje vegetale, Acvatic, Pictur i manechin, Drapaj, Grdini acvatice, Peisaje abisale. n pictur, am preferat pnza, tehnologiile tradiionale i non-gurativul, construind un lim- baj situat ntre pictura gestual, Taism i Abstrac- ionism, caracterizat de un anumit echilibru com- poziional. Calitatea culorilor, o regie riguroas a exprimrii artistice, gestul spontan i laconic s-au nscut din perioade lungi de acumulri i dintr- un subcontient ncrcat cu imagini la care medi- tez fr ncetare, selectndu-le i procesndu-le, pentru a le elibera mai trziu pe pnz. n 1990, cile s-au deschis: am devenit membr a Uniunii Artitilor Plastici din Rom- nia, secia Pictur i lector la catedra de Mod a Academiei de Art din Bucureti, Facultatea de Arte Decorative i Design, iar n felul acesta m-am trezit cu trei profesii diferite, i care se completau una pe alta. painting strategies and regularly participated in the art exhibitions organised in the exhibi- tion rooms of the National Art Museum or at the Dalles, Orizont or Simeza Galleries. I had my rst solo exhibition in 1996, announcing my pro- fessional development: Vegetal screens. It was followed by others, expressing several themes related to the same great family of abstract Im- pressionism: Vegetal passages, Aquatic, Paint- ing and mannequin, Drapery, Aquatic gardens, Abyssal sceneries. In paintings I preferred the canvas, the tra- ditional technologies and the non-gurative, thus constructing a language situated between the gestural painting, tachismes and Abstraction- ism, dened by a certain compositional balance. The quality of colours, a rigurous scenario of ar- tistic expressions, the spontaneous and laconic gesture, they all developed as a result of some long periods of accumulations and subconscious structures suggesting some images I think of continuously, selecting and processing them, in Paula Barbu, Vemntul din abis, expus n cadrul expoziiei Peisaje Abisale, Galeria Orizont, Bucureti, acrilic pe pnz, 2012 Paula Barbu, The garment from the abyss, exhibited as part of the Abyssal Sceneries event, Galeria Orizont, acrylic on canvas, 2012 49 Azi lucrez n aceeai facultate, alturi de colegele mele de generaie, Unda Popp i Ioa- na Avram, cu ali colegi de alte specializri, ndrgostii de mod, dar i lng viitoarele ge- neraii de designeri profesori. Experienele de dup absolvirea facultii, cercetrile ntreprinse n domeniul modei, cutrile personale ne-au condus ctre un program nou, coerent i per- formant, capabil s instruiasc numrul mare de studeni care se nscriu n ecare an. Pentru ei am inclus, pe lng noiunile artistice, i cuno- tine teoretice, practice, tehnice. Ele sunt prezen- tate n aa fel nct s le faciliteze nelegerea, s le stimuleze creativitatea i s-i pregteasc pentru un domeniu mereu n avangard, n care schimbrile nu se mai petrec de la un sezon la altul, ci de la un moment la altul. De-a lungul timpului, ni s-au alturat foti studeni cu rezultate remarcabile n domeniul modei, n ar i n strintate, i aa am format o echip n care credem cu trie i unde contribuia ecruia este benec, prin diversitatea propu- nerilor. nelegerea faptului c nu uniformitatea order to later release them onto the canvas. In 1990 my paths had opened: I became a member of the Romanian Union of Artists, the Painting Department, and a lecturer at the Fashion Department at the Art Academy, Bucharest, the Faculty of Decorative Arts and Design, so I found myself dealing with three different professions which were actually com- pleting each other. Today I work at the same faculty, together with my generation mates, Unda Popp and Ioana Avram, with other colleagues sharing other spe- cializations, who were fond of fashion, and also with the future generations of professor design- ers. My experience, after I graduated from fac- ulty, my research in the domain of fashion and my personal explorations, oriented us towards a new, coherent and performing program, capable of instructing a great deal of students signing up each year. Besides the artistic notions, I pro- vided them with theoretical, practical and tech- nical knowledge. These are presented in a way to facilitate their understanding, stimulate their Anul I Licen, Colecia Gaudi, fotograe realizat n cadrul evenimentului Fashion Mob, Sun Plaza, Bucureti, 2012 First year BA student, the Gaudi collection, photo realized as part of the Fashion Mob event, Sun Plaza, Bucharest, 2012 50 51 este cea care ne ajut, ci modurile diferite de a aborda principiile i elementele modei, ne-a con- dus spre o competiie constructiv, din care stu- denii au avut cel mai mult de ctigat. Pe ei, n primul rnd, trebuia s i convingem cu multiple- le experimente: ncepnd cu desenul, culoarea, compoziia, cu primele volume obinute i con- tinund cu obiectele-art, cu crearea propriilor materiale i croiuri, cu noiuni eseniale despre mod, art, performing, micare scenic i multe alte elemente care construiesc fenomenul modei, culisele ei, cum ne place s spunem, i care i ajut s neleag acest mecanism complex. Aa se explic diversitatea n modul de abordare a temelor lucrrilor de Licen i Master realizate de studeni n ultimii ani. Unii consider c moda trebuie s e doar aa cum cred ei, ignornd cu bun tiin, din motive tiute doar de ei, eforturile colii rom- neti de mod. Aa-zii critici, cu o minim in- formare, abilitate i practic a modei, nu neleg paii fcui pentru formarea viitorilor designeri, nici multiplele faete i domenii ale modei, nici creativity and prepare them for a permanently vanguardist domain in which changes do not oc- cur from a season to another, but from a moment to another. In time, former students, with remarkable results in the domain of fashion in the country and abroad joined us, and so we formed a team we truly trust, where the contribution of each of us is benecial through the suggestions diver- sity. The comprehension of the fact that it is not about comformity which helps us, but the various methods to approach the principles and elements of fashion, led us towards a constructive compe- tition highly appreciated by students. They were the ones we had to convince with multiple ex- periments: starting with drawings, colour, com- positions, the rst volumes obtained, continuing with the art objects, with the creation of our own materials and patterns, with essential notions re- garding fashion, art, performances, stage move- ment, and many other elements setting up the phenomenon of fashion, its coulisses, as we like to dene it, which made them understand this Anul I Licen, Colecia Gaudi, fotograe realizat n cadrul evenimentului Fashion Mob, Sun Plaza, Bucureti, 2012 First year BA student, the Gaudi collection, photo realized as part of the Fashion Mob event, Sun Plaza, Bucharest, 2012 52 Laura Smarandache, Colecia Sharp Love, 2011 Laura Smarandache, Sharp Love Collection, 2011 53 54 55 Ana Popa, Colecia Zestrea, 2009 Ana Popa, The Dowry Collection, 2009 Sandra Galan, Colecia Heritage, 2008 Sandra Galan, Heritage Collection, 2008 56 57 Anul I Licen, Colecia Ritual, 2013 First year BA student, the Ritual Collection, 2013 58 tefana Chelaru, Nostalgia crinolinei, 2014 tefana Chelaru, The crinolines nostalgia, 2014 59 complex mechanism. All this explains the diver- sity of their approach when they elaborated their recent dissertations and MA works. Some consider that fashion must be the way they imagine it, while knowingly ignoring, because of a number of personal reasons, the efforts of the Romanian fashion school. So-called critics, endowed with the lowest degree of in- formation, ability and practice in fashion, do not understand the stages developed to form the fu- ture designers, neither the multiple aspects and domains of fashion, nor the fact that the fashion school came into the line of occidental standards long time ago; they do not even see the students achievements in international competitions or the way they are welcome in other academic con- texts, when they continue their studies abroad. My research in the domain of fashion and personal explorations in painting made me nd the most appropriate modalities to provide my students with a great deal of knowledge and ex- perience to enrich, support and orient them with- in this vast domain, to open their paths and make them discover their own artistic personality. The course of volumetry, which I suggested them, providing the Fashion Department with a unique dimension, proved necessary in the comprehension of different methods to obtain volumes and in the faster understanding of the problems concerning the patterns construction. This explains why the topics I suggest to my students include very many elements related to painting, sculpture, scenography or art history, as well as the technological problems needed in the execution of volumes or the introduction of some recent technologies. White Black, Warm Cold, Contrast itself, Piet Mondrian, Sonia Delaunay and the simultaneous dress, Frida Kahlo, Mark Rothko, Gustav Klimt, Pop Art, Op Art, Antoni Gaudi represent only a part of the subjects related to colour through which I try to make students get closer not only to the experience of great artists but also to the study of colours and principles governing it, which are so necessary in creative clothing. Referring to the successful experience, the recent Antoni Gaudi collection of the rst year students combines the spectacular forms with faptul c coala de mod s-a aliniat de mult stan- dardelor occidentale, i nici nu vd realizrile stu- denilor n competiiile internaionale sau ct de bine sunt primii n alte medii academice, cnd i continu studiile n strintate. Cercetrile n domeniul modei i cutri- le personale n pictur m-au ajutat s gsesc modalitile cele mai potrivite ca s transmit studenilor ct mai multe cunotine i experi- ene care s i mbogeasc, s-i ajute s se orienteze n acest vast domeniu i, n acelai timp, s le deschid cile prin care s se poat descoperi ei nii ca personaliti artistice sau formatori. Cursul de Volumetrie pe care l-am propus pentru ei i care adaug o dimensiune unic Departamentului Mod s-a dovedit ne- cesar pentru nelegerea diferitelor metode de obinere a volumelor i pentru descifrarea mai rapid a problemelor legate de construcia ti- parului. Aa se explic de ce temele pe care le propun studenilor includ foarte multe elemen- te legate de pictur, sculptur, scenograe sau istoria artei, dar i probleme tehnologice nece- sare pentru realizarea volumelor sau introduce- rea unor tehnologii de ultim or. Alb-Negru, Cald-Rece, Contrast n sine, Piet Mondrian, Sonia Delaunay i rochia simultan, Frida Ka- hlo, Mark Rothko, Gustav Klimt, Pop Art, Op Art, Antoni Gaudi sunt doar o parte din- tre subiectele legate de culoare, prin care ncerc s i apropii pe studeni de experienele marilor artiti i de studiul culorii i al pricipiilor care o guverneaz, att de necesare pentru creaia vestimentar. Vorbind despre experiene reuite, una recent a fost colecia Antoni Gaudi a stu- denilor anului I Licen, n care formele spec- taculoase se mpletesc cu inovaiile decorative folosite de Gaudi n lucrrile sale de arhitectu- r. Folosindu-se de aceast metod i de cultu- ra lor plastic, studenii au creat o istorie a pic- turii cu care au mbrcat corpul uman i creia i-au conferit dinamism prin culoare i micare. Au abordat cu uurin aceste teme i au reali- zat volume complicate i spectaculoase, iar ima- ginaia i creativitatea lor s-au dezvoltat de la o etap la alta, datorit cunotinelor dobndite n timpul acestui experiment. 60 Alex Raicu, Nostalgia crinolinei, 2014 Alex Raicu, The crinolines nostalgia, 2014 61 62 the decorative innovations used by Gaudi in his works of architecture. By using this method and their artistic culture, the students created a histo- ry of painting, which they dressed up the human body with, while conferring the idea of dynamism through colour and motion. They approached these topics easily and made complicated and spectacular volumes and their imagination and creativity developed from a stage to another due to the knowledge gained during this experiment. Sometimes, the topics suggested represent answers to the explorations of some colleagues or other designers for instance, the Passions collection made with the MA students continuing Unda Popp Annunciation or the peerless Alexan- der McQueens Sacrice. It was an answer relat- ed to another question: whether the approach of some themes deriving from a spiritual and highly sensitive area, by means of fashion, could be possi- ble. The result was obvious: the students achieved real objects of art, some constructed on compo- sitional elements, using non-conventional materi- als, others were rigorously made in the form of garments with daring cuttings, in McQueens style, accessorized with non-conventional elements. Some other times the research tpics are sug- gested by the costumes history: from pre-history to crinolines, from Art Nouveau to Art Deco, from the New Look to the 60s and 70s and Deconstructivism or the present Minimalism, the transformations are fast, through documentation and experiments. If I had to return forty years ago and choose my profession again, I would take the same deci- sion: the three hats creator, painter and profes- sor t me wonderfully and bring me immediate and countless satisfactions... I would also say that, since Ive discovered my pedagogical side, I noticed that many of my ideas can turn into life through my students achievements and we can also declare ourselves winners: Sandra Galan, Ana Popa, Roxana Prvu, Laura Smarandache, Emilia Tudoran, Iulia Gh- enea, Alex Raicu are only some of those (belong- ing to the latest generations) I am proud of, those who are going to develop the Romanian design, while surely contributing to the expansion and promotion of the Fashion School, Bucharest. Uneori, temele propuse sunt rspunsuri la cutrile unor colegi sau ale altor designeri de exemplu, colecia Patimile, realizat cu studen- ii de la ciclul masteral, care continu Buna Ves- tire a Undei Popp sau Sacriciul inegalabilului Alexander McQueen. A fost un rspuns dat i unei alte ntrebri: dac este posibil abordarea, prin mod, a unor teme dintr-o zon spiritual, att de sensibil. Rezultatul a vorbit de la sine: studenii au realizat adevrate obiecte de art, unele construite pe elemente de compoziie, folosind materiale neconvenionale, altele rea- lizate riguros sub form de veminte cu tieturi ndrznee, n stilul lui McQueen, accesorizate cu elemente neconvenionale. Alteori, temele de cercetare sunt sugerate de istoria costumului: din preistorie la crinolin, de la Art Nouveau la Art Deco, de la New Look la anii 60, 70 i pn la Deconstructivism sau la Minimalismul zilelor noastre, salturile se fac rapid, prin documentare i experiment. Dac m-a ntoarce azi cu patruzeci de ani n urm i ar trebui s-mi aleg din nou o meserie, a merge pe acelai drum: cele trei plrii creator, pictor i profesor mi stau de minune i mi aduc satisfacii imediate i fr numr. i a mai spune c de cnd mi-am descoperit latura pedagogic, am vzut c multe dintre ideile mele pot prinde via prin realizrile studenilor i c putem cti- ga deopotriv: Sandra Galan, Ana Popa, Roxana Prvu, Laura Smarandache, Emilia Tudoran, Iulia Ghenea, Alex Raicu sunt doar o parte (din ulti- mile generaii) dintre cei cu care m mndresc i care vor dezvolta designul romnesc contribu- ind cu siguran la creterea prestigiului colii de mod din Bucureti. 63 Anul I Master: Iulia Ghenea (1), Mirela Barbu (2), Roxana Prvu (3), Emilia Tudoran (4), Patimile, 2013 First year MA student: Iulia Ghenea (1), Mirela Barbu (2), Roxana Prvu (3), Emilia Tudoran (4), Passions, 2013 2 3 4 1 64 Ioana AVRAM lector universitar doctor lecturer doctor 65 Am absolvit cursurile Institutului de Arte Plastice Nicolae Grigorescu din Bucureti n anul 1978, n cadrul seciei de Arte Textile, specializa- rea Creaie Vestimentar. n acel an, considerat ca ind un vrf al prosperitii globale, nemaiatins de atunci, a fost descoperit satelitul Charon al lui Pluto, Republica Popular Chinez a permis, n urma unei noi stra- tegii de dezvoltare cultural, accesul la operele lui Aristotel, William Shakespeare i Charles Dickens, dar i introducerea conceptului de Mod, prin aerul occidental adus de Pierre Cardin la Beijing; New York Post a publicat un amplu articol relativ la cartea lui David Rorvik The Cloning of Man, despre presupusa posibil clonare a inei uma- ne, iar la Chicago a fost creat primul computer bulletin boardsystem (CBBS), un sistem compu- terizat care permite conectarea informatic. A fost anul alegerilor de mod ciudate, al cri- zei petrolului, al coafurilor abracadabrante, anul n care a fost creat Gareld, personajul de BD cel mai viral i s-a nscut in vitro primul copil Louise Joy Brown. A fost supranumit Anul Celor Trei Papi, dar i cel n care Nicolae Ceauescu a lansat Pro- iectul Bucureti, ca o replic a oraului Phenian, capitala Coreei de Nord; a fost inventat insuli- na articial, Menachem Begin (Israel) i Anwar el-Sadat (Egipt) au obinut ex aequo Premiul Nobel pentru Pace, Sony a introdus walkman-ul, primul stereo portabil, lmele The Deer Hunter Moda i semnele schimbrii I have graduated from the Institute of Fine Arts Nicolae Grigorescu, Bucharest, the Textile Arts Department, Creative Clothing, in 1978. That year, considered the climax of global prosperity, never felt before, they discovered Plu- tos Charon satellite, and the Republic of China allowed, as the outcome of a new strategy ap- proached in cultural development, the access to the works of Aristotle, William Shakespeare and Charles Dickens, as well as the introduction of the Fashion concept given the occidental inuence of Pierre Cardin at Beijing; New York Post pub- lished an ample article related to David Rorviks book, The Cloning of Man, the alleged possible cloning of the human being, and at Chicago they created the rst computer bulletin board system (CBBS), a computerized system permitting the computer connection. It was the year of odd fashion choices, oil crisis, bizarre hairstyles, the year when they cre- ated Gareld, the most viral BD character, when the rst vitro child, Louise Joy Brown, was born. It was nicknamed The year of the three Popes; it was the year when Nicolae Ceauescu launched the Bucharest project as a reply of the Phenian town, the capital of North Coreea; they invented the articial insulin, Menachem Begin (Israel) and Anwar el-Sadat (Egypt) ob- tained ex aequo the Nobel Prize for Peace, Sony introduced the walkman, the rst portable stereo, some lms - The Deer Hunter Annie Fashion and the signs of change 66 Annie Hall sau Grease au devenit simboluri culturale, Bee Gees au lansat Stayin Alive, iar pantalonii de plastic au fost, pentru scurt vre- me, la mod. Nicolae Ceauescu a fost pentru ceva vreme liderul cel mai frecventabil din lagrul socialist i a fost plimbat cu trsura prin Londra, de ctre regina Angliei, trecnd pe lng un cinematograf unde rula (la liber!!!) un lm produs de David Grant, King of sexploitation. Apare cartea lui John T. Molloy, The Womens Dress for Success Book care a marcat o piatr de hotar n codicarea vestimentar a mesajului ocial, iar The London Fashion Exhibition lana- seaz, n acelai an, o seciune aparte, destinat designerilor, n timp ce IGEDO deschide Dssel- dorf Fashion House, pentru mbrcminte de designeri, n ncercarea de a cuceri piaa ameri- can, saturat de produsele de mas, care pot cumprate din Orientul ndeprtat. Populaia globului era de aproximativ 4 mili- arde 302 milioane de oameni. Toate acestea au inuenat direct, mai mult sau mai puin discret, existena Planetei, a indi- vizilor, a mea, fr s tiu la momentul acela, c undeva se ntmpl lucruri care vor transforma lumea familiar mie, ntr-o manier de neimagi- nat, altfel dect tiinico-fantastic. Spiritul anului 1978 mi-a modelat, de fapt, structura afectiv, cultural i social, datornd efectelor vizibile sau colaterale ale ecreia dintre toate aceste evenimente, plus ale multor altora, multe netiute ceea ce sunt acum. La acea vreme, moda vestimentar, care tocmai lua in n Romnia ca profesie creativ, (dincolo de croitoria artizanal sau de unicatele artistice ale Fondului Plastic) era, fr s tiu eu, vrful de lance al unui proiect ambiios care viza un sistem integrat de cercetare, creaie, produc- ie i implementare pe pia, gndit ca s fore- ze intrarea pe ua din fa n industriile modei. Prins ntre creativitatea artistic i cea de mod, ntre libertatea unui liber profesionist i rigorile corporatiste, am evoluat and ncet-ncet rs- punsuri legate de structura, fora, rolul i efectele modelatoare ale actului cultural de mod. coala de mod a aprut ca o necesitate de formare profesional, pentru crearea unor resur- Hall or Grease became cultural symbols, Bee Gees launched Stayin Alive, and plastic pants became fashionable for some time. For a while, Nicolae Ceauescu had been the most frequentable leader from the so- cialist camp, he used to be driven in carriage tours around London by the Queen of England and, passing by a cinema, he was astonished to glimpse David Grants lm, King of sexploita- tion, (freely!!!) Then they published John T. Molloys book, The Womens Dress for Success Book which marked an outstanding point in the clothing codication of the ofcial message; it was the same year when The London Fashion Exhibition launched a special section for designers, while the IGEDO opened the Dsseldorf Fashion House, for brand clothing trying to conquer the American market, imbued with mass products, which could be purchased in the Far East. Population: 4.302 billion people. All these inuenced the existence of the Planet, of the individuals and mine, directly, in a more or less discrete way; at that time I did not know that, somewhere, there were things which were going to transform the World, which I was familiar with, into an unbelievable manner, totally different from the scientic and fantastic one. The spirit of 1978 had actually modeled my affective, cultural and social structure due to the visible or collateral effects of each of these events, or of others, which I was not aware of, and here I am. At that time, fashion clothing, which was just developing in Romania as a creative pro- fession (beyond the artisanal tailoring or the artistic unique items of the Gallery) was, with- out my knowledge, the essence of an ambitious project focused on an integrated system of re- search, creation, production and market imple- mentation, meant to force the grounds in the fashion industry. Caught between the artistic and fashion creativity, between the liberty of a free-lancer and corporatist rigors, I went further and gradually found the answers related to the structure, force, role and modeling effects of the cultural act of fashion. The fashion school emerged as the profes- 67 Laura Bonciu, Andreea Vartolomei, Laura Ditot, Wholometry, 2013 68 Laura Bonciu, Andreea Vartolomei, Laura Ditot, Wholometry, 2013 69 70 se umane apte s nfrunte concurena din indus- triile modei internaionale. Apariia sa (1971) a marcat n sine un traseu profesional pentru cei care, cultural, tehnic, artistic i creativ, trebuiau s rspund misiunii de reformatare a industri- ei de confecii romneti. Desigur, acest plan nu s-a realizat cel puin nu atunci datorit rezistenei la schimbare a tuturor factorilor implicai. n primul rnd, indus- tria de confecii a primit cu iritare sarcina de a introduce n sistem creaia, ca element industrial productiv. Acest lucru presupunea reorganizarea uxurilor tehnologice, n baza conceptelor me- reu noi de mod i costuri mari de creaie, pe care nu le nelegea, avnd n vedere rolul asu- mat pn atunci de exclusiv productor. Pe de alt parte, structurile Institutului de Arte de la acea vreme considerau acest domeniu, foarte Colecia colaborativ SAGE, bazat pe cercetare de tendine (2010) viziune conrmat de studiile STYLESIGHT / FUTURIST (2012) A collaborative collection, SAGE, (2010) based on a collaborative research of trends a vision conrmed by the fol- lowing studies STYLESIGHT / FUTURIST (2012) sional development was needed for the crea- tion of some human resources, which were able to cope with the competition in the interna- tional fashion industries. Its emergence (1971) marked a professional route for those who had to experience the re-formatting of the Roma- nian clothing industry culturally, technically, ar- tistically and creatively. Of course, this plan was not successful at least not then given every factors resistance to the idea of change. Firstly, the clothing industry was resentful when given the task to introduce the creation in the system, as a productive industrial element. This might have assumed the reorgani- zation of technological streams, according to the concepts always new in fashion and high costs of creation, which they did not understand given the role assumed so far, as an exclusive producer. 71 nou de altfel pentru Romnia, ca pe un copil de pripas impus de conducerea de partid, tolerat - ind ca un moft, indc nu se putea altfel. Studen- ii, unii ndrgostii de mirajul modei i al lumii de dincolo de cortina de er, sperau c prin mod pot mai aproape de visul realizrii profesionale ntr-o lume mai frumoas. Considerau c adev- rata creaie va valorizat altfel acolo. Industria, obligat ind s ne angajeze ca desenatori artistici cu studii superioare sau proiectani modele cu studii superioare (cuvin- te ca design sau marketing neind acceptate, nici mcar n nomenclatorul de funcii) ne margina- liza violent, manifestnd un dispre nedisimulat pentru tot ceea ce nsemna creativitate, talent, viziune, pe scurt, orice putea genera schimbare. Un conict dureros, care a semnat confuzie i a facilitat abandonarea proiectului. Colecia colaborativ MATHEMAGICAL, bazat pe cercetare de tendine (2011) viziune conrmat de studiile STY- LESIGHT / FUTURIST (2012) A collaborative collection, MATHEMAGICAL, (2011) based on a collaborative research of trends a vision conrmed by the following studies STYLESIGHT / FUTURIST (2012) Secondly, those structures of the Art Institute considered this domain very new for Romania, as a stray child imposed by the party, tolerated as a caprice, as there was no other way. The stu- dents, some very fond of the mirage of fashion and the world beyond the Iron Curtain, were hoping that, by means of fashion, they could get closer to their professional development in a more beautiful world. They considered that the authentic creation was going to be evaluated more differently there The industry, obliged to hire us as graduate draftsmen or graduate planners (words like design or marketing were not accepted, not even in the classied list of functions) margin- alized us violently, manifesting an undisguised disdain for all that meant creativity, talent, vi- sion, more exactly, anything that could gener- 72 Am avut marea ans s m bucur de ghizi i maetri care m-au ndrumat pe calea ngust, i nu lipsit de capcane, a descoperirii de sine pentru mine moda a fost dintotdeauna un mod de via, nu o profesie. Doamna Leontina Mai- latescu, cea care a primit sarcina s porneasc motoarele colii de creatori de mod romni, a studiat la Viena i a adus de acolo un model greu de digerat la acea vreme creaia vestimentar productiv, pentru industriile creative ale modei. Tehnic (mult prea tehnic i rigid pentru tinerii care se doreau artiti i nu plmai angajai n indus- trie, cu e i sarcini de serviciu, termene, dar i rspundere), acest lucru ne-a descumpnit pen- tru mult vreme, netiind unde este drumul spre destinul profesional. La polul uman al ecuaiei, Doamna Adina Nanu a introdus msura omului, cu afectivitate, orgolii, bucurii, nevoi, constrn- geri, dar i rzvrtiri, precum i bucuria de a lucra cu un limbaj mult mai complex dect cel uzual, comunicnd stri i intenii, i care putea traduce vestimentar tot ce ne nconjoar. Mult vreme am balansat ameit ntre pasi- une i sarcini de serviciu, pn cnd am neles c toate acestea fac parte dintr-o singur lume, dintr-o singur poveste, cu rspunsuri posibile la nevoia fundamental uman de a se manifesta so- cial prin valori culturale, exprimate n forma lor material vestimentar. Am neles c totul este cuprins ntr-un sis- tem SISTEMUL MODEI care reprezint expre- sia cea mai larg a curentului cultural dominant al ecrei epoci. Totui seminele acelor vremuri dau roade frumoase acum, Romnia este deja angajat pe drumul fr ntoarcere al produciei de creativi- tate, ind clasat pe locul 15 n lume n exercita- rea puterii intangibile, conform noului indicator Soft Power Index, lansat de Ernst & Young. De asemenea, n cadrul Planului de Export al Romniei, prin eforturile Societii Designeri- lor Profesioniti din Romnia, designul (cel de mod inclus) reprezint o valoare exportabil n sine e sub form de concepte, e de pro- totipuri, iar tinerii designeri particip la trguri internaionale sub marc proprie. Lumea s-a schimbat inimaginabil. Conceptul de Er Digital sau Revoluie Digital presupu- ate the transformation. A painful conict which provoked confusion and facilitated the abandon- ment of the project. I had the great opportunity to get in touch with guides and masters who oriented me to- wards the narrow and difcult path to discover myself for me, fashion was always a lifestyle, not a profession. Mrs. Leontina Mailatescu, the one who had the task to start the engines of the Romanian school of fashion creators, had studied in Vienna and from there she brought a model, which was hardly accepted then the productive clothing creation for the fashion crea- tive industries. Technically, (too technical and rigid for the young people who wanted to be- come artists not poor employees, with foremen and tasks, terms and responsibility) this had un- balanced us for a longer time, creating confu- sion around the idea of professional fate. At the human pole of the equation, Mrs. Adina Nanu introduced the human measures, with affection, vanity, joy, needs, constraints, but also rebellion and the happiness to work with a more complex language than the common one, communicating conditions and intentions, translating all that sur- rounded us in terms of fashion. I had oscillated a lot between passions and service tasks until I understood that all these belong to a single world, to a single story, with possible replies to the fundamentally human need to manifest socially, through cultural val- ues, expressed in their clothing-material form. I understood that everything is included in a sys- tem THE FASHION SYSTEM which represents the largest expression of the dominated cultural genre of each epoch. However, the seeds of those times bear their fruits now, Romania is already and forever engaged in the process of creative production, being the 15th in the world to exert the intangible power according to a new indicator, Soft Power Index, launched by Ernst & Young. Moreover, in Romanias export plan, through the efforts of the Romanian Society of Professional Designers, design (includ- ing the fashion design) represents an exportable value itself, either in the form of concepts or as prototypes, and the young designers participate in international fairs with their own brand. 73 Alexandru Tunsu, FIRST BREATH, 2013 74 ne manipularea informaiei prin tehnologii digi- tale, un nou tip de relaii ntre ina uman i virtualitate, generat cu precdere de tehnologia informaiei i a comunicrii digitale. Schimbrile rapide i violente, care pot deveni amenintoare pentru societatea noastr, necesitnd o atitudine cultural nou, diferit i CREATIV. Profesii au disprut i multe altele le iau locul cu o vitez nemaintlnit, iar formarea profesional de tip tradiional face cu greu fa acestor provocri. Vor aprea noi actori pe scena economic, social, politic, tipologia activitilor va deveni din ce n ce mai rapid volatil. n Era Digital a Civilizaiei Informaiei pu- tem considera sistemul modei ca ind o reea globalizat i s acceptm c WWF (World Wide Fashion) i WWW (World Wide Web) sunt doar diferite modele ale aceluiai tip de civilizaie, ast- fel nct, n prim instan, moda poate deveni un model pilot mai uor explorabil. Lucrnd peste 30 de ani n diverse poziii din industriile creative ale modei, m-am angajat, - resc, n elaborarea unui proiect educaional, ba- zat pe experiena profesional nemijlocit i pe activitatea de cercetare n domeniul modei i a modelelor educaionale destinate creativilor. Vorbim despre ceea ce rmne dup ce prea puin din ceea ce este azi, va mai . Moda este un barometru cultural, extrem de n i de precis, iar specialitii acestui domeniu, lucrnd mereu la timpul viitor, sunt printre primii care simt semnele schimbrii i le transpun ntr-o realitate a zilei de mine. Pornind de la ideea c industriile modei pre- zint oportuniti profesionale cu un spectru foarte larg de utilizare a capacitilor creative antrenate i educate (unele cunoscute, altele emergente, altele fr form, nc), am nceput prin a formula cele mai importante competene (general valabile pentru toate acestea), pe care o universitate de art le poate oferi. Astfel, nu- mind cteva, putem s ne referim la: elaborarea unei viziuni i asumarea ei, modaliti de con- ceptualizare i operaionalizare, capaciti de comunicare, exprimare n diferite limbaje (artis- tice sau neartistice), spiritul inovaiei competiti- ve, utilizarea deschiderii culturale ca instrument World has unbelievably changed. Concepts like Digital Era or Digital Revolution assume the manipulation of information through digital tech- nologies, a new type of connections between hu- man beings and virtual contexts, especially gener- ated by the technology of information and digital communication. The fast and violent changes can become threatening for our society and need a new, different and CREATIVE attitude. There were professions which vanished, some others replaced them very fast, and the traditional professional development is hardly coping with these challenges. New actors are going to appear on the eco- nomic, social, political stage, and the typology of activities will transform more and more... In the digital era of Informational Civilization we can consider the fashion system a globalized network and accept that WWF (World Wide Fash- ion) and WWW (World Wide Web) are only differ- ent models of the same type of civilization, thus, in the rst instance, fashion can become an eas- ily researchable pilot model. Having worked in various positions in the creative fashion industries for more than 30 years, I certainly engaged in the elaboration of an educational project based on direct profes- sional experience and my research activity in the domain of fashion and the educational models for the creative individuals. We speak about what stays after only too lit- tle of whats going on today is going to remain. Fashion represents a cultural extremely deli- cate and precise barometer, and the specialists of this domain, who always focus on the future, are among the rst to feel the signs of change transposing them in the reality of tomorrow. Starting from the idea that fashion indus- tries present professional opportunities with a wide range of creative and educated capacities and skills (some of these already known, oth- ers emergent, and some others still deprived of form), I began to formulate the most important competencies (generally valid for all these), which a University of Art can provide. For instance, we can refer to the elaboration of a vision and its as- sumption, modalities applied in conceptualization and operational activities, communication capaci- 75 de interconectare a informaiei, comportament exploratoriu i tehnici de cercetare i documen- tare, utilizarea creativ a tehnologiilor (tradiio- nale sau emergente), capacitatea de a rspunde creativ la orice fel de provocare, datorit atitu- dinii deschise ctre nou i nu n ultimul rnd, capacitatea de a lucra cu prognozele culturale i cu cele specice modei, i altele. Proiectele modei se bazeaz, de fapt, pe cercetare centrat pe curiozitate, pe cutarea di- versitii, pe determinarea aspiraiilor i nevoilor care cer rspunsuri punctuale. Dar nu oricum, ci rspunsuri care sunt inovative, se detaeaz de concuren, produc valoare i genereaz prot. Ce ar fost dac n 1978 a tiut c o- cul Viitorului (Alvin Tofer) este altceva dect un reuit eseu cu pretenii vizionare, sau dac Cronica Anului 2000 (acad. Mircea Malia) ar ajuns sub ochii mei, sau dac a tiut unde s caut toate informaiile menionate la nceput i a avut priceperea s le conectez ntre ele, crend un posibil tablou al unui viitor care este deja trecut n mare parte? Parafraznd-o pe Faith Popcorn, unul dintre cei mai renumii trend spoteri: Dac ai cunoa- te totul despre mine, ce ai face altfel azi?, rs- pund: A nva pe alii cum s se uite n mi- ne, ca s fac de azi paii necesari, astfel nct mine s nu i surprind nepregtii. La nceput, programul de mod ar tre- buit s cuprind o formare care se referea, cu precdere, la design vestimentar i ar trebuit s creeze competenele necesare pentru aco- perirea nevoii de implementare pe pia a unor modele de succes. Ulterior, domeniul s-a diversicat, acest lu- cru nemaiind sucient, ind necesar un pro- gram de management al coleciilor de mod i al gestiunii conceptelor. Profesii ca Trend Manager, Conceptual sau Directional Designer, Director Creativ sau Fashion Buyer devenind foarte soli- citate pe piaa de munc. Foarte repede a explodat o palet larg de noi profesii creative cu aplicaie direct n mod (stilist cu toate declinrile sale, trend-setter, trend-hunter, analist, critic i editorialist de mod, manager de imagine de mod, cercettor n do- meniul soluiilor vestimentare alternative, visual ties, expressed in different languages (artistic or non-artistic), the spirit of competitive innovation, the usage of cultural opening as an instrument to inter-connect information, the exploratory be- havior and techniques approached in research and documentation, the creative usage of tech- nologies (traditional or emergent), the ability to respond creatively to any kind of challenge, due to the open attitude towards freshness and origi- nality, and last but not least, the capacity to work with cultural prognosis and those specic to fash- ion and so on and so forth. The fashion projects actually rely on a re- search based on curiosity, the exploration of diversity, the determination of aspirations and needs demanding punctual answers. But not an- yway, innovative answers, stimulating the com- petition, producing value and generating prot. What would have been if in 1978 I had known that the Shock of future (Alvin Tofet) represent- ed something else than a successful visionary es- say, or if Chronicle 2000 (Acad. Mircea Malia) had reached my attention or if I had known where to explore all the information mentioned at the beginning and I had been skilled enough to interconnect these to create a possible paint- ing of a future which had already passed in a great measure? Paraphrasing Faith Popcorn, one of the most well-known trend spotters, If you knew eve- rything about tomorrow, what would you do differently today? I answer: I would teach the others how to look at tomorrow, to make them act differently, so that tomorrow would not nd them unprepared. At the very beginning, the fashion program should have comprised a formation especially concentrated on the clothing design and it should have created the necessary competencies to cov- er the implementation of some successful models on the market. Subsequently, the domain diversied, this was not sufcient, a management program in fashion collections and concept administration was needed. Professions such as Trend Manager, Conceptual or Directional Designer, Creative Di- rector or Fashion Buyer, became very solicited on the labor market. 76 77 Maria Mihaela Popescu, Digital Dimension, 2013 78 merchandiser, fashion display artist etc.). n zilele noastre, cel mai important lucru este modul de a interrelaiona profesional, de a lucra colaborativ i cocreativ, de a folosi creativitatea n toate domeniile vieii, de la rspunsuri ctre client, la utilizarea tuturor oportunitilor legale de manifestarea pe pia. n aventura mea didactic, am ncercat s gsesc forme i modaliti de a antrena grupuri de studeni n astfel de proiecte i m pot bu- cura c am obinut i unele rezultate. Fiindc, n paradigma mea, reuita nseamn s produci absolveni capabili s preia sarcini pe care nu le pot onora alii. Astfel, Ana Nechita este proprietar i editor la revista Rumours, Cristina Ciovrt este trend manager la Agnes Toma, Lavinia Pop visu- al merchandiser la Max Mara Weekend, Anca Colecie colaborativ, Selenit, 2014 Collaborative collection, Selenite, 2014 Very soon they developed a large scale of creative professions directly applied in fashion (stylist associated with all its declining, trend- setter, trend-hunter, analyst, fashion critic and editorialist, fashion image manager, researcher in the domain of alternative clothing solutions, visual merchandiser, fashion display artist etc). Nowadays, the most important element is the way to inter-relate professionally, work col- laboratively and co-creatively, use creativity in every domain of life, from replies to the client to the usage of every legal opportunity in the mani- festation on the market. In my didactic adventure I tried to nd forms and modalities to engage groups of students in such projects and I am glad I have also obtained good results. As, according to my belief, success means to produce graduates who are capable of 79 urlic visual merchandiser la H&M, Diana Osman, Anca Petrea, Raluca Coman, designeri i creativi la Nisa, Alina Ene coproprietar i creativ la Coolta, Agota Tompos, unul dintre cei mai de succes designeri industriali romni, iar al- ii se manifest pe plaja tinerilor designeri inde- pendeni, care ncearc s se fac vizibili n lume printr-o prezen remarcabil. Alina Dragomir, Cristina Petrescu i Ana Bul- garu Spiridon, o generaie mai tnr (2012), au optat pentru o form colaborativ de asociere, dup un model nou de afaceri soft, specic unui alt model cultural. Dei foarte nou, brand-ul lor Traskin are deja impact n rndul unui tip nou de cumprtor avizat, modest, tnr, cultural, implicat i experimentat. Ultima generaie (2013) a produs un nou val de creativi, cu viziuni diferite n sfera creaiei de mod, a culturii de mod, a sociologiei i stilu- lui de via, a noilor tehnologii aplicate n mod, sau a stilismului personal: Alex Tunsu, Ana-Maria Beleag, Bianca Georgescu, Lavinia Bdi, Lau- ra Bonciu, Mihaela Marcoci. De-a lungul timpului studenii, au manifestat interes i pentru subiecte de cercetare, cum ar Hainele vii (Andreea Marton), Light Painting i 3D Painting Effect (Alina Ene), Cromatica i rolul ei n vestimentaie studiu de form, pro- porie, culoare (Andreea Costache), Visual Mer- chandising ca art (Lavinia Pop), Online Fashion Business (Corina Stoicescu), Soluii corectoare ale formelor corporale prin metode vestimentare (Simona Simon), Visual Merchandiser o nou form de social media (Daniela Moroianu), Ves- timentaia ca limbaj social media aplicaie pen- tru protecia animalelor (Sonia tefan). Una dintre cele mai interesante realizri, pe care o consider valoroas ca model, se refer la educarea atitudinii creative de tip colaborativ, n cadrul unei comuniti creative n cazul nostru, a unei grupe de studeni. Creativitatea colaborativ este un proces creativ, derulat pe mai multe niveluri, care pre- supune activitatea concertat a mai multor cre- atori, constituii ntr-o entitate creativ care face abstracie de poziia individual i susine cel mai bun rspuns la obiectivul stabilit. Astfel, soluiile nu sunt o nsumare de opi- assuming the tasks, which others cant fulll. Thereby, Ana Nechita is the owner and editor of the Rumours magazine, Cristina Ciovrt is the Trend Manager of Agnes Toma, Lavinia Pop the Visual Merchandiser at Max Mara Week- end, Anca urlic the Visual Merchandiser la H&M, Diana Osman, Anca Petrea, Raluca Coman, designers and creators at Nisa, Alina Ene co-owner and creator at Coolta, Agota Tompos, one of the most successful Romanian industrial designers, and others manifest in the context of young independent designers trying to make themselves visible in the world given their outstanding value. Alina Dragomir, Cristina Petrescu and Ana Bulgaru Spiridon, belonging to a younger gen- eration, (2012) chose a collaborative form of association according to a new soft business model specic to another cultural model. Al- though very new, their brand Traskin has already inuenced a new consumer type which is competent, modest, young, cultural, involved and experimental. The latest generation (2013) produced a new wave of creators with different visions in the fashion eld, fashion culture, sociology and life style, in the new technologies applied in fashion, or in the personal style: Alex Tunsu, Ana-Maria Besleag, Bianca Georgescu, Lavinia Bdi, Lau- ra Bonciu, Mihaela Marcoci. Over the time, the students have also been interested in research subjects, such as Vivid clothes (Andreea Marton), Light Painting and 3D Painting Effect (Alina Ene), Chromatics and its role in clothing a study of forms, proportions, colour (Andreea Costache), Visual Merchandis- ing as art (Lavinia Pop), Online Fashion Busi- ness (Corina Stoicescu), Corrective solutions of corporal forms through clothing methods (Simona Simon), Visual Merchandiser a new social media form (Daniela Moroianu), Clothing as a social media language application for the protection of animals (Sonia Stefan). One of the most interesting achievements, which I consider precious as a model, refers to the education of the collaborative creative atti- tude in the context of a creative community in our case, of a group of students. 80 nii, ci rspunsul osmotic optim la tema propus, iar rezultatul este asumat de ntreaga comuni- tate. Coleciile Silk Road (2006), Europolis (2007), Virtual Eden (2008), Heart of Wear (2009), Sage (2010), Mathemagical (2011), Metamotion (2012), Wholometry (2013) au demonstrat viabilitatea acestui model cu efecte complexe, nu doar creative, ci mai ales din per- spectiva utilizrii comune a capacitilor tuturor celor implicai. Modelul presupune managemen- tul ntregii activiti, pe paliere diferite de mani- festare, de la creaie la comunicare, la producie, pn la promovare i diseminare. De asemenea, o alt realizare ar faptul c, adui n starea de a gndi i de a explora mpre- un, studenii au dovedit un foarte profund sim al prognozelor culturale, descoperind i comuni- cnd vizual i vestimentar tendine conrmate ulterior de ctre birouri de stil celebre. De exem- plu, tematica i moodboard-ul coleciilor Sage (2010), Mathemagical (2011), Metamotion (2012) sunt aproape identice cu cele comunicate The collaborative creativity is a creative process, developed on more levels, assuming the activity of more creators constituted into a creative entity which ignores the individual sta- tus and supports the best reply to the already settled objective. Thus, the solutions do not comprise a sum of opinions but a proper osmotic answer to the suggested topic, and the result is assumed by the whole community. The Silk Road (2006), Europolis (2007), Virtual Eden (2008), Heart of Wear (2009), Sage (2010), Mathemagical (2011), Metamotion (2012), Wholometry (2013) collections demonstrate the viability of this model provided with com- plex effects, which arent only creative, espe- cially from the perspective of a mutual usage of everybodys capacities. The model implies the management of the whole activity, on dif- ferent levels of manifestation, from creation, communication, production to promotion and dissemination. Ana Maria Beleag, TESTIMONIUM, 2013 81 de ctre STYLESIGHT n 2012. Acest lucru con- rm corectitudinea i eciena metodei de lucru. Consider c studenii trebuie obinuii s pri- veasc atent prezentul, s caute acolo semnele viitorului i s rspund prompt la acestea, prin soluii de MOD. Vorbim deci, ca un paradox, despre Produ- sul care nu exist nc, dar va exista pentru beneciarul care exist deja, dar va altfel de- ct este acum. Bine ai venit n lumea modei! Pentru noi, vi- itorul se ntmpl la timpul prezent! Furthermore, another achievement is em- phasized by the fact that the students proved a very profound sense of cultural prognosis while thinking and exploring together, nding and visu- ally communicating the tendencies subsequently certied by some stil clbre ofces. For example, the topic and moodboard of the Sage collections (2010), Mathemagical (2011), Metamotion (2012), are almost identical with those communi- cated by STYLESIGHT in 2012. This conrms the correctness and efciency of work methods. I consider that the students must be taught to watch the present carefully, search for the signs of future there and respond promptly to these by means of FASHION solutions. Thus we paradoxically refer to the Product which does not exist yet, but it will exist for the beneciary who already exists, but it will look more differently. Welcome to the world of fashion! For us, the future befalls at present! 82 83 Raluca Damian, Brand-ul Autohton, Colecia Oameni, 2009 Raluca Damian, The local brand, the People Collection , 2009 84 Doina LUCANU confereniar universitar doctor senior lecturer doctor 85 Atunci cnd prolul tu biograc se nca- dreaz n zona artitilor care sunt i cadre didac- tice, ai o mare responsabilitate pentru a trans- mite mai departe studenilor repere denitorii ale crezului tu artistic. Astfel, o caracteristic pe care mi-o asum i o promovez este plcerea nencetat de a lucra cu diferite materiale, de a inventa noi tehnici i limbaje plastice. Pot arma cu convingere c ntreg travaliul artistic perso- nal, dar i cel pedagogic, este fundamentat pe experiment, pe mixajul compoziional, dar i pe interferena limbajelor vizuale. n dezvoltarea proiectelor artistice personale am pus n practic concepte din domeniul artei rului (ber art): rul-br textil, rul-sticl, rul-hrtie, rul-metal etc. Pe acestea le-am contextualizat in diverse tipuri de manifestare artistic: tapiserie spaial, desen, broderie, in- stalaie, sculptur, art video etc. Trecerea de la asumarea conceptual a propriului demers artis- tic la suportul analitic ce determin proiectele pe care le coordonez ca profesor n domeniul artistic presupune abilitatea de a transmite studenilor priceperea de a transforma orice r (indiferent de natura lui) n suprafee texturate i n forme expresive obinute prin asocieri inedite cu minim de mijloace plastice. Lucrrile realizate de-a lungul timpului se ncadreaz n categoria reprezentrilor artistice intermediale i vizeaz un nou tip de abordare plastic de dimensiuni conceptuale inserate n Arta Firului i jocul formei When your biographic prole harmonizes with the zone of artists, who are also professors, you have the great responsibility to further convey the dening characteristics of your artistic belief to your students. Thus, one of the attributes I assume and promote is the ceaseless pleasure to work with different materials, invent new tech- niques and artistic languages. I can strongly state that my entire artistic and pedagogical labour is based on experiments, compositional mixtures and the interference of visual languages. In the development of my artistic projects I applied concepts related to the domain of ber art: the bre textile bre, glass bre, paper - bre, metal bre etc. I have conceptualised them in different types of artistic manifestations: spa- tial tapestry, drawings, embroideries, installa- tions, sculptures, video art, etc. The transition from the conceptual assumption of a personal artistic approach to the analytical one determin- ing the projects I coordinate as a professor in the artistic eld presumes the ability to provide the students with the skills needed to transform any bre (regardless of its nature) into textured surfaces and expressive forms obtained through new associations with only few artistic means. The works accomplished in time t in the cat- egory of intermedial artistic representations and focus on a new type of artistic approach, with conceptual dimensions inserted in structural com- positions, which are selected in a certain way to Fiber Art and the game of forms 86 87 Anul II Licen Proiect Mega Fashion, 2013 Second year student, Mega Fashion Project, 2013 88 Lcrmioara Crian, LadZestra, 2014 89 compoziiile structurale, alese astfel nct s cre- eze o anumit dinamic a spaiului. n seriile de structuri spaiale am urmrit crearea unei sceno- grai prin sugerarea unui traseu de urmat, bine determinat. Pentru mine, gsirea tehnicii adec- vate pentru materializarea unei idei sau a unui concept este o component esenial n trezirea unui sentiment sau pentru crearea unei impresii i comunicarea unui mesaj. Experimentele pe care le-am facut n decursul anilor att ca artist, ct i ca profesor, au integrat o gam variat de materiale att conveniona- le, ct i neconvenionale. Exemplic prin cteva proiecte personale interesul meu pentru experi- ment i explorarea limbajelor plastice. Proiectul Muze se nscrie pe linia manifes- trilor care integreaz cercetarea artistic unui cadru multidisciplinar ce deschide orizontul in- terpretativ al receptorului, prin repoziionarea sa fa de lumea nconjurtoare i de accepiunea antic a muzei. Tehnica utilizat a fost una mixt, de la haute-lisse, trecnd prin nodurile persan, maramureean, moldovenesc i pn la brode- rii care ilustreaz pnza de pianjen. n opozi- ie am folosit araci mpletii n tehnica gardurilor maramureene, puse peste un strat de pmnt adus n galerie, n care am construit trei ochiuri de ap, pentru oglindirea unor detalii din lucrri. Jocul iniiat este unul de opoziii i contraste ntre texturi ne i materialiti grosiere, ntre oglindire i opacitate, ntre lumin i ntuneric. Tapiserii- le-obiect, lucrri tridimensionale de mari dimen- siuni, sunt realizate din bre textile i metalice, prin transformri continue ale tehnicilor de esut, n care textura devine un mijloc de expresie au- tonom pentru potenarea expresivitii materiei. Timpul uman cosmic este proiectul prin in- termediul cruia am trecut de la natura organicului (ln, sisal, mtase, bumbac) la explorarea naturii metalului (cupru i argint). Astfel, acesta reunete o serie de lucrri executate din folie de cupru pati- nat, cu ajutorul creia, prin tehnici mixte, am cre- at o serie de panouri, personaje i mti sub forma unor reliefuri. nelegnd condiia artei decorative, nu n sensul pur formal, am ncercat de ecare dat s susin un discurs ideatic care le integrea- z la un nivel al motivaiei artistice ce depete graniele dintre genuri. Toate lucrrile acestei serii create a specic dynamics of space. In the series of spatial structures I analysed the creation of a scenario by suggesting a well-determined route. In my case, the nding of the most appropriate tech- nique to materialise an idea or concept represents an essential element to evoke a feeling or create an impression and communicate a message. The experiments I have carried out in time, both as an artist and a professor, comprised a wide range of conventional and unconventional materials. I shall exemplify my interest in experi- ments and exploration of artistic languages by means of several personal projects. The Muses project belongs to those mani- festations which integrate the artistic research in a multidisciplinary context stimulating the re- ceivers interpretative horizon through his new viewpoint regarding the surrounding world and the ancient acception of the muse. I have used a mixed technique, from haute-lisse, penetrating the Persian, Moldavian and Maramures noduses, to the embroideries illustrating spiderwebs. In opposition, I used knitted vine props in the tech- nique of fences from Maramures, settled over a layer of soil brought into the gallery, in which I constructed three loops of water to reect some details from the works. The initiated game is one suggesting oppositions and contrasts between ne textures and rough materials, between re- ection and opacity, between light and dark- ness. The object tapestries, large tri-dimensional works, are made of textile and metallic bres by continuously transforming the weaving tech- niques in which the texture becomes a means of autonomous expression to highlight the expres- siveness of the substance. The cosmic human time is the project through which I passed from the organic nature (wool, sisal, silk, cotton) to the exploration of the metal- lic one (copper and silver). Accordingly, this re- unites a series of works executed from polished copper foil used to create a series of pannels, characters and masks in the form of reliefs with the support of mixed techniques. While under- standing the condition of decorative art, not in the purely formal perspective, I always tried to sustain an ideational discourse which integrates them at a level of artistic motivation surpassing 90 the limits among genres. All the works of this series reach expressive outlines oscillating on the report suggested by the title of the exhibition be- tween the cosmic and human reality, justifying their existence only in connection to each other. Another project, Phenotype, includes a series of works in which the interference of techniques and the evolution of artistic contributions repre- sent elements aiming to dene my specicity as an artist, by nding a personal manner of expres- sion which individualises me. What has always fascinated me, both personally and in my experi- ments with students, were the bre thread, used in different contexts, and the spatiality of abstrac- tised artistic (metamorphosed) forms. The works were executed in mixed technique, which I called para-embroidery, consisting in the transposition of a concept or idea into a drawing by using different conventional and unconventional mate- rials for the embroiderys universe. The work style is generally spontaneous, starting from idea sketches, yet allowing the creative gesture and imagination to discover new forms while creat- Raluca Mandia, Art of fashion, San Francisco, 2013 capt contururi expresive, pendulnd pe raportul sugerat de titlul expoziiei ntre o realitate a cosmi- cului i una a umanului, nejusticndu-i existena dect n relaie una cu cealalt. Un alt proiect, Fenotip, include o serie de lucrri n care interferena tehnicilor i evoluia demersului plastic sunt elemente care ajung s deneasc specicitatea mea ca artist, prin g- sirea unei maniere de expresie proprii, care m individualizeaz. M-au fascinat ntotdeauna, att n plan personal, ct i n experimentele pe care le fac cu studenii, rul-br pe care l folosesc n diferite contextualizri, precum i spaialitatea formelor artistice abstractizate (metamorfozate). Lucrrile au fost executate n tehnica mixt pe care am numit-o parabroderie, care const n transpunerea unui concept, a unei idei ntr-un desen, utiliznd pentru executarea lui diferite materiale convenionale i neconvenionale pen- tru universul broderiei. Maniera de lucru este n general spontan pornind, de la schiele de idee, dar lsnd loc gestului creator i imaginaiei de a descoperi noi forme n timpul creaiei, ntr-o vari- 91 92 ing, in an innite number of combinations. As we all know, the video technique is very important in the fusion of contemporary concepts and acts like a virtual wave through which any me- dium can be represented. The Phenotype lm is another project focused on the transgression to- wards a multimedia zone, in which the computer and video are used for conceptual determinations. In my own experimental research I have used concepts such as invention, repetition, the impor- tance of details and fragments, game, pluralism, multiplicity, experiment, mixed techniques and in- termediality. The individual projects, experiments and form games I investigate often represent the source of the themes I suggest to my students. When we refer to the identity of a creator, he is endowed with a genetic, cultural, educational, sentimental, emotional and social expression, and a certain power to adapt to the idea of novelty etc. For a creator, the past is the project of the present or vice versa, and I consider the awareness of a creative (personal) identity abolutely necessary. This is the reason why one of the recent semester etate innit de posibiliti combinatorii. Cum bine se cunoate, tehnica video ocup un loc important n fuziunea conceptelor con- temporane i acioneaz precum o und virtual prin care orice mediu poate reprezentat. Filmul Fenotip este un alt exemplu de proiect care mi- zeaz pe transgresia spre o zon multimedia, n care computerul i video-ul sunt utilizate pentru determinarea conceptual. Pentru propria cercetare experimental m-am folosit de concepte precum invenie, repetiie, im- portana detaliului, a fragmentului, joc, pluralism, multiplicitate, experiment, tehnici mixte i inter- medialitate. Proiectele individuale, experimentele i jocurile formei pe care le investighez consti- tuie deseori originea temelor pe care le propun studenilor. Cnd vorbim de identitatea unui crea- tor, el poart cu sine o ncrctur genetic, cultu- ral, educativ, sentimental, emoional, social i o anumit putere de adaptare la nou etc. Pentru un creator, trecutul este proiecia prezentului sau invers i consider ca absolut necesar contienti- zarea identitii creative (personale). Acesta este Constana Balaban, Orient versus Occident, 2013 Mdlina Georgescu, Dedal, 2013 93 Ellida Toma, LadZestra, 2014 94 Lcrmioara Crian, LadZestra, 2014 95 motivul pentru care una dintre temele de semes- tru recente a fost lada de zestre, neleas nu n accepiunea sa clasic de purttoare a unei moteniri materiale, ci n sensul larg al purtrii i asumriii trecutului nostru individual. Pentru dezvoltarea oricrui proiect am pro- pus de ecare dat cel puin dou direcii de cercetare: o component de factur practic prin explorarea tehnicilor, a materialelor, a mediilor (posibilitilor variate pentru construcia unei lu- crri intermediale) i alta, la fel de important, o component de factur teoretic prin lecturarea, studierea i analiza unor demersuri interdiscipli- nare, care in de abordri lozoce, literare i bineneles de istoria i teoria artei. Rspunsuri- le studenilor la astfel de provocri sunt de cele mai multe ori propuneri i rezolvri fascinante, n variate direcii creative extrem de contemporane integrate domeniului modei. Pentru lrgirea orizontului creativ i ndrum pe studeni s inteasc la vrf, s-i ndrepte atenia spre specialitii din domeniul modei, cu o anumit exigen i educaie estetic i cultural, care ac- tiveaz n lumea artistic, indiferent c este vorba de domeniul artelor plastice, al artelor spectacolu- lui, al arhitecturii sau de alte arte. De asemenea coordonez cu druire proiecte ale unor studeni care particip la diferite concursuri n ar i stri- ntate. Astfel activitatea didactic ind ncununat de succesul obinut de acetia la nivel naional sau internaional. Menionez aici participarea la con- cursul Internaional Triumph, unde o student a obinut locul trei la Berlin n 2011 (Diana Bob- n), i concursul internaional Arts of Fashion (San Francisco, 2013) unde, din 365 de participani de la 120 de universiti, s-au calicat n faza nal 50, dintre care doi (Raluca Mndi i Serghei Ia- cenin), sub coordonarea mea. Pentru a arhiva i documenta efortul artis- tic, n ultimii ani, ecare proiect realizat personal sau cu studenii s-a nalizat cu un lm de mici dimensiuni (3-10 minute), n care am apelat la cel puin dou modaliti de construcie. Pe de o parte o component metalingvistic n care, prin suprapunerea sau succedarea ntr-un anumit mod sau proces tehnic, se obine n nal o ima- gine metaforic complex, iar pe de alt parte, o component narativ care ilustreaz ideea, con- themes was the bottom drawer comprehended not in its classical meaning, as the symbol of some material inheritance, but generally, as the assump- tion of our individual past. When I developed any project, I always pro- posed at least two research directions: a practical one, through the exploration of techniques, mate- rials and mediums (varied possibilities for the con- struction of an intermedial work) and another one, as important as the previous one, a theoretical orientation, by reading, studying, analysing some interdisciplinary approaches related to philosophi- cal and literary views, and surely to the art history and theory. The students replies to such challeng- es are mostly fascinating suggestions and solu- tions in different extremely contemporary creative directions integrated in the domain of fashion. In order to make my students expand their creative horizon, I advise them to aim to the top, to focus on specialists in the domain of fashion, with a certain degree of exigency and aesthetic and cultural education activating in the artistic area, no matter if it is about the domain of vis- ual arts, performing arts, architecture or other arts. I devotedly coordinate the projects of some students who take part in different contests in the country and abroad. Thus my teachings are paved with the success obtained by these stu- dents nationally and internationally. Here I men- tion the participation in the Internaional Triumph Contest, where a student, Diana Bobn, was awarded with the third prize at Berlin in 2011, and in an international contest, Arts of Fashion (San Francisco 2013) where, from 365 partici- pants from 120 universities, 50 qualied for the nal stage; two of these, Raluca Mndi and Serghei Iacenin, were coordinated by me. In recent years, in order to archive and document the artistic effort, each project, made personally or with my students, nalised with a small lm (lasting for 3-10 minutes) in which I approached at least two modalities of construc- tion. On one hand, a meta-linguistic component in which we nally obtain a complex metaphorical image, through the juxtaposition or alternation in a certain way, or a technical process, and on the other hand, a narrative component illustrating the idea, the suggested concept. As a technical 96 Monica Ivanovici, LadZestra, 2014 Anca Pancu, LadZestra, 2014 ceptul propus. Ca demers tehnic, obiectul artistic (vestimentar) special conceput i realizat pentru proiectul propus, amplasat n locaia gsit pen- tru susinerea ideii de la care s-a pornit, devine subiectul fotograei digitale i al video-ului, toate nlnuite n zona articiului digital al montaju- lui video pe computer. Prin dialogarea cu materia i tehnica aleas creatorul reuete, prin metamorfozare, s co- munice receptorului ntocmai ideea propus. De fapt, prin creaie, noi construim cadrul comunic- rii dintre materie i idee, depind diversele stadii de devenire a formei, cu ajutorul unor tehnici cla- sice sau avansate (computerizate) i, n acelai timp, noi comunicm cu propriile sentimente, tr- iri, cu propria lume de forme, de semne, ltrnd totul prin propriul orizont de conoatere, prin sis- temul nostru de referin emoional i cultural. Toate acestea trebuie s serveasc celor trei caracteristici pe care le consider eseniale pentru analiza i auto-analiza n ceea ce privete creaia, n general, i care reprezint fundamente de baz pentru evoluia dinamic n arta vizual contem- approach, the artistic (clothing) object, especially conceived and realized for the project, settled in the location selected to sustain the idea we start- ed from, becomes the subject of the digital photo and video, all connected in the zone of the digital artice of the video computer montage. Through the dialogue with the selected sub- stance and technique, through metamorphosis, the creator succeeds in communicating the proposed idea to the receiver. In fact, by means of creation, we set up the communication context between the substance and idea, surpassing the forms different stages through a number of classical or advanced (computerized) techniques while also communi- cating with our own feelings, experience, with our own world of forms and signs, ltering everything through our horizon of knowledge, through our emotional and cultural system of references. All these must serve the three characteristics which I consider essential for the analysis and self-analysis regarding creation, in general, which represent the essence of the dynamic evolution in the contemporary visual art: the simplicity of 97 Andreea Postelnicu, LadZestra, 2014 98 Ellida Toma, LadZestra, 2014 99 Alina Gurgu, LadZestra 2014 100 the suggested forms and the power used to syn- thesize and metamorphose the form, the plural- ity of methods and techniques and the imposing force of a personal artistic language. I am very glad I can contribute with my ex- perience to educate and develop some young people who have chosen to attend the classes of this beautiful University. About Unda Popp, the binder of the fashion department: I have appreci- ated her from the very beginning given her inner beauty, her preferences for original elements, for the fact that she appreciates each colleague for what he could do the best. I also appreciate and respect my colleagues and I feel happy to work with them, we all feel very young in what we think and do, we approach the topics not only with humour, professionalism and love, but also with responsibility, considering what we convey to our further generations of students. poran: simplitatea formelor propuse i puterea de sintetizare i metamorfozare a formei, plurali- tatea metodelor i a tehnicilor utilizate i fora im- punerii unui limbaj propriu de exprimare plastic. M bucur mult c pot contribui, cu experi- ena mea, la formarea i dezvoltarea unor tineri care au ales s urmeze cursurile acestei frumoa- se universiti. Pe Unda Popp, care este liantul Departamentului Mod, am apreciat-o de la nce- put pentru frumuseea ei interioar, pentru des- chiderea fa de nou i pentru faptul c a tiut s-l aprecieze pe ecare coleg pentru ceea ce tie s fac el mai bine. La rndul meu, mi apreciez i respect colegii i lucrez cu mult drag alturi de ei, ne simim cu toii foarte tineri n ceea ce gndim i facem, abordm temele cu umor, pro- fesionalism i drag fa de coala noastr, dar i cu responsabilitate pentru ceea ce transmitem mai departe generaiilor de studeni. Roxana Benea, Fragment, 2013 101 Raluca Mandi, Duality, 2013 102 Alina Maria GRIGA lector universitar doctor lecturer doctor 103 nc de la nceputul practicii mele, am trit cu sentimentul c orice hain are o istorie, ns de cele mai multe ori, odat purtat, ea sfrete prin a uitat i nchis ntr-un dulap. De aceea, am convingerea c atunci cnd croim o nou via unei haine abandonate, practic resuscitm o biograe, construim o ntlnire fascinant ntre elemente vestimentare diferite, le dm un nou sens. Prin urmare, noua provocare a artitilor este aceea de a revizita estetica i sensibilitatea unor piese vestimentare de calitate rmase n du- lap, dincolo de clasica formul vintage sau de gesturile mici, prin care operm simple aplicaii pentru a personaliza sau nnobila ceva vechi. Reciclarea inovativ sau upcyling face par- te dintr-o nou direcie eco-sustenabil, post- consumerist i, de regul, este nsoit de o campanie de sensibilizare mpotriva irosirii re- surselor textile; n multe cazuri, aceste campanii privesc i un nou set de politici, care echilibrea- z i responsabilizeaz consumul produselor in- dustriale, care impun noi metode de obinere, reglementnd standarde de fabricare n intere- sul consumatorului. n seria experimentelor i a manifestrilor personale coordonate, mpreun cu studenii anului II, din cadrul Departamentului Mod al UNAB, am atins de-a lungul timpului problema- tica reciclrii n nenumrate teme propuse n cadrul cursului Concept i exprimare. Practica de la care pornim este simpl, rezultatul este Reciclarea inovativ sau upcycling From the very beginning of my practice Ive experienced the feeling that any garment has its own history, however, most of the times, once it was worn, it ends up being forgotten and closed in a wardrobe. Therefore, I am convinced that, when we provide an abandoned garment with new life, we practically resuscitate a biography, we set up a fascinating meeting with various clothing elements, we provide them with a new mean- ing. As a result, the artists new challenge is to re-consider the asthetics and sensibility of some quality clothes, left in the wardrobe, beyond the classical vintage formula or the small gestures through which we operate the simple applications to personalise or ennoble something old. The innovative recycling or upcyling belong to a new eco-sustainable and post-consumerist direction, and are generally associated with a campaign meant to sensitize against the waste of textile resources; in many cases, these cam- paigns also focus on a new set of policies bal- ancing and responsibilising the consumption of industrial products, which impose new methods by controling the production standards in the consumers interest. In the series of coordinated experiments and personal manifestations, together with the second year students belonging to the Fashion Department of the National Art University, Bu- charest, I have approached the recycling topic in numerous contexts suggested by means of the The innovative recycling or upcycling 104 Adelina Amza, Recycle your love, 2013 Alexandra Vulpe, Licen, 2009 Alexandra Vulpe, Graduation examination, 2009 105 ns foarte fericit: spre exemplu, n unele cazuri le recomand studenilor s caute cteva piese vestimentare vechi de care sunt ataai afectiv. Alturarea a dou sau mai multe cmi care aparin fratelui, tatlui sau prietenului se poa- te transforma, cu originalitate i umor, ntr-o spectaculoas compoziie vestimentar, n care elementele devin un pantalon sau o rochie cu o form nou, baroc i cu deschideri variate absolut surprinztoare. Avnd ca punct de plecare regenerarea for- melor vestimentare i invitaia de a privi hainele amestecate ntre ele asemeni unui caleidoscop, studenii destructureaz piesele i, ulterior, cu ajutorul tehnicilor de colaj textil bine dozat, prin exerciii experimentale, transform cteva date vestimentare obinuite ntr-o variant original, multifuncional i de multe ori unisex (de exem- plu detaliile, custurile decorative ale unei cmi brbteti devin gulere sau buzunare). La fel, pri ale unui colaj n material tex- til, omogenizate ntr-un mix-match de mas- culin-feminin cu detalii i structur, form i funcionalitate, toate dirijate dup rigorile stilis- tice, ntr-o manier autentic de mod, cristali- zeaz la nal o explozie alternativ, postmoder- n de maxim expresivitate. Piesa vestimentar rezultat din acest proces de transformare cre- ativ, aparent simplu i la ndemna oricui, ca- pt forme cu o personalitate surprinztoare i atrage studentul creator de ecare dat n zone neexplorate anterior, intrigante i pasionante ale tiparului de mod. Deschiderea pe care studenii o au ctre aceast experien vine i din curiozitatea prac- tic de a decripta tehnicile considerate sterile i de multe ori complexe, tehnici fundamentale n croitorie, atunci cnd vine vorba de modelare i construcie a tiparului tridimensional. Ideea de a reutiliza piese din mod considerate desuete, pro- tnd de detaliile i aplicaiile deja prezente, dar i reinventnd alte soluii tehnice pentru a le face practice, uor de mbrcat i de purtat, ne dezv- luie soluii tehnice complexe, de multe ori unicat. Rezultatul o hain, un obiect sau o idee nu mai urmrete canoanele clasice, dar magia formei nou alctuite ne poate transporta vizual peste timp, n alte epoci i alte locuri. course Concept and expression. The practice we start from is simple, however the result is a very good one: for instance, in some cases I ad- vise the students to search for some old clothing items they feel emotionally attached. The juxta- position of two or more shirts belonging to their brother, father or friend can transform with origi- nality and humour in a spectacular clothing com- position in which the elements turn into a pair of trousers or a new baroque dress with absolutely suprising varied openings. Starting with the regeneration of clothing forms and the invitation to look at the clothes, which are combined like a kaleidoscope, the stu- dents destructure the items and, subsequently, by means of well balanced collage techniques and experimental exercises, they transform sev- eral common clothing data into some original, multifunctional and mostly unisex variants (for instance, the details and decorative sewings of a shirt become collars or pockets). Similarly, parts of a textile collage, homog- enised in a male-female mix match provided with details and structure, form and functionality, all conducted according to stylistic rigours, in an authentic fashion manner, nally crystalize an al- ternative and postmodern explosion, suggesting the highest degree of expressiveness. The cloth- ing item resulted from this process of creative transformation, which is apparently simple and within reach, obtains some forms with a surpris- ing personality catching the creative student in the intriguing and passionate unexplored zones of fashion patterns. The students preference for this kind of ex- perience also derives from the practical curios- ity to decipher the so-called sterile and mostly complex techniques, fundamental techniques in tailoring when its about the modelling and con- struction of tridimensional patterns. The idea to re-utilize the obsolete fashion items by taking advantage of details and the already present applications, by re-inventing other technical so- lutions to make them practical, easy to wear, reveals us complex technical solutions, which are often unique. The result a garment, an object or an idea does no longer follow the classical pat- 106 Cimpoieru Florina Cristina, Design your own material, 2013 107 tefana Chelaru, Design your own material, 2013 108 Amelia Carauleanu (1), Laura Dimancea (2), Design your own material, 2013 Florina Cimpoieru (3), Zamr Georgiana (4), Recycle your love, 2013 Pentru a demonstra c nu este un gest izo- lat, dei aparent tendina este ctre globaliza- rea industriei de confecii, reciclarea ei apare recent i din perspectiv comercial. Long Live Fashion este propunerea gigantului H&M i este prima campanie mondial de reciclare a hainelor; totul a nceput destul de recent, n anul 2012. Marea provocare este cea n care se ncearc s se recupereze majoritatea hai- nelor uzate. Pentru ecare pachet de haine uzate aduse n magazin oricine poate obine o reducere de 5 euro, n toate magazinele din Italia. Din colectarea pieselor vestimentare nc de calitate, rezultate din acest efort de sensibilizare a opiniei publice, cele mai multe vor propuse pentru piaa mondial ca piese second-hand, n timp ce piesele consumate vor convertite n alte produse, iar cele irecupe- rabile vor deveni bre noi pentru producerea altor obiecte vestimentare noi i, nu n ultimul rnd, textilele consumate vor utilizate la pro- ducerea energiei. Un alt semnal n aceast perspectiv a reci- clrii l d expoziia Everything must go, des- chis pe 22 Ianuarie 2012 la Banks Oxo Warf, Londra, regatul Unit al Marii Britanii i al Irlandei de Nord. Aici este sugestiv demonstrat felul n care producem anual la nivel global, ntotdeauna fascinai ind de irezistibilele modele i materia- le noi. Din pcate, toate aceste produse sfresc prin a se pierde denitiv n dinamica ameitoare greu de urmrit a tendinelor i a modelor ce se succed i, n nal, ele ajung a aruncate la gunoi i pierdute astfel denitiv. Muni de vestimentaie decedat sunt expuse n slile expoziiei imagine cu un im- pact cutremurtor. Astfel prezentat, moda este copleitoare i trezete n vizitator un sentiment de fric i nelinite. O alt seciune a evenimen- tului este rezervat modului i anselor prin care se poate ncetini ritmul acestui enorm consum al hainelor i al textilelor. Sunt astfel identicate cteva direcii de transformare a acestor deeuri textile printr-un proces creativ eco-sustenabil n care la nal nimic nu se pierde. O noutate este materialul textil conglome- rat, un rezultat direct din reziduuri ale industriei de confecii ori textile domestice recuperate din terns, however the magic of the newly struc- tured form can transport us visually to other epochs and places. In order to demonstrate that it is not an iso- lated gesture, although apparently the tendency consists in the globalisation of garment industry, its recycling appears from a commercial view- point as well. Long Live Fashion is the proposal of giant H&M and it is the rst world clothing recycling campaign; all started rather recently, in 2012. The great challenge is to recover most of the second-hand clothes. For each package of worn-out clothes brought to the store anyone can get a 5 euros reduction in all the shops from Italy. After the collection of clothing items, which still emphasise the idea of quality, resulted from this effort to sensitize the public opinion, most of these are going to be proposed for the world market as second-hand items, while the con- sumed items will be converted into other prod- ucts, and the irretrievable ones will turn into new bres to produce other new clothing objects and, last but not least, the consumed textiles will be used in the production of energy. From this perspective, another signal regard- ing the recycling process is highlighted by an ex- hibition, Everything must go opened in January 22, 2012 at Banks Oxo Warf, London, the United Kingdom of England and North Ireland. The way we annually produce at the global level is sug- gestively demonstrated here, as we are always fascinated by the irresistible new models and materials. Unfortunately, all these products will nally lose themselves in the overwhelming yet hard to follow dynamics of successive tendencies and models, and they are nally thrown away, they will be lost forever. Piles of deceased clothing are exhibited in the exhibition rooms a terribly touching image. Presented like this, fashion is overwhelming and stirs a feeling of fear and anxiety. Another section of the event is reserved to the way and chances through which one can diminish the rhythm of this enormous consumption of clothing and tex- tiles. Thus we identify several directions in the transformation of these textile remnants through a creative eco-sustenable process in which noth- ing is going to be lost. 109 1 2 3 4 110 Amelia Carauleanu, Recycle your love, 2013 111 The conglomerate textile material represents something new, a direct result of the garment in- dustry remnants or domestic textiles recovered fro the recycling process. It is a material pro- vided with the lowest degree of environmental impact and is successfully used in the construc- tion industry as an insulator and thermo-acoustic pannels. Based on a completely ecological and aseptic process, washed with water, without any chemical products or pigments, it becomes an ecologically certied product. Recently, the subject has been widely devel- oped from many viewpoints by the author, Sass Brown, professor at the Fashion Institute of Tech- nology New York, the United States of America, and Fashion Design, FIT, Florence, Italy, in the ReFashioned: Cutting-Edge Clothing From Upcy- cled Materials album. The originally Italian artist, Orsola de Castro, founds an organisation which unites creators, producers and distributors who create small col- lections in the context of Reclaim To Wear. Be- sides acknowledged names in fashion, Topshop or Speedo, she succeeds in concentrating and promoting such an exhibition at Hong Kong Up- cycling Fashion and Sustainable Living Exhibition (UPlife2013). The young designer, Andreea Badal, is one of my students who, after she studied fashion at the National Art University, Bucharest, and later the patterns technology at the College of Fashion, London, attended some practical probations with some fashion creators, Richard Nicoll, Tata-Naka, Emilio from Morena and Alexander Mcqueen. In many of her recent creations, highly appreciated by the specialty literature (Vogue UK) and well- known international stars such as Lady Gaga, Brit- ney Spears and Beyonce she certies her passion for the clothing items and vintage patterns which she combines with new technologies such as the graphic contaminations and textile cuttings laser cut. From her very rst brand, the creator partici- pates in exhibitions and group manifestations such as the latest one, organised at the fashion week from London (February 13, 2013) an initiative of the Romanian Cultural Centre The rest is tomor- row successfully representing the vanguard of the Romanian fashion. reciclare. El este un material cu impact ambien- tal minim i e folosit cu succes n industria de construcii, ca izolant i panouri termoacustice. Creat dup un proces 100% ecologic, sterilizat i splat cu ap fr produse chimice sau colorani, el devine un produs certicat ecologic. Recent, subiectul este pe larg dezvoltat din toate punctele de vedere de autoarea Sass Brown, profesor la Fashion Institute of Tech- nology, New York, Statele Unite ale Americii, i Fashion Design, FIT, Florena, Italia, n albu- mul ReFashioned: Cutting-Edge Clothing From Upcycled Materials. Artista de origine italian Orsola de Castro pune bazele unei organizaii care aduce laolalt creatori, productori i distribuitori care creeaz colecii de mici dimensiuni, n cadrul Reclaim To Wear. Alturi de nume cunoscute n mod Top- shop sau Speedo, ea reuete s concentreze i s promoveze o expoziie pe aceast tem, la Hong Kong Upcycling Fashion and Sustainable Living Exhibition (UPlife2013). Tnra designer Andreea Badal este una dintre studentele mele, care, dup ce a studiat mod la UNAB i ulterior tehnologia tiparelor la College of Fashion, Londra, a urmat stagii prac- tice la creatorii de mod Richard Nicoll, Tata- Naka, Emilio de la Morena i Alexander Mcque- en. n multe din creaiile ei recente, foarte apreciate de critica revistelor de specialitate (Vogue UK) i de vedetele internaionale bine- cunoscute precum Lady Gaga, Britney Spears i Beyonce, ea conrm pasiunea pentru piesele vestimentare i tiparele retro, pe care le com- bin cu tehnologii noi cum ar contaminrile grace i decupajele textile laser cut. nc de la lansarea propriului brand, creatoarea par- ticip n expoziii i manifestri de grup cum ar cea mai recent, de la sptmna modei de la Londra (13 februarie, 2013) iniiativ a centrului cultural Romn The rest is tomorrow reprezentnd cu succes avangarda modei romneti. Reciclarea inovativ este un subiect viu ce nu i-a ncheiat ciclul, un proiect n cretere pentru c e nscut din pasiune, etic i respon- sabilitate. 112 Delia Vasile, Early Delights, 2009 113 Alexandru Raicu, Recycle your love, 2013 114 Designul suprafeelor textile n moda contemporan The design of textile surfaces in contemporary fashion n lunga tradiie artistic a Departamentu- lui Mod al UNAB, o contribuie semnicativ o aduce educaia creativ n moda contemporan i, n paralel, experimentul i designul inovativ. Permanent obiectivul principal este acela de a dezvolta ulterior capaciti creative i artistice autonome i capabile s gseasc soluii n pro- blematici complexe i dicile. Astfel, atelierul, proiectele practice i de manualitate sunt n cen- trul metodei noastre de studiu. Cursul Concept i exprimare propune o atmosfer cu o progra- m educaional explorativ, orientat ctre ex- periment, n care studentul este provocat, n ca- drul unei anumite tematici, s i creeze propriul suport material, ca baz a unei viitoare piese vestimentare originale. n enciclopedia tehnicilor de croitorie, ghidul practic pentru profesioniti (un exemplu este vo- lumul The Dressmakers Handbook of Couture Sewing Techniques a lui Lynda Maynard, editat de ctre Interweave; Spi, ediia din 21 decembrie 2010), sunt prezentate tehnici clasice de nisaj n construcia vemintelor, pe care le nvm i le considerm corecte atunci cnd privim din acelai unghi detaliile i transformrile materia- lelor textile. Privind din perspectiva estetic, ne ndreaptm ctre sensibilitatea materialitilor, expresivitatea lor artistic i n special ctre ca- pacitatea acestora de a vibra n construcia unui vemnt care genereaz spectacol vizual. Nici tehnic, nici estetic nu mai exist limite n creaia de mod, sau cel puin asta observm de mai mult de 50 de ani n creaiile designerilor i n caietele de tendine prezentate la evenimentele din ecare sezon Premire Vision Paris, Frana, Heimtexil Frankfurt, Germania, ComoCrea sau Mood Bruxelles, Belgia. Cercetarea n domeniul textil, azi, ne uimete i ajunge s mping limitele pn la combinaia dintre tehnologie, electronic i textile, micro- computere i re textile. n expoziia Futurotextiles de la Muzeul Naional de Istorie a Romniei, din Bucureti The innovative recycling is an actual topic which has not completed its cycle, an increas- ing process as it is born from passion, ethics and responsibility. Related to a long artistic tradition of the Fashion Department of the National Art Univer- sity, Bucharest, the creative education in the contemporary fashion as well as the innovative experiment and design represent signicant con- tributions. The main objective always consisted in the subsequent development of creative and autonomous artistic capacities capable of nding solutions in complex and difcult contexts. Thus, the studio, the practical and manual projects, represent the essence of our method of study. The course, Concept and expression suggests an explorative educational program, oriented to- wards the idea of experiment, in which the stu- dent is provoked within some topic to create his own material support, as the basis of a future original clothing item. In the encyclopedia referring to tailoring techniques, the practical guide for profession- als (for example, Lynda Maynards volume, The Dressmakers Handbook of Couture Sewing Tech- niques, edited by Interweave; Spi, the edition from December 21, 2010) presents classical techniques in the construction of garments which we learn and consider correct when we consider the details and transformations of textile mate- rials from the same perspective. From the aes- thetic perspective, our explorations are oriented towards the sensibility of materiality, their artistic expressiveness and especially towards their ca- pacity to vibrate in one garments construction, generating a visual performance. In the fashion area there are no limits, either technically or aesthetically, or at least this is what we have noticed for more than 50 years in the de- signers creations and the catalogues presented 115 Rzvan Clinceanu, Design your own material, 2013 116 Patricia Adascaliei, Recycle your love, 2013 Dijana Gorgieva, Manly redened woman, 2009 at the specic events each season Premire Vi- sion Paris, France, Heimtexil Frankfurt, Germany, ComoCrea or Mood Brusells, Belgium. Nowadays in the domain of textiles, we are astonished by the related research which aims to push the limits to the combination between technology, electronics and textiles, micro-com- puters and textile threads. At the Futurotextiles exhibition organised at the National Museum of History, Romania, Bucharest (October 15 November 17, 2013), they presented some of the new ndings in the contemporary evolution of weavings and its nu- merous types of usage. The innovations in the domain of contemporary textiles reach the limits 117 of ction by spectacularly combining the applied art with fashion and the latest technology. The exhibition, organised for the 3rd time, present- ed not only the latest news in the domain but also the previsions emphasising and announcing more attention to ecology and natural bres. In order to create more interesting textures and surfaces for the garments, in the studio ses- sions we practise manipulation techniques to be applied in the eld of textiles, helping the student to get a certain degree of control and a complex knowledge of different materials and textile n- ishings. The spontaneous improvisation and the already accumulated experience permanently reveal the way we should keep the most differ- ent and opposing materials in balance through collages or juxtapositions, braidings, colouring, destruction or upon heating. Without making qualitative differences be- tween the cult and the artisanal art, we try to balance the polemics of materialities by means of associations in a mixture of techniques and delicate materials (for example: wool, silk threads) with new materials (acetates, lycra, tyvek or plastic). The selection of structures and materials is essential in the fashion design, in the modelling, technique and architecture of each item. A stylistic and unique tactile experience can be further conducted and transposed in numer- ous ways, until it becomes a subject to develop a whole fashion collection stimulating commercial success. What is odd is the fact that the endless source of beauty the ideal of consumption is creativity, uniqueness, originality and the avant- garde art which is challenging and experimental. For creators and the students of the Fashion Department from the National Art Bucharest, who are further interested in the recovery and exploration in innovative materials, the way in which we always succeed in radically recycling our ideas in an artistic or poetical approach of imperfection and personality, or in the way we revolutionize the classical forms of fashion, endowed with the artisans precision and the qualication of the avant-garde artist, all this becomes a great provocation. As a student, I was lucky to study at the Na- tional University of Arts Bucharest, after I had (15 octombrie 17 noiembrie, 2013), au fost prezentate cteva din noile descoperiri n evoluia contemporan a esturii i nume- roasele ei ntrebuinri. Inovaiile n textilele contemporane ating limitele ciunii, mbinnd spectaculos moda cu arta aplicat i tehnologia de ultim or. Expoziia aat la a III-a ediie a prezentat, pe lng ultimele nouti din do- meniu, i previziunile care subliniaz i anun o atenie focalizat ctre ecologie, ultralejer i bre naturale. Pentru a crea texturi i suprafee ct mai interesante pentru veminte, n cadrul sesiuni- lor de atelier practicm tehnici de manipulare a textilelor, care ajut studentul s capete un con- trol i o cunoatere ampl a diverselor materiale i nisaje textile. Improvizaia spontan dar i experiena acumulat, ne dezvluie permanent cum s armonizm materiale din cele mai diferite i contradictorii prin colaj ori prin suprapunere, mpletire, colorare, distrugere ori sub efectul cl- durii. Fr a face diferene calitative ntre arta cul- t i cea artizanal, ncercm s echilibrm po- lemica materialitilor prin asociere ntr-un mix de tehnici i de materiale delicate (cum sunt: chi- fon, ln, re de mtase) cu materiale noi (geo- spun, acetate, lycra, tyvek sau plastic). Selecia structurilor i a materialitilor este esenial n designul de mod, n modelarea, teh- nica i arhitectura ecrei piese. O experien stilistic, dar i tactil unic, poate condus i transpus mai departe n nenu- mrate moduri, pn la a deveni un subiect pentru dezvoltarea unei ntregi colecii de mod cu suc- ces comercial. Contradictoriu este faptul c sursa nesfrit a frumosului idealul de consum este creativitatea, unicitatea, originalitatea i arta de avangard, provocatoare i experimental. Pentru creatori, dar i pentru studenii De- partamentului Mod din UNAB interesai mai departe de fenomenul recuperrii i al explorrii n materiale inovative, devine o mare provocare felul n care reuim permanent s ne reciclm ra- dical ideile ntr-o abordare artistic ori poetic a imperfeciunii, a personalitii sau cu idealul de a revoluiona formele clasice ale modei, cu precizia artizanului i calicarea artistului de avangard. 118 Una dintre ultimele teme, Recycling your love, n care eu i studenii ne purtm creaiile, 2013 One of the latest topics, Recycling your love, in which me and the students wear our own creation, 2013 completed the high-school; I graduated from the Fashion Department. During the ve years I studied and experimented in the departments studios in a profoundly human and warm con- text, dened by a high degree of profession- alism and moral attitude, and coordinated by some acknowledged professors, especially by professor Unda Popp. Eager to understand and experience in all projects, no matter it they were focused on ex- hibitions, events, fashion performances, or even lms, we formed a core of students together; to- day these students are my colleagues Rzvan Vasilescu, Liliana Turoiu and Venera Arapu. This year, when the National University of Arts, Bucharest, celebrates its 150th anniversary, I am honoured to be part of the group of profes- sors teaching at the Fashion Department, a de- partment which has developed and modernized in a spirit of vanguardist and original spirit. Happy beautiful years, the National Univer- sity of Arts, Bucharest! Ca student am avut ansa i norocul de a studia, dup finalizarea liceului de arte n cadrul UNAB. Aici am absolvit cu specializare n cadrul Departamentului Mod. n cei 5 ani am studiat i experimentat n atelierele seciei ntr-un cadru profund uman, cald, de un nalt profesionalism i inut moral, sub coordona- rea distinilor profesori i n special a profesor Unda Popp. Deschii s nelegem i s experimentm n toate proiectele, e c au fost expoziii, eve- nimente, prezentri de mod, chiar i lm, am format mpreun un nucleu de studeni din care azi m bucur c i am colegi nc pe Rzvan Vasi- lescu, Liliana uroiu i Venera Arapu. Anul acesta, la mplinirea frumoasei vrste de 150 de ani de activitate i tradiie UNAB, sunt onorat c fac parte din colectivul de profesori de la Mod, departament care s-a dezvoltat i modernizat ntr-un spirit de libertate avangardist i original. La muli ani frumoi UNAB! 119 Diana Dima, Design your own material, 2013 120 Liliana UROIU lector universitar doctor lecturer doctor 121 Am visat, am sperat, am studiat zile i nopi mpreun cu colegii de generaie n ate- lierele UNAB. Am muncit mult, am expus, am experimentat, am druit, am crezut, am iubit, am crescut n aceast coal. Asemeni mul- tor artiti formai aici, am rmas ireversibil n suet cu aceast a doua cas atelierul din str. Grivia, nr. 28, vibrnd alturi de aceast a doua mare familie lumea artitilor plastici ai generaiei mele. Aici am cunoscut maetrii le-am ascultat povetile, am desenat i am ncercat s neleg ecare corectur fcut ecrei lucrri. Mai tr- ziu, am absolvit facultatea, masterul, doctoratul, m-am maturizat, am predat, am cltorit, am ex- pus n ar i n afara ei, am devenit designer profesionist, manager, soie, mam. i, m-am ntors de ecare dat cu aceeai plcere, admiraie, dragoste, respect... la coal. Mi se pare incredibil de special i de frumos acest loc unic din centrul Bucuretiului cu experienele, ntlnirile, leciile de via extraordinare pe care i le poate oferi. Aici sunt colegii mei, priete- nii, dasclii, oamenii pe care i respect i de la care am nvat arta, istoria ei, desen, culoare, compoziie. Aici am trit emoia puternic a e- crui examen n cei nou ani minunai de studiu i cercetare, dar i bucuria imens a nalului e- crei expoziii de semestru. Aici am simit bucuria cunoaterii i bucuria succesului, ce nu a ntrziat s apar dup mult munc. Aici am vzut cum Moda ca pasiune, profesie i stil de via I had dreamt, hoped and studied for days and nights together with my generation col- leagues in the studios of the National University of Arts. I had worked a lot, I had exhibitions, I experimented, I offered a lot, I believed, I loved and I developed at this school. Like many other artists, who were educated here, I remained with this second home in my soul for good the studio in Grivia street, 28, vibrating by the side of this second large family my world of visual artists. This was the place where I met the great masters, I listened to their stories, I kept draw- ing and tried to understand each proof-reading they had made. Later, I graduated from the Art Faculty, MA, PhD, I became more mature, I also taught, travelled and organized exhibitions in the country and abroad, I became a professional de- signer, a manager, mother and wife. And each time I returned with the same pleas- ure, admiration, love and respect to school. This unique place in the centre of Bucharest, with its experience, meetings and extraordinary life les- sons, seems incredibly special and beautiful. Here are my colleagues, friends, teachers, the people I respect, from which I learned art and its history, the drawing, colours and composition. This was the place where I experienced not only the pow- erful emotion of each exam during the nine won- derful years of study and research but also the immense joy of each semester exhibition. Here Fashion as passion, profession and lifestyle 122 Liliana uroiu, Expoziia de art i costum Sur les toits de Paris, expus la Athne Palace Hilton, Bucureti, 2013 Liliana uroiu, Art and costume exhibition Sur les toits de Paris, Athne Palace Hilton, Bucharest, 2013 123 au crescut generaii de studeni frumoi, creativi, talentai... de ecare dat altfel! n acest context al artelor plastice i decora- tive din cadrul UNAB, am ales Moda ca specialita- te. Nu ntmpltor. E fascinant cum moda poate reda ceea ce se ntmpl n lume la un moment dat, ind astfel, n timp, o radiograe del a tu- turor epocilor. Dac moda are acum propriul su imperiu global (i acest lucru este evident atunci cnd cltoreti dintr-o ar n alta sau atunci cnd vizitezi un trg de specialitate, e el la Paris, New York, Barcelona sau Londra), totui lucrurile nu au stat ntotdeauna aa. Ca artiti, suntem ex- trem de sensibili la mesajele epocii n care trim, dar este vital s nelegem i s aprofundm do- meniul n care ne construim propriul demers, cu- noscnd istoria diverselor perioade ale artei i ale vemntului. Orice persoan interesat de mod poate realiza, de exemplu, c n anii 20 n care femeile i taie prul i i scurteaz fusta pentru prima dat n istorie ceva radical se ntmpla la nivel mondial. Sau mai trziu n anii 60 ntr-un mod mult mai subtil, prin mrirea volumului umerilor sau prin alte detalii de cromatic i croi, intuim dorina evident a femeilor de a-i face loc ntr-o lume a brbailor. Libertatea sexual din anii 60 70 este cu siguran vizibil n evoluia istoric a hainelor, de la moda strzii pn la costumul de baie. mpreun cu studenii ecrei generaii am ncercat s descifrez mesajul pe care l transmite moda astzi. Dup ecare expoziie sau trg de la Paris, Dsseldorf, Londra sau New York am anali- zat resorturile ce au fcut posibile apariiile unor tendine i am ncercat de ecare dat, n atelier, s gsim soluii personale, originale n cadrul - ecrei teme discutate. Ne-am ntrebat, pe bun dreptate, oare cuvntul mod n accepiunea sa de pn acum, mai poate cuprinde formele complexe de exprimare, profesiunile ce s-au dez- voltat la grania cu alte domenii? Va oare ne- voie n curnd de un alt cuvnt care s cuprind complexitatea uimitoare a acestui domeniu? Din ce n ce mai mult, tot ceea ce facem ca designeri nceteaz s mai e o profesie sau un mecanism i tinde s devin o cale de explorare deschis a sinelui i a celor din jur. Trim ntr-o lume a informaiei, n care moda poate o mo- I felt the excitement of knowledge and the joy of success which were felt soon afterwards. This was the place which kept stimulating generations of good-looking, creative and talented students each time more differently! In this context of visual and decorative arts at the National University of Arts Bucharest, I have chosen Fashion to be my specialty. Not inci- dentally. It is fascinating to see how fashion can reveal all that occurs in the world at a certain mo- ment expressing a sincere radiography of all ep- ochs. If at the moment fashion has its own global empire (and this is obvious when you travel from a country to another or when you visit a special- ized fair, no matter if that is in Paris, New York, Barcelona or London), however the situation was not always like that. As artists, we are extremely sensible to the messages of our epoch yet it is vital to under- stand and improve the domain in which we form our own approach, being aware of the history of different artistic periods. For instance, any person, who is interested in fashion, can realize that in the 20s when women cut their hair and shortened their skirt for the rst time in history something radical was happening at the global level. Or later, in the 60s, in a more subtle way, by increasing the volume of shoulders or through other chromatic and device details, we notice the womens obvious desire to have a certain posi- tion in a world of men. The sexual libert in the 60s and 70s is certainly visible in the historical evolution of clothing, from the street fashion to the bathing suit. Together with the students of each genera- tion I tried to decode the message transmitted by fashion nowadays. After each exhibition or fair in Paris, Dsseldorf, London or New York, I analyzed the resorts which stimulated the emer- gence of some tendencies and each time, in the studio, we tried to nd personal and original solu- tions in the context of each topic. We were right to wonder if a term like fash- ion in its actual acception, can still comprise the complex forms of expression, the professions developed at the border with other domains. Shall we soon need another word to comprise the amazing complexity of this domain? 124 Liliana uroiu, Expoziia de art i costum Sur les toits de Paris, expus la Athne Palace Hilton, Bucureti, 2013 Liliana uroiu, Art and costume exhibition Sur les toits de Paris, Athne Palace Hilton, Bucharest, 2013 125 126 dalitate surprinztoare i amuzant de a orches- tra spectacolul general de idei. Pentru desig- nerii de azi, media este o tem fundamental, iar web-ul, blog-ul i derivatele lor sunt puncte focale ale preocuprilor cotidiene. Jocul parodic cu istoria, melanjul i juxtapunerea unor curente diametral opuse ca mesaj, stabilirea unor noi ra- porturi ntre brbai i femei, vizualul televizat i lumea virtual, tensiunea ntre globalism i mul- ticulturalism au adus n mod i art o evident relativizare i incertitudine a ntregului sistem de valori, dar i la posibiliti de exprimare nen- grdite. Toate acestea nu sunt dect manifes- tri postmoderne, specice perioadei actuale, n care noi tipuri de relaii, extrem de complexe, se stabilesc ntre individ i grup, coal sau socie- tate. Aceste relaii sunt adesea suprancrcate de diverse discursuri externe voit destabiliza- toare, de natur s declaneze lupte interne cu istoria i instituiile disciplinelor n cauz, adesea invocate, admirate, dorite, suspectate sau res- pinse deopotriv. Toate acestea vorbesc despre More and more, all that we do as design- ers stops being a profession or mechanism and aims to be an open exploration of the self and the ones around. We live in a world of infor- mation, where fashion can be a surprising and amusing modality to conduct the general show of ideas. For our designers, media represents a fundamental topic and the webs, blogs and their derivates are essential points of daily pre- occupations. The parodic game with history, the mixture and juxtaposition of some trends, which are diametrically opposed as messages, the es- tablishment of some new connections between men and women, the TV visual and the virtual world, the pressure between globalism and mul- ticulturalism had brought, in fashion and art, an evident relativity and uncertainty of the whole system of values but also unlimited possibilities of expression. All these are nothing but postmodern mani- festations characteristic of the present period of time promoting new types of extremely complex Liliana uroiu, Expoziia de art i costum Sur les toits de Paris, expus la Athne Palace Hilton, Bucureti, 2013 Liliana uroiu, Art and costume exhibition Sur les toits de Paris, Athne Palace Hilton, Bucharest, 2013 127 Dalia Poleac, Documentare Colecia Urban Tribes, 2010 Dalia Poleac, Documentaries the Urban Tribes Collection, 2010 distrugerea matricei social-culturale a vechiului tip de contiin, aa cum subliniaz majorita- tea teoreticienilor postmoderniti, negnd cu- tarea n tiin a generalului i universalului i evideniind particularul, localul, singularul i mai ales ceea ce este specic minoritarului. S-a n- tmplat nu de puine ori ca Postmodernismul s postuleze moarte artei. Isabelle de Maison Rouge arma de curnd c ... arta nu se mai denete ca o succesiune de micri, ci ca produsul unor personaliti i ca expresie a anumitor minoriti ce utilizeaz arta ca pe o lupt mpotriva unei culturi hegemoni- ce. (...) Arta nu este ns pe patul de moarte, rupturile care o fac s evolueze sunt absorbite la rndul lor pentru a se ciocni de noi forme de gndire care la rndul lor vor puse n discuie. Este tocmai ciclul vieii i al morii... Raportul cu timpul i cu ceilali se schimb. Lucruri similare se ntmpl i n mod. Astzi poi transmite mesaje sociale, poi revoltat sau ironic printr-o colecie sau prin vemnt. Poi pro- relationships between individuals and groups, school and society. These connections are of- ten overloaded with various external discourses which are meant to de-stabilize, to stir internal struggles against history and the institutions of disciplines, which are either invoked, admired, desired, suspected or simultaneously rejected. All these refer to the destruction of the social cultural matrix of the old conscience type, as stated by the great majority of postmodern the- oreticians, denying the search for the general and generic in science, and emphasizing the particular, the local, the singular and especially the specic elements of the minority. It had al- ready occurred that Postmodernism postulated the death of art. Lately Isabelle de Maison Rouge stated that ... art is no longer dened as a succession of movements, but as the product of some person- alities and expression of certain minorities using art as a struggle against a hegemonic culture. (...) However, art is not dieing, the ruptures 128 129 Dalia Poleac, Colecia de accesorii Metropola, cu ocazia concursului Tchibo Inspir prin gestul tu, 2009 Dalia Poleac, The collection of accessories Metropola, the Tchibo contest Inspire through your gesture, 2009 130 pune o soluie vestimentar elegant, dar care s nu e la mod i invers. Imaginea nseam- n astzi mult pentru att de muli oameni. Ca ine umane, noi suntem dependeni de noutate. Moda comunic n limbaj vizual despre propria identitate. Dar ntrebarea reasc este: putem ntotdeauna citii aa cum ecare i dorete s e citit de ceilali? Lucrurile s-au schimbat considerabil odat cu anii 70, atunci cnd moda strzii a cptat o foarte mare importan. Treptat, moda de- signerilor de top i a couturierilor a rmas ntr- un alt plan, iar industria modei a devenit una din cele mai mari la nivel mondial, ntr-un fel n care nu a fost niciodat nainte. i lucrul pe care avem tendina de a-l uita este c industria mo- dei este incredibil de tnr. Moda ca industrie este listat deja pe diverse piee bursiere. Ea a devenit att de mare, att de repede, cci e which make it develop are also absorbed, then they bump into new forms of thinking which are also going to be analyzed... it is exactly the cycle of life and death... the connection with time and the others is changing. Similar things are happening in fashion as well. Today you can transmit social messages, you can be revolted or ironical by means of a collection or your clothing. You can suggest an elegant clothing which might not mean fashion and vice versa. Nowadays the image means a lot for so many people. As human beings, we are dependent on novelty. Fashion communi- cates its own identity in a visual language. Yet the natural question is: can we always be read just like each of us wishes to be read by the others? Things have considerably changed in the 70s when the street art became very important. 131 Dalia Poleac, Colecia Urban Tribes, 2010 Dalia Poleac, Urban Tribes collection, 2010 aproape imposibil s ne imaginm c nimic din toate acestea nu au existat n urm cu 50 de ani i c moda a fost n cea mai mare parte dezvol- tat la nivel local. Acest lucru a fcut o mulime de oameni foarte bogai, a urcat cota anumitor designeri la nivel de celebritate, dar a creat, de asemenea o situaie n care, pentru orice compa- nie care este public exist o cerere trimestrial constant de a raporta ctiguri mai mari. Acest lucru a condus ntr-o anumit msur la viziuni pe termen scurt n gndirea strategic, lucru ce nu este, fr ndoial, bun pentru mod. i, la un moment dat, va trebui s ne ntrebm resc: ct de mare este destul de mare? Dar indubitabil moda ne mai nva un lucru: ceea ce urc tre- buie s i coboare la un moment dat. Se poate analiza astzi moda n context poli- tic. Prin felul n care opteaz s se mbrace, unii oameni adopt voit diverse uniforme proprii unui Gradually, the fashion created by top designers and couturiers remained in another context, and the fashion industry became one of the greatest at global level, in a way it had never been before. And the detail we tend to forget - fashion indus- try is incredibly young. In industry fashion has already been listed on different stock markets. It became so large, so soon, that it is almost im- possible to imagine that none of this existed 50 years ago, that fashion was mostly developed at a local level. All this made a great deal of people very rich, it increased the shares of some designers making them even more well-known, yet it also created a situation in which, for any public com- pany, there is a constant trimestrial demand to report higher incomes. This also facilitated the creation of some short-term visions in the stra- tegic way of thinking, which is certainly not very 132 context sau unui grup social i devin mult mai determinai i mai hotri n ceea ce au de fcut. Dincolo de toate profesiunile modei ce s-au dezvoltat la grania cu alte domenii, am considerat de o importan notabil faptul c moda i arta au fost ntotdeauna n strns le- gtur. Exist paralele evidente ntre ceea ce se ntmpl n art i ceea ce se ntmpl n mod. Aceste domenii au fost ntotdeauna le- gate. Putem privi napoi la clasicismul de sfrit de secol al XVIII-lea i la aspectul modei Empi- re, sau ctre Art Nouveau, Impresionism, Expre- sionism, Cubism i apoi s descoperim aceleai idei n moda vremii. Un lucru este evident: mult timp designerii de mod s-au format n colile de art, mpreun cu artitii din celelalte domenii ale artei. Au nvat s compun, s echilibreze, s dezvolte concepte n aceeai manier i au fost n egal msur sensibili la epoca n care au trit, unii dintre ei reuind magistral s o depeasc. Dup douzeci de ani petrecui n aceast coal, mereu alta i totui aceeai de la nce- puturile ei, mi dau seama ct de privilegiat este statutul pe care i-l confer, ct de importante sunt bazele pe care le dobndeti aici pentru a nelege mai trziu diversitatea i diversiunile, va- rietatea i concurena paradigmelor ce ne inund mintea i existena, multiplicitatea i coexistena eterogenului pe care l asimilm resc sau l res- pingem. Dup douzeci de ani petrecui n aceast coal mi dau seama c te poi ndrgosti ire- mediabil de locul acesta fabulos ale crui coor- donate vor rmne sensibilitatea i dragostea necondiionat pentru art! Pentru mine i pentru ali colegi ai departa- mentului, moda a devenit indiscutabil un stil de via! La muli ani, UNAB! good for fashion. And, at a certain moment, we shall have to naturally wonder: how big is the big enough? But, without any doubt, fashion teaches us something more: what ascends also descends at a certain moment. Today fashion can be analyzed in a political context. Through the way some people choose to dress, they willingly adopt different uniforms den- ing a context or a social group and become more determined and resolute in everything they do. Beyond all the professions related to fashion, developing at the border with other domains, I can say that fashion and art were always strict- ly connected to each other. There are obvious parallels between what happens in art and what happens in fashion. These domains were always related to each other. We can look back to Classi- cism at the end of the 18th century, to the aspect of Empire fashion, or to Art Nouveau, Impres- sionism, Expressionism or Cubism, and then nd the same ideas in the fashion of time. Something is obvious: for a long time, fash- ion designers had been educated in art schools, together with artists connected to other domains of art. They learned to compose, balance, and develop concepts according to the same meth- ods, and were equally sensible to the epoch they shared, and some of these went far beyond. After twenty years spent at this school, which is permanently different and still the same, I real- ize how privileged your status is, how important the basis you get really is, in order to subse- quently understand the paradigms diversity and diversions, variety and rivalry, overwhelming our mind and existence, the multiplicity and co-exist- ence of the heterogeneous, which we naturally assimilate or ignore. After twenty years spent at this school I re- alize you can irremediably fall in love with this fabulous place, whose main elements are dened by the unstipulated sensibility and love for art! For me and other colleagues of this depart- ment, fashion has unquestionably become a life- style! Happy birthday, the National University of Arts Bucharest! 133 Dalia Poleac, Colecia Black & White, 2010 Dalia Poleac, Black & White collcetion, 2010 134 Liliana uroiu, Expoziia de art i costum Sur les toits de Paris, expus la Athne Palace Hilton, Bucureti, 2013 Liliana uroiu, Art and costume exhibition Sur les toits de Paris, Athne Palace Hilton, Bucharest, 2013 135 136 Aurelia POMPONIU confereniar universitar doctor senior lecturer doctor 137 Fabuloasa lume a modei, capabil s ui- measc prin inepuizabila sa capacitate de meta- morfozare a mijloacelor de expresie specice, se dovedete a mereu un domeniu incitant pentru creator i beneciar, deopotriv. Figura uman conceput ca prezen ge- neratoare de spectacol, cu posibiliti nelimi- tate de rennoire, recongurare i de redenire vizual prin vemnt, continu s e i n se- colul al XXI-lea o preocupare major a fashion designerilor din marile centre ale modei. Tendin- ele promovate de ctre unele grupri artistice i personaliti avangardiste ale domeniului, aduc n atenie haina, ca noutate ocant, ce st sub semnul originalitii integrale. Acest tip de m- brcminte face trimitere la specicul estetic al vestimentaiei non-funcionale, a crui principal justicare se refer la ineditul spectacolului oferit de purttorul ei. Spre nele anului 1980, aceste tendine, inspirate din programele micrilor artistice ale secolului al XX-lea, par a-i epuizat resursele. Treptat, se contureaz premisele unei oferte noi, izvorte din arsenalul formulrilor specice stilu- rilor anterioare celor de inspiraie modern. Aa apare Postmodernismul. Integrate conceptului de postmodernism, unele tendine ale modei actuale aduc n dis- cuie tentativele programate de reluare i aprofundare a unor efecte vizuale cunoscute la nivelul vemntului feminin la mod, n perioa- Gnduri la ceas aniversar The fabulous world of fashion, capable of surprising us through the limitless metamorphos- ing capacity of its specic means of expression, always proves to be a challenging domain not only for the creator but also for the beneciary. The human gure, conceived as a presence generating the show, provided with the number- less possibilities of the visual renewal, re-cong- uration and re-denition by means of garments, keeps being a major preoccupation of great fash- ion designers in the famous fashion centres of the 21st century. The trends promoted by some artis- tic groups and the avant-garde personalities of the domain, emphasise the clothing as some shocking novelty inuenced by the integral originality. This type of clothing refers to the esthetic specicity of the non-functional clothing whose main moti- vation refers to the novelty of the performance provided by its carrier. Around the end of 1980, these trends, inspired from the programs of the artistic movements of the 20th century, seem to have exhausted their resources. Gradually, we notice the premises of a new offer, derived from the arsenal of the formu- lations which are specic to the styles preceding those associated with modern inspiration. This is the way Postmodernism emerged. Integrated into the concept of postmodern- ism, some trends of the actual fashion emphasize the scheduled attempts to reconsider and develop some visual effects noticed at the level of female Anniversary thoughts 138 139 140 Diana Mihana, Studiu de materialiti, 2013 Diana Mihana, A study of materiality, 2013 dele anterioare. Se nregistreaz cea mai mare libertate n alegerea formulelor de mbrcmin- te, att n planul creaiei, ct i al beneciarilor. Fiecare e liber s conceap i s poarte ce i pla- ce, prelund din stilurile precedente ce-i convine. Condiia succesului presupune ns ca vemntul realizat sau purtat s aib coeren estetic vizu- al. Din aceast perspectiv, liniile modei postmo- derniste oscileaz ntre justicri de ordin practic i funcional i motivaii de ordin moral, psiholo- gic, estetic sau ritual. Piesele de mbrcminte ilustreaz dinamica relaiei dintre modernitate, permanen i desuetudine, punnd n valoare vi- zual ceea ce altdat comporta diverse restricii. ntr-un asemnea context socio-economic i cultural, pregtirea viitorilor designeri vestimen- tari n cadrul seciilor de mod ale universitilor de art este un proces complex, care presupune o dubl rut de formare. Pe de o parte, este, garmets in fashion during the previous periods of time. We observe the widest degree of freedom in the selection of clothing items both in the context of creation and in the one of beneciaries. Everybody is free to conceive and wear whatever he likes over- taking what he prefers from the previous styles. However, in order to be successul, the already made or worn garment must express a visual es- thetic coherence. From this viewpoint, the lines of postmodern fashion oscillate between practical and functional justications and moral, psycholog- ical, esthetic and ritual motivations. The items of clothing illustrate the dynamics of the connection between modernity, permanence and desuetude by visually highlighting what used to emphasise different restrictions. In such a socio-economic and cultural context the training of future fashion designers in the Fash- ion departments of Art Universities is a complex 141 Studiu de materialiti, 2013 A study of materiality, 2013 142 vorba de nsuirea problematicii creaiei formelor artistice decorative, iar pe de alt parte, de im- plementarea unei programe de nsuire corect a particularitilor tehnologice i estetice ale diver- selor tipuri de suprafee textile. Fr cunoaterea acestor proprieti caliti i defecte nu poate conceput pregtirea creatorului n domeniul vestimentaiei. Motivaia acestui modul educaional se ba- zeaz i pe faptul c puini tineri mai cunosc specicul diverselor categorii de suprafee textile i compatibilitatea lor n relaie cu specicul pro- iectului artistic. Pn n pragul celui de al doilea rzboi mondial, orice femeie tia proprietile cel puin ale unor materiale esute, cu denumi- rile proprii. Astzi, puine persoane mai tiu s explice ce tip de estur este canganul, sate- nul, batistul, atlazul, taftaua sau ripsul i prin ce caliti se impune ecare. Proprietile de aspru sau moale, neted sau lucios, rigid sau maleabil / exibil, tare sau moale primeaz atunci cnd este vorba de realizarea unui tip de vemnt. La aces- tea mai trebuie adugat coloraia materialului. Pentru publicul consumator asemenea dis- tincii nu mai au importan, dat ind i oferta diversicat a confeciilor vestimentare, proble- mele apar ns, cnd aceste cunotine lipsesc din pregtirea viitorilor designeri vestimentari. Materialele tradiionale i materialele nou aprute, mai ales cele articiale i de sintez chi- mic, trebuiesc studiate din perspectiva calitilor specice ecrui tip. Relaia dintre natura mate- riei prime i procedeele tehnologice de obinere, precum i de valorare plastic a suprafeei textile, n condiii de manualitate sau n procesul de rea- lizare industrial este indisolubil legat de innita diversitate a efectelor estetice de structur, tex- tur i contextur. Fr o cunoatere temeinic a nsuirilor specice brelor, relor i suprafeelor textile, cu particularitile determinate de tehno- logiile i instrumentarul propriu, un viitor creator de mod nu va putea imprima proiectului su vestimentar calitile estetice i expresivitile plastice pe care le-a imaginat. Astzi, foarte multi artiti i designeri de renume exploreaz limbajul brelor i al re- lor n creaia lor vestimentar. Efectul grac de punct-linie i efectul de plin-gol, rezultate din process presuming a double route of formation. On one hand, it is about the assimilation of topics regarding the creation of artistic decorative forms, and on the other hand, about the implementation of a program in order to assimilate the technologi- cal and esthetic particular characteristics of differ- ent types of textile surfaces in an accurate way. Without knowing these properties qualities and deciencies the creators training in the eld of fashion cannot be conceived. The motivation of this educational module also relies on the fact that there are few young people who are aware of the specicity of various catego- ries of textile surfaces and their compatibility as- sociated with the specic attributes of the artistic project. Until the threshold of the last World War any woman was familiar with the characteristics of some woven materials, and their own names. Nowadays, there are few persons who can ex- plain what type of fabric the satin, taffeta or the reps are, or their qualities. The peculiarities sug- gesting the feeling of rough or soft, smooth or lu- cid, rigid or exible, hard or tender, are essential when it is about the creation of a garment. All these are completed with the materials range of colours. For the public, such differences no longer matter given the diversied tender of clothing items, however the problems emerge when the future fashion designers do not express this kind of knowledge. The traditional and recently appeared materi- als, especially the articial ones or those obtained through some chemical synthesis, must be studied from the perspective of each types specic quali- ties. The relationship between the nature of raw materials and technological procedures, used to produce and artistically evaluate the textile surface, manually or in the process of industrial achieve- ment, is surely related to the innite diversity of esthetic effects in matter of structure, texture and contexture. Without a consistent knowledge of the specic characteristics in the case of bers and textile surfaces, or the particular aspects deter- mined by their own technology or instrumentary, a future fashion creator will not be able to provide his fashion project with the esthetic qualities and artistic expressiveness he had imagined. Nowadays, there are numerous famous art- 143 ritmica intersectrii relor de urzeal cu cele de bteal, din ochiurile tricotajului sau din varie- tatea formelor de pliere, legare i creponare a textilului pregtit pentru vopsire ofer creato- rilor de mod o libertate nelimitat n ceea ce privete conceptul artistic. Broderia, un alt exemplu de exploatare a efectului grac linie-punct, are ca principal mijloc de expresie combinarea ingenioas a punctelor de custur. Ea completeaz sau substituie su- prafaa textil, potennd expresivitatea formelor anatomice sau contribuind la impunerea vizual a anumitor zone ale siluetei. Fenomenul nencetatei schimbri de spec- tacol vizual pe care-l poate oferi ecare prin in- termediul pieselor de mbrcminte purtate se raporteaz la schimbri n funcie de materialele folosite, de croi, de accesorii, de drapaj i, nu n ultimul rnd, de relaia lor cu corpul uman. Triumful libertii de a pune n valoare vizu- al ceea ce altdat comporta diverse restricii i libertatea total n materie de creaie, de a folosi fr restricii materiale i accesorii vesti- mentare e ele detaabile sau xe au de- terminat anularea granielor rigide dintre arta minor i arta major. Pe linia activitilor didactice de nsuire a limbajului de specialitate i informare despre evo- luia plastic a tendinelor n creaia de mod, o pondere semnicativ trebuie acordat i cores- pondenelor dintre conceptul ideatic i calitile materialului n care acesta urmeaz a transpus. Dincolo de limbajul cultural care l desem- neaz stilist, designer vestimentar, creator de mod trebuie s recunoatem c asemenea persoan este un specialist, n a crei pregtire universitar sunt reunite att disciplinele ce in de resortul artei, ct i cele care fac trimitere la secretele meteugului, la psihologia gusturilor i la sociologia grupurilor i vrstelor umane. Creaia acestei categorii de artiti, calicat prin expresia haute couture, presupune totdeauna o vestimentaie autentic, inconfundabil, con- ceput de un autor cu o nalt pregtire i un indiscutabil prestigiu n domeniu. ists and designers who explore the language of bers and threads in the clothing creation. The point graphic effect line and the full-empty ef- fect, resulted from the rhythm of the intersec- tion of warp threads with tinsel wires, from the knitwears loops or the variety of forms used in folding, binding and creping the textile, in paint- ing, provide the fashion creators with a limitless liberty regarding the artistic concept. Embroideries, another example used to ap- proach the line-point graphic effect, express the skill- ful combination of stitches. They complete or replace the textile surface by emphasizing the expressive- ness of anatomic forms or contributing to the visual assertion of some zones of the silhouette. The phenomenon stimulated by the perma- nent transformation of visual performances of- fered through each item of clothing is connected to changes according to the already used materi- als, devise, accessories, drapery, and last but not least, to the relationship with the human body. The triumph of liberty in visually emphasiz- ing what used to express different restrictions and total freedom in creation, while approaching these without any material restrictions or clothing acces- sories, no matter if detachable or steady, had de- termined the annulment of rigid borders between the low and high art. In the context of didactic activities developed to assimilate the specialty language and get the information regarding the artistic evolution of trends in fashion, we must pay a signicant atten- tion to the correspondence between the ideational concept and the qualities of the material in which this must be transposed. Beyond the cultural language suggested stylist, fashion designer, fashion creator we must admit that such persons must be spe- cialists, whose academic training has to re-unite both those disciplines which are related to art, and those referring to the secrets of handicraft, the psychology of preferences and the sociology of groups and human ages. The creation of this category of artists, qualied through the haute couture expression, always expects an authen- tic and unmistakable clothing, conceived by an author endowed with a superior training and an unquestionable prestige in the domain. 144 145 146 Venera ARAPU lector universitar doctorand lecturer phd candidate 147 Anul acesta, Universitatea Naional de Arte din Bucureti srbtorete 150 de ani de la ninare. Ca fost student, desigur, a mndr c am ieit de pe bncile unei coli cu istorie. Ceea ce este special ns este faptul c aceast sr- btoare a colii m prinde legat de ea altfel dect ca fost student, i anume fcnd parte din echipa de dascli ai Departamentului Mod, pe care am absolvit-o acum destul de muli ani. ntmplarea face ca dup absolvirea colii de la Bucureti, s urmez i cursurile prestigioa- sei coli de mod ESMOD, din Paris. De ecare dat cnd cei din jur i manifest curiozitatea de a aa care este prerea mea n ceea ce privete subiectul coala n Frana ver- sus coala n Romnia, resimt aceeai plcere s pot s-mi exprim punctul de vedere, el ind total altul fa de ceea ce ateapt interlocutorul meu. Vreau s spun tuturor studenilor actuali i viitori c nivelul i complexitatea studiilor de mod din cadrul unei Academii de Art nu pot niciodat comparate cu caracterul aplicat i pur tehnic al colilor de mod neintegrate ntr-o Academie de Art. Datorit accesului la cursurile de istoria ar- tei, istoria costumului, estetic sau chiar anato- mie, am putut avea o viziune poate mai comple- x i mai sintetic asupra fenomenului de mod, asupra integrrii lui n viaa societii azi, i nu n ultimul rnd am putut s intuiesc, de multe ori Pasiune pentru Mod This year, the Art Academy Bucharest cel- ebrates its 150 years of existence. As its former student, I would be surely proud that I have graduated from this highly acknowledged school. However, what is special here is the fact that this celebration nds me related to it in a more different way than then, when I used to be its student, as now I belong to the teaching staff of the Fashion Depart- ment, which I had graduated from rather long time ago. After graduating from the school in Bucha- rest, I also attended the classes of a well-known fashion school, ESMOD, from Paris. Each time, when people prove eager to hear my opinion regarding the school in France ver- sus school in Romania topic, I feel very pleased to express my viewpoint, which is totally differ- ent from what my interlocutor expects. I would like to tell all my present and future students that the level and complexity of the fashion studies at an Art Academy can never be compared to the applied and purely technical character of the fashion schools which have not been integrated in an Art Academy. Due to my access to the classes of art his- tory, the history of costumes, aesthetics or even anatomy, I could have a more complex and syn- thetical perspective on the fashion phenomenon and its integration in our society; furthermore, I could often and accurately intuit the direction my Passion for Fashion 148 149 Lavinia Botuanu, Licen, 2012 Lavinia Botuanu, Graduation examination, 2012 fr gre, direcia spre care domeniul meu de activitate se ndreapt. Pentru c da, sunt unul dintre creatorii ro- mni care i-a construit o carier, plecnd n via din minile i suetul unor oameni precum regretata Simona Runcan, Paula Barbu sau Unda Popp, actualmente conductoarea Departamen- tului Mod, sub ndrumarea creia, acum muli ani, am susinut o minunat lucrare de diplom, articulat n jurul costumului popular romnesc. Astzi, dup o ntreag experien att n ar, ct i pe piaa internaional, m gsesc n poziia n care pot transmite ceva din ceea ce eu am nvat, aici sau n alt parte, unor tineri crora ncerc s le sistematizez nelegerea fe- nomenului modei acum, azi, pentru un mine n domain of activity was taking. As yes, I am one of the Romanian creators who has constructed her career stimulated by the life and soul of some people like the la- mented Simona Runcan, Paula Barbu or Rux- andra Popp, at present the Head of the Fashion Department who, many years ago, had coordi- nated my wonderful diploma work articulated around the Romanian folk costume. Today, after my whole experience, both in the country and abroad, I can communi- cate something from what I have learnt, here or somewhere else, to some young people to whom I try to systematize the fashion phenom- enon at the moment, today, for a relevant day after tomorrow. 150 Lavinia Botuanu, Licen, 2012 Lavinia Botuanu, Graduation examination, 2012 151 152 153 Mirela Barbu, Licen, 2012 Mirela Barbu, Graduation examination, 2012 154 Mirela Barbu, Licen, 2012 Mirela Barbu, Graduation examination, 2012 care sper s i lase urmele trecerii. Pentru c ei sunt la nceputul unui drum care poate minunat, ncerc s le insuu la cursuri- le pe care le susin interesul pentru simplitatea ideii i pentru articularea coerent n jurul pro- priului EU artistic. i, nu n ultimul rnd, consi- der c cel mai important lucru pe care eu l-am neles i care m face s avansez pe drumul destul de aglomerat al acestei meserii este n- cercarea sincer de a individualiza i recunoate acest EU, care n meseria de fashion designer te face s exiti, i anume originalitatea. Originali- tatea care merge mn n mn cu un EU real, nu de mprumut! Cutarea a ceea ce i reprezint pe studeni este adevratul efort pe care un bun dascl tre- As they are at the beginning of a way, which can be wonderful, I try to inspire them in the simplicity of the idea and the coherent articula- tion around their own artistic EGO. Last but not least, I consider that the most important detail I have learnt, which challenged me to advance along the pretty crowded way of this profession, is the sin- cere attempt to individualize and admit this EGO, which makes you exist in this profes- sion, more exactly, originality. The original- ity which goes hand in hand with a real, not borrowed EGO! The exploration of what represents the stu- dents is the real effort which a good professor must carry out to create real artists. It is what I 155 buie s-l fptuiasc, pentru ca, de pe bncile colii s porneasc artiti adevrai. Este ceea ce eu personal am neles c am primit de la profesorii care m-au ndrumat, pentru care le mulumesc! personally understood from my teachers, which I am grateful to! Mirela Barbu, Licen, 2012 Mirela Barbu, Graduation examination, 2012 156 Rzvan VASILESCU asistent universitar doctor junior lecturer doctor 157 Aa-zisa inuen dadaist este cea care m-a ndemnat s numesc acest capitol sub forma unei tolerane totale n ceea ce privete parcurgerea i acumularea experienelor vestimentare. Punc- tnd fr menajamente rapoartele mele cu ve- mntul, intenionez s gsesc coordonatele prin- cipale ale propriei identiti vizuale din viitorul imediat. Ulterior vericrii practice a sistemului dandidaist, urmresc o generalizare a concluziilor ce se va regsi n coninutul manifestului: Brbatul dandidaist nu exist; singura lui prezen zic este costumbra; Aspiraia devine normalitate n dandidaism; Acurateea (A) exerciiului dandidaist este direct proporional cu deschiderea sinelui (Ds); (Ds) se msoar de la 0 la 360 0 ; Costumul nu este o masc n ecuaia de fa; prin urmare, orice mascare se traduce prin schimbarea sensului lui A, ntr-unul negativ, ca valoare numeric, nu i ca valoare a coninutului; Factorul de multiplicare (m) este rezulta- tul mediei geometrice a indicilor ce msoar ni- velul culturii / cunotinelor generale (Cg), nu- mrul experienelor marcante (E) i puterea de absorbie a informaiei (Pi) A=Ds m, m= 3 Cg E Pi Pe parcursul desf ur rii ciclului docto- ral am aplicat o parte din concluziile cercetrii asupra saltului tigrului ntr-un proiect lucra- tiv, construit dup modelul clasic al unui crea- Activitate personal dendidaist The so-called Dada inuence is the one which made me name this chapter in the form of a total tolerance as respects the crossing and accumulation of clothing experience. By straightly emphasizing my connection with the garment I aim to nd the main coordinates of my own visual identity in the very close future. After a practical checkout of the Dada system, I follow a generalization of conclusions to be found in the contents of the manifest: The Dada man does not exist; his single physical presence is the costshadow Aspiration becomes normality in the Dan- didaism Accuracy (A) of the Dandidaist exercise is directly proportional with the opening of the self (Ds) (Ds) is measured from 0 to 3600 In the present equation the costume does not represent a mask; consequently, any disguise is translated through the transformation of As sense into a negative one, as a numerical value, not as a value of the contents. The multiplication factor (m) is the result of the geometric mean of the parameters measuring the level of general knowledge/culture (Cg), the number of outstanding experiences (E) and the informations absorption power (Pi) A=Ds x m, m= 3 Cg x E x Pi During the doctoral cycle I applied some of Personal Dandidaist activity 158 159 Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 160 tor de mbr c minte masculin . Scopul consta n constituirea unei serii de prototipuri care s ilustreze lucrarea nal i, totodat , testarea comerciabilit ii unui astfel de proiect. Prezena la S pt mna Modei din Iai (n anul 2010 cu Colecia Mister Genosse), participarea la prin- cipalele trguri ale tinerilor designeri vestimen- tari romni (n anii urm tori), dar i organizarea evenimentelor de promovare a creaiilor per- sonale (lansarea coleciei Aero Port ianuarie 2011 sau Romanian Handmade Arts & Ideas Fashion Fair mai, 2011) au constituit, de ase- menea, prilejuri importante pentru culegerea datelor necesare posibilei implement ri a Dan- didaismului. Metamorfozat n clientul care i poate crea hainele exact cum le viseaz , am descoperit r spunsul cerinelor stilistice ale b rbatului de ast zi ntr-o sum complex de dorine, vise i frustr ri. Proieciile sale nu se mai cl desc urm rind necesitatea sau puterea. Unicitatea este ceea ce i lipsete b rbatului actual; el o caut i o revendic nentrerupt n sinea sa. Solu- ia acestei problemei, se poate ascunde, aseme- nea altor cazuri de criz a personalit ii, ncuiat n... dulap. Este de la sine neles c organizarea i alimentarea dressingului sunt chestiuni aate dincolo de limita intimit ii, n ciuda recunoaterii unanime a stilitilor personali. Aparinnd gene- raiei crescute cu cheia de gt 1 , sunt cel puin reticent la ideea nstr in rii acesteia. Abilitatea de a jongla cu elementele constitu- tive ale garderobei a devenit ntre timp o profesie de sine st t toare. Magia styling-ului nu const doar ntr-o compunere corect din punct de ve- dere cromatic, stilistic, al trendului sau al m surii. A face pe cineva s exprime, purtnd haine noi (din afara garderobei personale), o armonie natural consider c este marea provocare a acestei noi meserii. Evident, ea nu este legat de cunoaterea regulilor de compoziie sau a modei, ci mai degrab de cea a subiectului i n special a psihicului s u. Pentru a-i putea susine origi- nalitatea i conserva identitatea, un b rbat are 1 Personal nu am fost nevoit s plec de acas , n copil rie, cu cheia de la cas legat la gt; este posibil n dorina, perfect justicat , de a-mi imita colegii de coal s mprumutat de acas o cheie de ifonier lipsit de valoare sau funcionalitate (de aici blestemul ?!) the conclusions regarding the research of the ti- ger leap in a lucrative project based on the clas- sical model of a male clothing creator. The goal consisted in the formation of a prototype series meant to illustrate the nal work and also the mer- chantible testing of such a project. The presence at the Fashion Week organized at Iai (in 2010 with the Mister Genosse Collec- tion), the participation in the main fairs of the young Romanian fashion designers (in subsequent years) as well as the organization of promotional events to exhibit personal creations (the promo- tion of the Aero Port Collection January 2011 or the Romanian Handmade Arts & Ideas Fashion Fair mai 2011) also represented important op- portunities to collect the data needed for a pos- sible implementation of the Dandidaism. Metamorphosed in the client who can cre- ate his clothes in the way he wishes, I got the answer to the present mans stylistic demands in a complex sum of desires, dreams and frus- trations. His projections no longer focus on necessity or power. Uniqueness is what the present misses; he claims and searches for it in his own self continuously. The solution of this problem can be hidden like in other types of personality crises, closed in the wardrobe. It goes without saying that the organization and nourishment of dressings represent matters found beyond the limit of intimacy, despite the general acknowledgement of personal stylists. Belonging to the generation deprived of a so- phisticated life, carrying my house key around my neck 1 , I am at least reserved to the idea of its estrangement. The ability to juggle with the clothing constit- uents had gradually become an independent pro- fession. The magic of styling consists not only in a correct chromatic and stylistic composition of the trend or measure. I consider that making some- one express a natural harmony by wearing new clothes (which do not belong to a personal ward- robe) is the great challenge of this new job. Obvi- 1 Personally, during my childhood, I did not have to leave home with my key hanging around my neck; it is possible that, in my perfectly justied desire to imitate my school colleagues, to have borrowed a wardrobe key from home one deprived of any value or functionality (hence the curse ?!) 161 nevoie s cunoasc i el tot ce mbrac . A imita nu mai este la mod , paradoxal prin- cipiilor fenomenului. Astfel, ncrederea n propria persoan i curajul stilului propriu sunt capabile s dezvolte un cult cu parfum dandist. Pn la urm , mp unarea masculin este componenta propus pentru revigorare prin dandidaism i mai puin stilul vestimentar sau grija exagerat pentru aspectul exterior. Aici, indiferena n n- vemntare poate atrage dup sine rezultate no- tabile, graie unei aciuni pur mecanice, a unui impuls subcontient sau pur i simplu ca rezultat al unor mprejur ri... favorabile. Dandidaismul recomand : Contientizarea atent a momentului nve- mntrii; Tratarea lui cu sinceritate; Asumarea rezultatului ca ilustrare a identit ii. Importana acestui proces tinde s eclipseze succesul oric rei alte forme de autoprezentare. n momentele importante pe durata unei viei, aranjarea este permis , poate chiar indicat , pn i de Biblie. Cea de a doua porunc ne recomand o nvemntare umil i personal ; straiele de s rb toare sunt descrise, mai apoi, ca ind str lucitoare i curate 2 . Iar pentru a ap ra mp unarea n cazul People versus Dandidaism pot s acuz volatilitatea probelor: nc nu s-a dovedit c lacrimile lui Narcis nu erau, de fapt, lacrimi de... bucurie 3 . Timpul alocat contempl rii reexiei zice s-a comprimat i nu mai permite prea multe obser- vaii detaliate. Am inclus, parc , oglinda n cate- goria ecranelor plate 4 , a c ror cercetare pare s devenit viciul cel mai la mod . Ea activeaz , din 2 Porunca a doua a Evangheliei dup Matei S nu-i faci chip cioplit i nici asem nare a vreunui lucru din cte sunt n cer, sus, i din cte sunt pe p mnt, jos, i din cte sunt n apele de sub p mnt! S nu te nchini lor, nici s le slujeti lor (Exodul 20, 4 -5) 3 Din mitologia greac l cunoatem pe Narcis ndr gostit de imaginea reeciei sale. Cuprins n Meta- morfoze, versiunea lui Ovidiu l evoc pe acesta incapabil s iubeasc altceva dect lucrurile pentru care el nsui este admirat. 4 Am numit ecran plat ecare dispozitiv din ca- tegoria PC, Laptop, tablet , smartphone etc. O cercetare supercial ar putea clasica performanele dispozitivelor n funcie de... grosime. ously, this is not related to the knowledge of com- positional or fashion rules, it is rather connected to the one concerning the subject and especially his psychic. In order to sustain his originality and preserve his identity, a man needs to be aware of everything he puts on. Paradoxically, to imitate is no longer in fash- ion. Thus, the belief in your own person and the bravery of your own style are capable of develop- ing a cult provided with a Dandist scent. Finally, the male boasting is the component proposed for ones revival through Dandidaism and less the clothing style or the exaggerated care for the ex- ternal aspect. Here the indifference in clothing can attract notable results, due to a purely mechanic circumstance, a subconscious impulse or simply as the result of some favorable circumstances. The Dandidaism recommends: the careful awareness of the clothing mo- ment; its sincere approach; the assumption of the result as an illustra- tion of identity. The importance of this process aims to over- shadow the success of any form of self-presenta- tion. In the important moments during ones life the setting is allowed, perhaps indicated even by the Bible. The second commandment recommends us some humble and personal clothing; then the festive clothes are described as shiny and clean 2 . And in order to defend the pride in the People versus Dandidaism I can accuse the volatility of the samples: it has not been proved yet that Nar- ciss tears werent actually tears of joy 3 . The time spent on the contemplation of physi- cal reexion has been compressed and no longer allows too many detailed observations. The mir- ror seems to have been included in the category 2 The second commandment in the Gospel of Matthew Though shalt not make unto thee any grav- en image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth! Though shalt not bow down thyself to them, nor serve them (Exodus 20, 4 -5) 3 From the Greek mythology, we know Narcis who is in love with the image of his own reection. Contained in the Metamorphoses, Ovidius version evokes him as a character who is not capable of loving something else but the things he himself was admired for. 162 p cate, doar ca un barometru care semnalizeaz eventualele faux pas-uri. Nu-mi ascund intenia de a descoperi, n cele din urm , funcia aces- teia de partener de dialog, i mai apoi de ce nu? pe cea de critic de imagine. Revin aici cu remarcarea oportunit ii dezvolt rii unei aplicaii web ca o adaptare contemporan a manifestului i ca o viitoare dezvoltare lucrativ a proiectului. Noul tip de culegere a informa iei se bazeaz pe similarit i vizuale i cuvinte-cheie. Acestea sintetizeaz mecanic tr s turile generale ale unui subiect, silueta, ce r mne imprimat pe retin , ap rnd sub forma unui portret-robot compus din straturi diferite. Fie c sunt layere (straturi de mbr c minte), etaje (de exemplu, of at screens 4 whose research appears to have become the most fashionable vice. Unfortunately, it activates only as a barometer which signals the eventual faux pases. I do not hide my intention to nal discover its function as a dialogue partner and then why not? as an image critic. Here I return with the observation regarding the opportunity to develop a web application as a contemporary adaptation of the manifest and a future dynamic development of the project. The new type of information collection is based on 4 A at screen is each device from the PC, Laptop, tablet, smartphone category. A supercial research would classify the performances of these devices according to their ... thickness. Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 163 parter nc l minte, etaj 1 pantaloni, etaj 2 etc.) sau amintiri (memorii rememor ri), ele se combin ntr-un puzzle spectaculos prin di- versitate. Pentru a putea recunoscui, mai tr- ziu, asemenea Regelui Soare sau asemenea lui Beau Brummel (ca important proiecie a trecu- tului), este nevoie s ne aranj m corespunz tor acestui tip de percepie. Forma distinct a ac- cesoriilor (n general, a p l riilor), lungimile i grosimile (aici, lejeritatea pe corp, n varianta bi-dimensional ) sunt factorii primi ce trebuie luai n calcul pentru descriera volumului infor- maional. Pentru a vizualiza dezvoltarea acestei noi ecuaii a manifestului (Facc L G = Vi), recomand comparaia cu algoritmul ce dicteaz aciunea unei imprimante tridimensionale. Notorietatea siluetelor istorice are rolul de a tempera subiectivismul radical al abord rii, cer- ticnd, astfel, fezabilitatea noilor propuneri. Ele sunt actualizate constant, dar, mai important, in- diferent de dorina purt torului. Prin simpla dete- riorare a mbr c minii sau prin purtarea ei (ab- solut ntmpl toare) la un moment (notabil) dat, identitatea i haina se modic reciproc. Odat cu g sirea de noi sensuri a disputei proverbiale [NU] Haina face pe om remarc i imposibilitatea de a m alia vreunei cauze. n consecin , am ales s cercetez cmpul de lupt (neutru, de leg tur FACE), haina i omul au tot fost studiai. Declararea identit ii a devenit una dintre cele mai importante teme ale noilor timpuri. Cer- cetarea de fa se aliaz acestei cauze, n ciuda mediului local retardat, dezvoltat sub cenzur , ajuns la maturitate nainte de vreme, doar ca urmare a ambi iilor personale i nu rezultnd ca- priciilor societ ii (romne ti). Prin urmare, com- ponenta na ional a identit ii are compozi ia necesar dizolv rii n apele viu curg toare ale noii civiliza ii globalizate mult mai atractive , datorit diversit ii ofertei, aten iei acordate conserv rii, poate chiar promov rii eciente etc. Cu toate acestea, pionieratul sau verticalitatea unui conai- onal n oricare dintre domeniile aduse n discuie au atras dup sine m car o umbr de prezen . Ele vor punctate n descrierea ce urmeaz a ce- lor opt faze de construcie a Dandidaismului. Pentru a sus ine i verica, totodat , lucrurile ne-ilustrate pn acum, am gndit realizarea se- riei de costume-prototip. Ele sintetizeaz liniile de visual similarities and key words. It mechanically synthesizes the general characteristics of a sub- ject, the silhouette, which remains imprinted on the retina, appearing in the form of a robot portrait composed of different strata. No matter if they are layers (clothing levels), oors (for instance, the ground oor footwear, the rst oor trousers, the second oor etc.) or memories (memories recalls), they combine in a spectacular puzzle by means of diversity. In order to be acknowledged later, like the Sun King or Beau Brummel (as an im- portant projection of the past) we need to organ- ize this type of perception in an appropriate way. The distinct form of accessories (of hats, generally speaking), the lengths and breadths (here, the loose dressing, in the bidimensional variant) are the rst factors which must be taken into account to describe the informational volume. In order to visualize the development of this new equation of the manifest (Facc x L x G = Vi), I recommend the comparison to the algorithm dictating the action of a tridimensional printer. The notoriety of historical silhouettes is meant to temper the radical subjectivism of the approach thus certifying the feasibility of the new sugges- tions. They are updated constantly yet, which is more important, regardless of the carriers desire. Through the simple deterioration of the outt or its absolutely incidental wearing at a certain mo- ment, ones identity and clothing modify mutually. Once the new meanings of the proverbial dispute are found it is not the clothing which makes the man I also notice the impossibility to join any cause. Consequently, I have chosen to explore the eld (neutre, MAKES); the outt and man have already been studied. The declaration of identity has become one of the most important topics of new times. The present research joins this cause despite the lo- cal retarded medium, developed under censor- ship, and rather prematurely, only as an outcome of personal ambitions, not resulting from the ca- prices of the (Romanian) society. Accordingly, the national component of identity has the composi- tion needed to dissolve in the living waters of the new globalized civilization which is more attractive due to the tenders diversity, to the at- tention paid to conservation, perhaps even to the efcient promotion etc. However, the pioneer- 164 croial i elementele de detaliu ale majorit ii pie- selor din colecii. Costumbrele reprezint esena ec rui sezon al anilor de cercetare. Premerg tor expunerii i discut rii n particu- lar a prototipurilor se cuvine descrierea mecanis- mului care a f cut posibil conexiunile, paralelis- mele i paradoxurile ncifrate n ceea ce urmeaz a se dezvolta ulterior sub denumirea de con- cept. Ce-i drept, aici, excesiv de subiectiv, f r o legtur direct cu temele clasice, el este menit s se contureze i s se dezvolte pn la matu- ritate cu un an nainte de a- i intra n drepturi 5 . Conceptul denit, de obicei, ca urmare a ce- rerii de etichetare i de etichete, ale consuma- torului (obi nuit cu produsele categorisite i cu instruc iuni de folosire, ngr dind astfel libertatea de expresie dup bunul plac), se poate transfor- ma n ideea creativ ce manipuleaz proiectul. Epicitatea este capabil s dea concep- tului, n cazul de fa , o nou accep iune, ce-l capaciteaz , pe lng func ia de regizor cu cele de scenarist i actor principal. Spectacolul de tra- ducere a conceptelor imateriale n costum poate p rea incomplet n lipsa unei legende de inter- pretare a diferitelor umbre ale trecutului; ataez, n consecin , o serie de poveti ilustrate, sper edicatoare, a chestiunilor dandidaiste. Mister Genosse este primul salt n timp, f cut pentru a marca aniversarea a 20 de ani de la c derea Zidului din Berlin. n seria de evenimente desf urate la Sala Dalles din Bucureti, n oc- tombrie 2009, am avut pl cerea de a-mi prezenta omagiul, n ncheierea spectacolului-maraton de performing de costum susinut de studenii de la UNAB i UNATC. Am g sit de cuviin s punctez cele dou decenii nc din titlu, prin al turarea pronumelor de politee tovar (genosse, n german ) i domn (mister, n englez ) ce nso- esc prezentarea (verbal ) a b rbatului est-euro- pean, nainte i dup pr buirea Cortinei de Fier. Lentoarea procesului democratic, predicionat mult prea optimist, mi-a permis acoperirea de- cadelor ntr-un singur pas stilistic. Salopeta, sim- bolul vestimentar al muncitorului comunist, este 5 Se va putea observa, n anunata descriere, c prin colecie numesc aici nu doar seriile de costume trans- puse n material, ci piesele singulare ajunse n stadiul de prototip sau produsele unicat cu potenial bogat de dez- voltare. dom or the verticality of a co-national in any analyzed domain presumed at least a shadow of presence. They are going to be emphasized in the description following the eight construction stages of Dandidaism. In order to support and also verify the things, which had not been illustrated so far, I have taken the prototype costume series into account. They synthesize the line cuts and details of most of the collection items and represent the essence of each season developed during the research years. Before we expose and discuss the prototypes in particular we ought to describe the mechanism, which made the connections, parallelisms and paradoxes possible; they encode in what is go- ing to subsequently develop as a concept. Thats right, here, excessively subjective, without any direct connection to classical topics, it is meant to outline and develop up to its maturity, a year before it becomes valid 5 . The concept, usually dened as a result of the consumers labeling demand (whos used to the category-type products and usage instruc- tions, thus limiting ones liberty of expression), can transform in the creative idea manipulating the project. In this case, the epic is capable of providing the concept with a new signication, which em- powers it with the functions of a scenarist or a main actor, besides the one performed by a stage director. The show regarding the translation of the immaterial concepts into a costume can appear incomplete in the absence of a legend to interpret different shadows of the past; consequently, I at- tach a series of illustrated stories which will hope- fully clarify the Dandidaist issues. Mr. Genosse represents the rst leap in time, made to mark 20 years since the collapse of the Berlin Wall. In the series of events organized at Sala Dalles, Bucharest, in October 2009, I was pleased to present my homage, at the end of a marathon performance, exhibiting the costumes of the students from the UNAB and UNATC. I found it appropriate to emphasize the two 5 In the already stated description one will have the possibility to observe that by means of collections I refer not only to series of costumes transposed in the material but also the singular items reaching the prototype level or the unique products provided with a complex potential of improvement. 165 mbr cat de Tovar ul Domnu n forma sa, doar adaptat vremurilor nu proiectat pentru ele. Diferitele t ieturi i trat ri se constitue ntr-o eta- lare a opiunilor, inspirate din funcia original (costum de lucru) i din adaptarea la noua condi- ie de om liber, cu aptitudini i idealuri. Aa cum am v zut eu, costumul b rb tesc nu s-a schimbat prea mult, n esen ; dei vari- ante sunt nenum rate, iar aceasta am ncercat s o sugerez i prin deschiderea complet fa de paleta cromatic . Accesoriile, de provenien industrial , las la discreia purt torului alegerea din spectrul multifuncionalit ii. Astfel, inven- tivitatea i curajul pot iei n eviden printr-o aranjare neconvenional. Este acelai atribut ce decades right in the title by attaching a polite- ness pronoun fellow (genosse, in German) to Mr (mister, in English) joining the (verbal) presenta- tion of the East European man, before and after the decay of the Iron Curtain. The slowliness of the democratic process, foreseen in a rather too optimistic way, permitted me to cover the gaps in a single stylistic step. The union suit, the sym- bol of the communist worker, is put on by fellow Mr. in its form, only adapted to the times not designed for them. The various cuttings and ap- proaches develop in a display of options, inspired from the original function (working suit) and the adjustment to the new condition of free people, endowed with aptitudes and ideals. Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 166 transform banalele geni de pota sau geni de mti de gaze, n obiecte cool. Aero Port este o transpunere a aspiraiei de a zbura, sau mai curnd a accepiunilor acesteia n mileniul al treilea. n decurs de numai un secol, omul a reuit s -i mplineasc multe dintre cele mai ndr znee visuri, l snd impresia c nimic nu va r mne neinventat sau nedescoperit. Cu toa- te acestea, majoritatea noastr se mulumete cu profunda admiraie pentru zbur torii de orice fel. Imaginnd aeroportul ca pe un imens catwalk al identit ilor, am creat o serie de costume ce adapteaz diferite forme ale uniformei de aviator, vremurilor noastre. Pe de alt parte, am ncercat pe un drum deschis de Simon Thorogood s mprumut elemente din industria aeronautic n sistemul de construcie al tiparelor pentru haine; n viteza obinuit a contemporaneit ii, nu stric niciodat un plus aerodinamic. Creatorul de aero- haine londonez a motenit pasiunea de la tat l s u (inginer-constructor de avioane), ilustrnd deasa folosire a componentei sentimentale ca baz a pi- onieratelor artistice. Personal le port o deosebit consideraie temerarilor romni Henri Coand , Aurel Vlaicu sau Traian Vuia i le-am omagiat me- moria prin realizarea retro-proieciei siluetei de aviator. Ornamentele, rezonante de asemenea cu graca aeronautic , al turi de accesoriile reinven- tate au rolul de a mprumuta purt torului o par- te din prestana specic piloilor, altfel o cauz pierdut temporar de vestimentaia masculin . Am g sit, n ideea de aeroport, spaiul contemporan ce poate caracteriza societatea contemporan : n vitez , globalizat i cu multe pori. Under Port, aa cum i spune i numele, este layerul de... sub port. Am creat o serie de prototipuri din gama lenjeriei de corp masculi- ne, ce se pot observa n completarea nveliului principal. A doua piele are menirea de a proteja intimitatea i de a vorbi despre ea. Bluzele de corp transparente, izmenele cu braguette 6 , fusta ataat cing torii i vesta-earf readuc pe tapet tema b rbatului cu picioarele la vedere, ca factor decisiv n descoperirea identit ii secrete. Sexua- litatea nu mai este un subiect tabu al modei mas- culine, nici m car unul de actualitate; a devenit 6 Braguette este partea vemntului ce acoper p rile genitale masculine. As I have seen, the male suit has not changed too much although there are limitless variants, and I tried to suggest it by the complete preference for the chromatic scale. Originally industrial, the acces- sories provide the carrier with the liberty to choose from the spectre of multifunctionality. Thus, inven- tiveness and bravery can be emphasized through a non-conventional arrangement. It is the same at- tribute which transforms the trivial postman bags or gas mask bags into cool objects. Aero Port is a transposition of the aspiration to y or rather of its senses in the third millennium. In only one century, man succeeded in making many of his most courageous dreams come true, making us believe that nothing is going to remain un-invented or undiscovered. Despite all these, our great majority is satised with the profound admiration for any kind of iers. By imagining the airport as an immense cat- walk of identities, I created a series of costumes adjusting different forms of the pilot uniform to our times. On the other hand, I tried on a way opened by Simon Thorogood to borrow ele- ments from the aeronautic industry in the system of construction applied in the clothing samples; in the common speed of contemporaneity, it never hurts to feel an aerodynamic plus. The creator of aero-clothes from London in- herited the passion from his father (an engineer in the construction of planes), and illustrated the complex use of the sentimental component as the basis of artistic pioneerdom. I am personally grate- ful to a number of Romanian venturesome charac- ters such as Henri Coand, Aurel Vlaicu or Traian Vuia and I respected their memory by achieving the retro-projection of the pilot silhouette. The ornaments, also related to the aeronauti- cal graphics, besides the re-invented accessories, are meant to provide their carrier with a part of the stateliness typical to pilots, which is otherwise a cause temporarily lost by the male clothing. In the context of airports, I have found the contem- porary space, which can characterised by speed, globalization and many other gates... Under Port, as its name suggests, is the layer... under the port. I have created a series of prototypes from the collection of male un- derwear, which can be observed in the com- pletion of the main coating. The second skin 167 un instrument la care se apeleaz frecvent, doar pentru rezonana sa comercial . Transparenele, neglejeritatea 7 , dubla protecie sau micorarea num rului de cus turi au coordonat realizarea seriei ce vizeaz sporirea potenialului erotic cu ajutorul seduciei sartoriale. L sarea lenjeriei intime prad privirilor a fost popularizat de rapperii afro-americani, iar tine- rii discipoli au cobort nivelul interpret rii, poate mai mult dect era cazul. n c utarea descrierii siluetei care s descrie senzualitatea masculin , am renunat total la stratul consacrat mbr c rii picioarelor, nchipuind un altul, care s le eviden- ieze structura. Promovarea morfologiilor umane n dezacord cu idealurile clasice de frumusee a existat de la nceput n apanajul creatorilor de mod avangar- diti. Astfel, burtica, oldurile late sau muchii pectorali nedezvoltai au devenit vedete f r voia lor, descriind tipologia masculin activ oricum altfel dect zic. C.O.-boy a pornit de la documentarea pen- tru proiectul, menionat anterior, ce avea s asi- gure garderoba shooting-ului pentru realizarea materialelor promoionale ale expoziiei lui Ion Brl deanu. Cowboy-ul, cu a c rui siluet se identic artistul, a inspirat numeroase acte de curaj domestic i reprezint un etalon de mascu- linitate universal . Filmele recente de tip western ale regizorului american Quentin Tarantino (Kill Bill, Django) au f cut din personaj o personalita- te modern . T, t-shirt este versiunea personal a trico- ului n form de T. Croit dintr-o singur bucat , prototipul se preteaz es turilor tubulare, cu un procent ce tinde spre 0% pierderi. De ase- menea, i-am l sat imprimeului elementul ce personalizeaz frecvent t-shirt-ul un spaiu mult mai amplu de desf urare. Tradiional Hypster este ideea bunului prie- ten, ilustratorul bucuretean Matei Branea, pentru inuta sa de nunt . Cele dou coordonate, prin care clientul se autodenete, au descris traseul personalit ii sale, ce urma a transformat n cos- tum. Elementelor ornamentale, mprumutate din portul popular (s sesc i oltenesc), am ncercat 7 Neglejeritate am numit aici combinaia dintre neglijen i lejeritate. is meant to protect intimacy and talk about it. The transparent vests, the braguette drawers 6 , the skirt attached to the belt and the scarf-vest emphasise the man whose leg is not covered, an essential element in the discovery of secret identities. Sexuality is no longer a secret sub- ject of male fashion. It has become an instru- ment which is frequently approached only for its commercial resonance. Transparency, the ignorance of lightness 7 , the double protection or the smaller number of sewings, coordinated the achievement of the series focusing on the increase of the erotic potential by means of the sartorial seduction. The free display of ones underwear was popularized by the Afro-American rappers and the young disciples lowered the lovel of interpretation more than they should have to. While searching for the description of the silhouette to describe male sensuality, I completely renounced to the stratum meant to cover the legs by imagining an- other one to emphasize their structure. The promotion of human morphologies, which do not agree with the classical ideals of beauty, had existed from the very beginning in the case of the avant-garde fashion creators. Thus, ones tummy, wide hips or undeveloped pectorals had unwillingly become some stars by describing the active male typology anyway more different than physically. C.O.-boy started from the documentation for the previously mentioned project which was going to ensure the shootings outt for the achievement of the promotional materials used in the exhibition of Ion Brldeanu. The cowboy, whose silhouette is used by the artist to identify with, had inspired numerous acts of domestic courage and repre- sents an ideal of universal masculinity. The recent western lms of the American lm producer Quen- tin Tarantino (Kill Bill, Django) made the character become a modern personality. T, t-shirt is the personal version of the T-shirt in the form of a T. Tailored in a single piece, the prototype is proper to the tubular weavings, with a 6 Braguette is the part of the clothing which cov- ers the male genitals 7 Neglectlightness the combination between ca- relessness and lightness. 168 169 Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 170 s le imprim gradul de funcionabilitate i suste- nabilitate corespunz tor noilor trenduri urmate de tn ra generaie. Am inclus aceast comand special lucr rii, datorit uenei procesului de concepere a ansamblului vestimentar. Cunoate- rea reperelor vizuale, de c tre client, a facilitat ac- ceptarea propunerii i purtarea ei ca atare. Odat cu derularea episodului al patrulea din proiectul Costumbre, am hot rt s m supun, ca subiect, cerin elor cursului, n speran a de a g si proiec ia personalit ii mele n sezonul viitor. La urma urmelor, prezentul celor ce sunt implica i, ntr-un fel sau altul, n circul modei se deruleaz n anul ce urmeaz . Pn acum, alegeam aceste siluete n urma unei analize a imaginii i a eventu- percentage aiming to 0% loss. I have also left the print the element, which frequently personalizes the T-shirt with a much larger developing space. Traditional Hypster is the idea of my good friend, an illustrator from Bucharest, Matei Branea, for his wedding outt. The two coordinates, through which the client denes himself, have described the route of his personality, which was meant to be transformed into a costume. I tried to provide the ornamental elements, borrowed from the folk outt (Saxon and from Oltenia), with the functionability and sustainability related to the new trends and respected by the new generation. I included this special order due to the conceiv- ing process of the clothing set. The knowledge of Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 171 alelor direc ii pe care le pot conferi anumite detalii specice; acestea urmnd a explorate prin pris- ma vizual personal ntr-o viziune contemporan . Asemenea testului zic cu fasciculul luminos, am ncercat s schimb locul factorilor n enun , c ci o problem de imagine trebuie neap rat analizat optic. Uneltele i ordinea folosirii lor r mn neschim- bate, rezultatul urmnd s con in o sum de idei compuse n straturi succesive, f r aptitudini de solu ie denitiv . Este o agend tridimensional ce poate analizat i testat (n faza ini ial ), apoi poate suferi modic ri i ajust ri, p strnd transparen a procesului creativ. Abaterile de la tra- seul prestabilit sunt aproape imposibil de evitat. H ruii permanent de s ge i mbr cate n haine de breaking news, am nv at s ne suprim m visurile ndep rtate. Creatorii de costume ale viito- rului se dovedesc neinspira i pe msur ce datele stelare devin actuale, iar ve mintele seam n mai curnd cu cele purtate de creatori n momentul primelor produc ii SF. R mne indubitabil faptul c viitorul se cl de te cu pa i consecutivi, pe c r rile deja b t torite, scurt turile prin noi dimensiuni reprezentnd singura op iune a designerilor de a ob ine rezultate inedite. Noul absolut este pe cale de dispari ie, iar ineditul tinde s devin gradul de compara ie imediat inferior acestuia, cu accent pe sensul de neobi nuit. Metoda rico eelor lexicale este lesne de intuit n ecua ia-concept: Roi Soleil + Cirque du Soleil = Soleil (Roi + Cirque) = Roi de Caro 8 Men ionez c am aplicat att ordinea operai- ilor, ct 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, nsu esc sunt subnelese forme- lor ce contureaz ipoteticele siluete. Contopi- rea celor dou idei, pe alocuri paradoxal opuse 8 Ecuaia model este o reducere la termenii de baz ai algebrei prin comparaia cu: simbolul eleganei fastuoase a costumului masculin n persoana lui Louis al XIV-lea, cunoscut ca Regele Soare a unei variante de spectacol contemporan, ales pentru rezonana denu- mirii sale (francofon i coninnd termenul soleil), rezul- tnd o combinaie ntre cele dou concepte (roialitate i circ) personicat n imaginea Regelui de Caro, un fel de romb!? visual references by the client facilitated the ac- ceptance of the suggestion. While working on the fourth episode from the Costshadows project, I decided to obey the demands of the course hoping to nd the pro- jection of my personality in the next season. Finally, the present of those involved, in a way or another, in the circus of fashion develops during the following year. Until now I used to select these silhouettes after an analysis of the image and the possible trends certain specic details can confer. These are going to be ex- plored from a personal visual perspective in a contemporary vision. Just like in the case of the physical test with the beam, I tried to change the place of the factors in the statement as a problem connected to the image must be nec- essarily analyzed in an optical way. The tools and the order of their use remain unchanged, and the result has to comprise a sum of ideas composed in successive strata, without any aptitudes of nal solutions. It is a tri-dimen- sional agenda which can be analysed and tested (in the initial stage), then it can undergo trans- formations and adjustments while preserving the transparency of the creative process. The devia- tions from the previous route are almost impos- sible to avoid. Permanently harassed by arrows dressed in breaking news outts, we have learnt to suppress our remote dreams. The creators of future costumes prove uninspired while the stel- lar data become actual, and the outt gets similar to the one worn by the creators during the rst Science-Fiction production. It is unquestionable that the future develops in consecutive steps, in already experienced contexts, the shortcuts by means of new dimensions representing the only option of the designers to obtain new results. The absolute new is gradually vanishing, and nov- elty aims to become its inferior degree of com- parison emphasizing the unusual element. The method of lexical ricochets can be easily intuited in the concept equation: Roi Soleil + Cirque du Soleil = Soleil (Roi + Cirque) = Roi de Caro 8 8 The sample equation represents a reduction to the main algebrical terms through the comparison with: the symbol of sumptuous elegance expressing the male costume in the person of Louis XIV, known as the Sun 172 i, n acela i timp, cu majore asem n ri, per- mite alegerea sacadat a zonelor ce urmeaz a explorate i mai apoi etalate sau uitate. Programul de modelare a spiritului, asemenea formelor clasice, presupune ini ial o asumare a purt rii tr s turilor dominante e i cu caracter documentar. Nivelul optim al balansului ntre o apari ie inedit i efectul scontat este dat doar n momentul instal rii rescului interior (am nu- mit aici starea neutr a individului). nainte de a face pasul spre etapa ce urmeaz s articuleze vizual conceptul, am sim it nevoia de o compara ie cu un alt domeniu, n care ine- ditul este noul nou. Aparte de curente muzicale de tip hybrid i voci dup toate asem n rile, mu- zica i tr iete contemporaneitatea cu ajutorul mash-up-urilor 9 , gradul de virtuozitate cu care sunt mpletite, cel pu in dou hituri muzicale din trecut, a dep it nevoia de ritmuri noi, (post) moderne. Partea video printre cele mai nou venite n nobila familie a artelor (deja cu noi ramica ii ex: mapping, 3D) este nelipsit din via a cotidian , scurtmetrajele videoclipuri muzicale devin spa ii perfecte pentru atmosfera necesar des vr irii cadrului vizat. Un alt ca- rambol al conceptului, de data aceasta de natur sentimental , m-a plasat n lumea lui Anton Cor- bijn, regizor-scenograf pentru ilustraia video a evergreen-ului celor de la Depeche Mode, Enjoy the silence. Continund paralela matematic , am inclus geometria simpl n construc ia tiparelor de baz ale ec rui produs n parte; rombul (60/120) suveran chiar i n titlu, deja sugerat de al turarea factorilor n ecua ia conceptual s-a dovedit a o alegere satisf c toare, att din punct de ve- dere al compozi iei n ansamblu a liniilor de for , ct i a consumului de material. Pentru a p stra impersonalitatea necesar unui asemenea proiect de cercetare, nu voi insis- ta cu enumerarea celor ce au condus la alegerea unui anumit tip de ve mnt sau unui anumit tip de materie prim . nt resc ideea de a selecta pie- sele ca layere succesive, ce vor dialoga i se vor completa, f r riscul de a afecta func ionalitatea i rostul ec ruia. Astfel, imaginea complet de- 9 Este compozi ia rezultat din suprapunerea a cel pu in dou cntece, de obicei folosind partea vocal a uneia, suprapus ilustra iei muzicale a celeilalte. I mention that I have applied both the order of operations and their meaning in a personal way, which is partially Dadaist, not according to algebrical rigors. The attributes, which I need to develop and eventually acquire, are implied in the forms de- ning the hypothetic silhouettes. The juxtaposi- tion of the two partially opposing ideas, yet also emphasizing major similarities, permits the abrupt choice of the zones which are going to be explored then displayed or forgotten. The program used to model the spirit similarly to classical forms initially presumes an assumption to accept the approach of dominant characteristics, no matter if they are documentary or not. The op- timus level of the balance between a new appear- ance and the expected effect is given only when setting the interior matter of course (here I have named the neutral condition of the individual). Before advancing towards the next stage, which aims to articulate the concept visually, I felt the need to compare it with another domain in which novelty is the new new. Apart from the hybrid-like musical trends and voices according to all similarities, music experiences its contem- poraneity by means of mash-ups 9 , the virtuosity degree used to combine at least two musical hits from the past, surpassing the need to get new and postmodern rhythms. The video part among the recent ones in the noble family of arts (al- ready with new ramications, for instance, map- ping, 3D) is present in our everyday life, the short lms musical videoclips become perfect spaces in the atmosphere needed to make the context much better. Another pattern of the concept, this time a sentimental one, placed me into the world of Anton Corbijn, a director designer of the video illustration of Enjoy the silence, one of the ever- green songs of Depeche Mode. Continuing the mathematic parallel, I have God a variant of a contemporary performance selected for the resonance of its name (Francophone and compris- ing the soleil term); what we get is a combination between the two concepts (royalty and circus) personied in the image of Caro King, a sort of rhombus!? 9 It is the composition resulted from the juxtapo- sition of at least two songs, by usually using the vocal part of one overlapping the so-called musical illustration of the other. 173 Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 174 vine principalul obiect de studiu, n perspectiva cre rii unei serii ce poate satisface, sartorial, e- care moment al unui sezon ntreg. Ca Ro Surf completeaz seria identit ilor cu o concluzie vestimentar a vizitei n Florida. Prototipul continu c l toria croielilor n form de romb, odat cu descoperirea direct a sportului nautic ce anim coasta Atlanticului. n clipul de prezentare a concluziilor dandida- iste, am mbr cat f r a ine cont de identit ile originale o parte dintre elementele vestimenta- re amintite mai sus. Propunerile, absolutamente aleatorii, urmau a spori num rul combinaiilor posibile, evalund fezabilitatea implement rii unei ordini dandidaiste n garderob . included the simple geometry in the construction of each separate products patterns; the rhombus (60/120) sovereign even in the title, already suggested by the association of factors in the con- ceptual equation proved to be a satisfying choice not only from the perspective of a general compo- sition of the lines of force, but also from the one regarding the materials consumption. In order to preserve the impersonality needed in such a research project, I shall not insist with the enumeration of those leading towards the selection of a certain type of clothing or a certain type of raw material. I emphasize the importance of the idea suggesting the selection of items as successive lay- ers which are going to entertain the dialogue and Rzvan Vasilescu, Experimentnd Colecia Dendidaist, 2013 Rzvan Vasilescu, Experimenting the Dendidaist collection, 2013 175 complete each other, without affecting the func- tionality and reason of each. Thus, the complete image becomes the main object of study, from the perspective of some series which can satisfy each moment of a whole season in a sartorial way. Ca Ro Surf completes the series of identities with a conclusion regarding clothings during a visit to Florida. The prototype continues the journey of clothing in the shape of rhombuses simultaneous- ly with the direct discovery of the nautical sport animating the Atlantic Coast. In the clip presenting the Dadaist conclusions I have put on without respecting the original identi- ties some of the clothing items mentioned above. The absolutely incidental suggestions were meant to increase the number of possible combinations by evaluating the feasibility of the implementation of a Dandidaist order in ones wardrobe. 176 Sergiu CHIHAIA asistent universitar doctor junior lecturer doctor 177 Postmodernismul s-a manifestat n mod cu precdere de-a lungul ultimelor dou dece- nii, prin designerii Comme des Garons, Alexan- der McQueen i Vivienne Westwood. Acetia au punctat principiile sale majore. Cum putem recu- noate Postmodernismul n moda actual? Acest curent artistic a fost folosit la scar larg n ultimii douzeci de ani, dar este aproape imposibil de denit termenul cu acuratee. Ad literam, Post- modernism nseamn dup curentul Moder- nism, dar acest termen ascunde mult mai mult. Un lucru este cert, Postmodernismul acoper o gam variat de domenii artistice. Teoreticienii importani folosesc acest termen pentru a se re- feri la un punct de deviaie aprut n literatur, teatru, arhitectur, cinematograe i design. Iniial, Postmodernismul a fost o reacie la Modernism. Malcolm Bernard explica: Moder- nismul creeaz obiectul pentru producie, Post- modernismul concepe pentru consum. Acest lucru nseamn c toate formele de art sunt realizate cu unicul scop de a devorate, sco- pul Postmodernismului ind de a ajunge la un public ct mai larg. Postmodernismul poate , de asemenea, folosit pentru a descrie societatea n care trim astzi: Postmodernismul integrea- z la scar planetar o lume post-industrial de mass-media, sisteme de comunicare i de infor- mare. Are ca fundament o societate orientat spre piaa de consum, n defavoarea muncii i produciei (...), este o lume a culturii n care tra- Postmodernismul i moda Postmodernism had manifested especially during the last two decades due to several de- signers such as Comme des Garons, Alexander McQueen and Vivienne Westwood. They empha- sized its major principles. How can we recognize Postmodernism in the context of present fash- ion? This artistic trend had been widely used during the latest twenty years yet it is almost impossible to dene this trend accurately. Liter- ally, Postmodernism means after Modernism, however this term hides much more. One detail is certain, Postmodernism covers a wide range of artistic domains. Important theoreticians use this term to refer to a deviation point emerged in literature, theatre, architecture, cinematogra- phy and design. Initially, Postmodernism represented a reac- tion to Modernism. Malcolm Bernard explained: Modernism creates the object for production, Postmodernism conceives for consumption. This means that all the art forms are realized only to be devoured, and the goal of Postmodernism is to reach a very large public. Postmodernism can be also used to describe the society in which we live today: Postmodernism integrates a postin- dustrial world of mass-media, or systems of com- munication and information on a world scale. It is based on a society focused on consumption, against work and production... it is a world of culture in which tradition, shared values ... faith and world standards were contested, submined Postmodernism and fashion 178 Anul II Licen, Costume pentru Teatrul Masca, 2014 Second year BA, Costumes for Masca Theatre, 2014 179 180 Anul II Licen, Costume pentru Teatrul Masca, 2014 Second year BA, Costumes for Masca Theatre, 2014 181 diia, valorile comune (...) credina i standar- dele universale au fost contestate, subminate i respinse pentru eterogenitate, deosebire i dife- ren. (Bernard, 2007) Postmodernismul poate apreciat ca un stil artistic sau ca o abordare a furirii lucrurilor. Prin modul n care hainele sunt realizate, acestea ofe- r contur i o anumit poziie social purtatoru- lui. Andrew Hill evideniaz hainele nu mai sunt asociate exclusiv cu o anumit ierarhie social, cum era odinioar. Spre exemplu, n secolul al XIX-lea expunerea unei pri dezgolite a corpului feminin era asociat cu prostituia. n schimb, n prezent, sensul peiorativ al goliciunii trupului femeiesc i-a pierdut sensul peiorativ i ncadra- rea moral x din timpurile apuse. Postmodernismul nu face diferen ntre ar- tele tradiionale i cele neconvenionale. Unele forme estetice de art au fost catalogate ca fe- minine (un exemplu gritor ind moda), n loc s e considerate arte inferioare fa de artele cu veleiti masculine (arhitectura). n Postmo- dernism nu exist un set de reguli stricte care s deneasc fr echivoc diferitele forme de art. Pe tot parcursul secolului al XIX-lea, orice lu- crare de art elaborat sau decorativ era con- siderat feminin i inferioar, aceast distincie ind pstrat de-a lungul secolului al XX-lea mo- dernist. (Ash and Wilson, 1992) Postmodernismul pune sub semnul ntre- brii valorile culturale tradiionale ale societ- ii contemporane, cu precdere cele ale culturii occidentale. Stilul de via cotidian s-a schimbat dramatic fa de acum 50 sau chiar 30 de ani. Valorile tradiionale ale cstoriei i familiei au disprut, datorit egalitii dintre sexe de la locul de munc. Deasemenea, vrsta la care femeile se cstoresc nu mai este aa de fraged. Un numr crescut de cupluri aleg s nu aib urmai. Inuena religiei asupra societii a sczut dra- matic fa de secolul trecut, devenind nensem- nat pentru destule persoane. Postmodernismul a devenit un portret al acestor schimbri aprute n cultura i societatea contemporan. Iat ce declar Elizabeth Wilson (Visiting Professor of Cultural Studies at the London Col- lege of Fashion): Micarea postmodernist poa- te denit printr-un singur termen, Zeitgest and rejected for heterogeneity, divergence and differences. (Bernard, 2007) Postmodernism can be appreciated as an artistic style or an approach to create things. Through the way the clothing is created, it pro- vides the owner with an outline and a certain social position. Andrew Hill states that clothes are no longer associated with a certain social hierarchy as a long time ago. For instance, in the 19th century, the exposure of a nude part of the womans body was associated with prostitution. On the other hand, nowadays the depreciatory meaning suggesting the naked- ness of the womans body has lost its ironical perspective and the rigid moral denition for- mulated in the past. Postmodernism makes no difference be- tween the traditional and unconventional arts. Some esthetic forms of art were seen as femi- nine, (a relevant example is expressed by fash- ion), instead of being considered inferior arts if compared to masculine ambitions (architec- ture). In Postmodernism there is no set of strict rules to dene different art forms in an evasive and ambiguous way. During the whole 19th century, any work of elaborated or decorative art was considered feminine and inferior, and this distinction was preserved in the 20th modernist century. (Ash and Wilson, 1992) Postmodernism questions the traditional cul- tural values of the contemporary society espe- cially the ones related to occidental culture. The everyday lifestyle changed dramatically 50 or even 30 years ago. The traditional values con- nected to marriage and family disappeared given the equality between genders at the workplace. Moreover, women are no longer so young when they get married. There are more and more cou- ples who give up the idea of having successors. The inuence of religion upon society decreased dramatically if compared to the situation experi- enced last century, and many people consider it irrelevant. Postmodernism became a portrait of these transformations emerged in the contempo- rary culture and society. Elizabeth Wilson (Visiting Professor of Cul- tural Studies at the London College of Fashion) 182 (Spiritul timpului), termenii post-modernism i postmodern intrnd n uzul general al popula- iei sub acest sens. Formele de art din Postmodernism rede- nesc relaia dintre arta cult i cultura popular, punnd sub semnul ntrebrii prezumtivele dife- rene dintre lucrrile de art i alte produse de larg consum. Prin urmare, care este implicarea Postmoder- nismului n mod? Dup cum am menionat an- terior acestor rnduri, acest curent mbrieaz toate formele de art. Cu toate c moda nu este privit ca art, dezaprobat de adepii artelor tradiionale, chiar reuete s transpun un nu- mr covritor de elemente denitorii ale Post- modernismului. Dovezile netgduite pot ob- servate la prezentrile de mod ale designerilor consacrai i debutani. Recent, pe lng designerii consacrai ai Postmodernismului (Maison Martin Margiela, Vi- vienna Westwood, Comme des Garons, Yohji Yamamoto i Hussein Chalayan), designerii de- butani abuzeaz de Postmodernism n colec- iile prezentate, ntotdeauna cu gndul la viitorul modei, dar mereu inspirai de trecut. Nimic nu mai este prea controversat pen- tru noi, le-am vzut i fcut pe toate! Un model delnd pe catwalk ntr-o rochie transparent, nclat cu panto sport nu declaneaz scan- dalul pe care l-ar pornit cu 30 de ani n urm. Conotaia sexual a disprut, trupul urmaei Evei nemaiind doar un obiect al instinctelor prima- re. Femeile sunt pe picior de egalitate cu brbaii din multe puncte de vedere. Pentru mine, asta reprezint emanciparea femeii. Cu riscul de a contrazis de unele feministe, Elizabeth Wilson spune: Membrele micrii feministe au nceput s exploreze sensurile eleganei (fashionable!!) i s descopere modele noi de rochii. Aceast prospeciune s-a desfurat mpotriva frmei de suspiciune a feministelor tradiionale asupra ro- chiilor voluptuoase: multe feministe respingnd ideea de mod pentru felul n care poteneaz ideea de jucrii sexuale asupra sexului slab, aso- cierea cu consumerismul evident i poziia femeii ca proprietate de lux, iar femeia este interpretat ca neajutorat (tocurile nalte i taliile strnse pot incomoda micarea liber). states the following: The postmodern movement can be dened through a single term, Zeitgest (the spirit of time), while the post-modernism and postmodern terms are generally used by the population from this viewpoint. The art forms in Postmodernism re-dene the relationship between the cult art and folk culture, questioning the possible differences between works of art and other consumer goods. Consequently, which is the implication of Postmodenism in fashion? As I have already mentioned, this trend comprises every form of art. Although fashion is not seen as art, it is even disconsidered by the fantatics of traditional arts, it succeeds in transposing an overwhelming number of postmodern essential elements. The undenied evidence can be ob- served at the fashion shows of traditional and dbutant designers. Recently, besides the well-known design- ers of Postmodernism (Maison Martin Margiela, Vivienna Westwood, Comme des Garons, Yohji Yamamoto i Hussein Chalayan) the dbutant de- signers take advantage of Postmodernism in the collections presented. Always thinking of the fu- ture of fashion yet always inspired by the past. Nothing is too controversial for us, we have seen and done all of it! A mannequin marching along the catwalk, in a transparent dress and Adidas sport shoes, does not provoke the scandal it might have started 30 years ago. The sexual connotation vanished, and the body of Eves de- scendant is no longer only an object of primary instincts. Women and men nd themselves on an equal footing from more perspectives. For me this represents the emancipation of women. At the risk of being contradicted by some feminist characters, Elizabeth Wilson tells: The members of the feminine movement began to explore the meanings of (fashionable!!) ele- gance and nd new dress patterns. This pros- pecting developed against the slight suspicion of traditional feminists regarding the voluptuous dresses: many feminists reject the idea of fash- ion given the way it intensies the idea of sexual toys inuencing the weaker and gentle sex, the association with the obvious consumerism and the womans position as a property of luxury, and 183 Dar tocmai despre asta este vorba n Post- modernism, mbriarea tuturor punctelor de vedere i evitarea unei singure explicaii. n concluzie, din cercetarea mea asupra postmodernismului i felul n care inueneaz moda, am nvat c implic mai mult dect o custur neterminat sau o muchie brut. Fieca- re rnd cusut pe material, ecare linie trasat de designer, ecare nasture cusut (sau nu) are un sens anume. Moda n sine este Postmodernism, reect lumea n care trim astzi. Am mai aat c exist i o alt latur a artei: crticii de art care deconstruiesc nelesul ecrei forme de art i analizeaz semnicaia ecrui detaliu, orict de insigniant ar . Fiecare detaliu este argumen- tat i disecat de mai muli critici, care separat scriu articole, jurnale i cri pe acelai subiect. Postmodernismul n mod este omniprezent: ec- lectism, pasti, parodie i deconstructivism. De- signerii de mod mbin constant noul cu vechiul, pentru a zmisli creaii care s devin the next big thing. Cu ajutorul mass-mediei, moda a de- venit mult mai accesibil i poate ajunge pe tot cuprinsul Terrei, pentru a la ndemna consu- matorului. Moda evolueaz cu o vitez mai mare dect acum 30 de ani, i magazinele trebuie s se aprovizioneze constant cu colecii noi, pentru a satisface cerinele cumprtorilor pentru fast fashion. the woman is interpreted as helpless (the high- heeled shoes and tight corsages can make the free motion uncomfortable). This is exactly what Postmodernism is about, the approach of many viewpoints and the igno- rance of a single explanation. As a result, from my research and analy- sis of Postmodernism and the way it inuences fashion, Ive learned that it involves much more than an unnished seam or a brute margin. Eve- ry line sewn on the material, each line marked by the designer, or each button (sewn or not) are provided with a certain signication. Fash- ion itself is postmodernism, it reects our own world. I have also seen that there is another aspect of art, the art critics who de-construct the meaning of any art form and analyze the rel- evance of each detail no matter how irrelevant it might be. Each detail is argumented and dissected by more critics, who write their articles, journals and books separately and on the same topic. Postmodernism can be found everywhere in fashion: eclecticism, pastiche, parody and de- constructivism. Fashion designers constantly combine the new with the old in order to create the next big thing. By means of mass media, fashion has be- come more accessible and can get to the whole Earth in order to be out of the consumers reach. Fashion advances much faster than 30 years ago and the stores must be constantly supplied with new collections to satisfy the customersdemands for fast fashion. 184 185 Anul II Licen, Costume pentru Teatrul Masca, 2014 Second year BA, Costumes for Masca Theatre, 2014 186 Oana Maria ROCA asistent universitar doctorand junior lecturer phd candidate 187 Multe tinere, care n copilrie au tiat per- deaua mamei ca s fac rochie ppuii, doresc s devin creator de mod. i eu am visat la fel. Liceul de Art Nicolae Tonitza mi-a netezit calea spre cariera pe care sper c am ales-o bine. Am intrat la UANB, am fcut un Master n Mod i ia- t-m acum cadru didactic i doctorand n ace- eai specialitate. Sper s pot s ajut i ali tineri s-i ndeplineasc visuri asemntoare. mpreun cu colectivul profesoral din care fac parte cu onoare de apte ani asigurm cu profesionalism i abnegaie nevoia de cunoatere a tinerelor generaii. Atmosfera de mare familie de aici, n care profesorii sunt un fel de prini, iar studenii un soi de copii mai mult sau mai puin asculttori, este propice desfurrii unui proces de lucru n colectiv. Este poate singurul loc n care viitorul creator se poate exprima liber, ndrzneala i exuberana caracteristice vrstei neind nc do- molite de inevitabile constrngeri ulterioare. n acelai timp, cu toii suntem obligai s parcurgem un proces continuu de studiu i cer- cetare, valoricat prin experimentare i creaie. n momentul de fa, eu sunt implicat, sub coordonarea doamnei profesor Unda Popp, n - nalizarea tezei mele de doctorat. n aceast tez, intitulat Costumul de ce- remonie n nalta societate a Principatelor Rom- ne, n perioada domniilor fanariote; Inuene i tendine; Modaliti de preluare i prelucrare n O tem de cercetare Cltoria n trecutul istoric naional Many young women who, during their child- hood, had cut their mothers curtain to make their doll a dress, wanted to become fashion design- ers. I was dreaming likewise. My art high-school, Nicolae Tonitza, oriented my career, which I hope is the proper one. I went to the National University of Arts, Bucharest, I graduated from a Fashion MA and here I am, a professor and PhD student in the same specialty. I hope I will have the opportunity to make other young people ful- ll their similar dreams too. Together with the teaching staff I have been honoured to belong to for seven years we provide the young generations with the knowledge they need, with professionalism and abnegation. The family atmosphere from here, where professors are like parents and students are like more or less obedient children, is proper to the development of a collective work process. Per- haps it is the only place where the creative fu- ture can be expressed freely, and the boldness and exuberance characteristic of the age have not been subsided by the inevitable subsequent compulsions yet. Withal, we are all obliged to experience a continuous process of study and research evalu- ated through experimentation and creation. At present, I am focused on the completion of my PhD thesis coordinated by professor Unda Popp. A topic of research The journey to the national historical past 188 Oana Maria Roca, B.I.N., 2013 189 190 fashion-ul actual ncerc s explorez i s valoric prin ltrul personal costumul de ceremonie de la curtea domnilor fanarioi (1711 1821). Acest veac de tranziie de la domniile p- mntene spre epoca modern are caracteristici denitorii n ceea ce privete costumul purtat de personajele de rang nalt. Costumul de origine bizantin, peste care s-a suprapus costumul turcesc aa cum a fost adus de fanarioi, ofer o imagine unic i spectacu- loas, caracteristic romnilor, nainte ca moda apusean s ne copleeasc. Toat lumea este de acord c moda, ca form de art, este un mediu de exprimare a propriei personaliti a creatorului. Aceast expresie a per- sonalitii se refer ns, mai mult sau mai puin, i la consumatorul de mod. Globalizarea modei sau moda globalizat a produs o anihilare treptat a personalitii, mai ales n cazul consumatorului. Globalizarea modei a fost determinat de globalizarea industriei de mod. Un tricou Nike este purtat oriunde i nu ne poate da nici un indiciu despre naionalitatea sau cultura celui ce l poart. Mrci de renume au o prezen internaio- nal consistent, de multe ori ind mai populare n alte pri de pe glob dect n ara de origine. Unul din cele mai bune exemple pentru un astfel de fenomen este brand-ul Louis Vuitton, a crui popularitate este extrem de mare n Japonia. Nu trebuie s omitem faptul c aceast popularitate a crescut i n urma colaborrii cu artistul pop Takashi Murakami. Un alt factor determinant n globalizarea modei a fost existena la nivel mondial a unor reele de institute de nvmnt pentru design vestimentar. LEcole Suprieure des Arts et Tech- niques de la Mode (ESMOND), fondat n 1841 la Paris, i-a dezvoltat n timp colegii la Berlin, Mnchen, Beijing, Beirut, Damasc, Dubai, Jakar- ta, Osaka, Tokyo, Oslo, Seul, Sao Paolo etc. n aceast enumerare identicm localizri n ri musulmane, alturi de ri cu tradiie catolic puternic, precum Brazilia. Aceste institute ofer o metod de nvare standardizat, punnd n lumin omogenitatea creaiei de mod. Pentru susintorii globalizrii, moda este parte integrant a hibridizrii culturale. In this thesis, entitled The ceremonial cos- tume in the high society of the Romanian Princi- palities during the Phanariot reigns; Inuences and tendencies; Overtaking and processing mo- dalities in the present fashion I try to explore and evaluate the ceremonial costume from the court of Phanariots from my own viewpoint (1711 1821). This century of transition from the earthly reign to the modern epoch has some dening characteristics regarding the costume worn by senior gures. The Byzanthine costume overlapped by the Turkish costume, in the way it was brought by Phanariots, offers a unique and spectacular im- age specic to Romanians before we were over- whelmed by the western fashion. Everybody agrees that fashion, as a form of art, represents a medium used to express the personality of the creator. However, this expres- sion of his personality also refers, more or less, to the consumer of fashion. The globalization of fashion, or the globalized fashion, have produced a gradual annihilation of personalities, especially in the case of consumers. The globalization of fashion was determined by the globalization of fashion industry. A Nike T-shirt is worn anywhere and cant provide any clue regarding the nationality or culture of the one wearing it. Brand names are consistently present inter- nationally, and most of the times they are more popular all over the world than in their native country. One of the best examples to illustrate such a phenomenon is the Louis Vuitton brand, whose popularity is extremely high in Japan. We must not ignore the fact that this popularity in- creased after the collaboration with a pop artist, Takashi Murakami. Another essential factor in the globalization of fashion was the global existence of some high educational networks in fashion design. LEcole Suprieure des Arts et Techniques de la Mode (ESMOND), founded in 1841 in Paris, developed its colleges in time at Berlin, Mnchen, Beijing, Beirut, Damasc, Dubai, Jakarta, Osaka, Tokyo, Oslo, Seul, Sao Paolo, etc. In this enumeration we identify locations in Moslem countries, be- 191 Oana Maria Roca, B.I.N., 2013 192 Oana Maria Roca, B.I.N., 2013 193 194 195 sides strong Catholic countries like Brasil. These institutes offer a standardized learning method, highlighting the homogeneity of fashion. For the supporters of globalization, fashion is an integral part of cultural hybridization. Thus, commercially successful creators like Dolce & Gabbana or experimental conceptualists like Rei Kawakubo often focus on the aspects of different ethnic costumes and integrate them in their collections. To the utmost, this can make a young woman from South Africa wear a clothing set inspired from the Indian sari. The anatagonists of globalization connect these phenomena regarding the expansion of occidental ideas to the idea of capitalism and consumerism. For them, the preservation of a differentiation among different regional cultures represents a more signicant evidence of origi- nality. I believe we must agree with them or at least reect on their approach. Astfel, creatori cu succes comercial ca Dolce & Gabbana sau conceptualiti experimentali ca Rei Kawakubo se apleac adesea pe aspecte ale diferitelor costume etnice i le integreaz n co- leciile lor. La extrem, acest lucru poate conduce ca o tnr din Africa de Sud s poarte un an- samblu inspirat din sari-ul indian. Opozanii globalizrii leag aceste fenome- ne de expansiunea ideilor occidentale de capi- talism i consumerism. Pentru ei, pstrarea unei diferenieri ntre diferitele culturi regionale este o dovad mai pregnant de originalitate. Cred c trebuie s m de acord cu acetia, sau mcar s reectm asupra abordrii lor. Oana Maria Roca, B.I.N., 2013 196 Gheorghe PREDA lector universitar doctor lecturer doctor 197 Am acceptat n anul 2011 invitaia doamnei profesor Unda Popp de a ine un curs de fashion & media la Departamentul Mod a UNAB, ca pe o provocare. Veneam dup 17 ani de activitate didactic n mai multe universiti din ar (UNATC, Uni- versitatea Media, Universitatea Hyperion i Fa- cultatea de Teatru i Televiziune de la Cluj) i dup cteva lme de lung i de scurt metraj f- cute pentru televiziune i cinema, iar acest curs ntregea cumva dou pasiuni secrete ale mele: moda i fotograa. Realizasem, cu civa ani n urm, un lm do- cumentar despre costumele doamnei Adina Nanu i ntlnirea a fost una fascinant pentru mine. Educaia sentimental, cci aa se chema lmul, nu are cum s lipseasc din profesiunile noastre. Iar cursul nostru tocmai asta face: i nva (sentimental, dar i cu ceva rigoare) pe studeni s e i fotograi, i regizorii lmelor care arat lumii propriile lor creaii. Pentru c odat descifrat mecanismul dis- cursiv al fotograei i lmului de fashion, ei vor tii mai trziu ce s cear profesionitilor n dome- niu, cnd va vorba de o strategie mediatic prin care lumea modei, dar i cei doritori s se mbrace cu gust, s ia cunotin de realizrile lor. Orict ai de talentat nu poi tri doar n lumea i preocuprile tale. Cineva, la un moment dat, trebuie s cunoasc activitatea ta, s-i Magia imaginilor In 2011, I accepted the invitation of Profes- sor Unda Popp to teach a fashion & media course at the Fashion Department of the National Uni- versity of Arts, Bucharest, as a challenge. After 17 years of didactic activity I had to go to more Universities from the country (UNATC, the Media University, Hyperion University and the Faculty of Theatre and Television, Cluj) and after some feature or short lms, made for televi- sion and the cinema, this course was somehow fullling two secret passions of mine: fashion and photography. Several years ago I had made a documentary about the costumes of Mrs. Adina Nanu and the encounter was rather fascinating. Sentimental education, the lms title, couldnt miss from our professions. And this is what our course does: teaches (sentimentally, yet with some rigor) the students to be both the photographers and lm producers showing their own creations to the world. As once they decode the discoursive mecha- nism of photographies and fashion lms, they will later know what to ask from the domain experts when they are going to approach a media strat- egy through which the world of fashion, as well as those willing to dress up accordingly, will get in touch with their accomplishments. No matter how talented you might be, you cant live only in your world and preoccupations. Someone, at a certain moment, must be aware The Magic of Images 198 Nicoll Bergman 199 Ana Maria Spiridon 200 aprecieze hainele i s le cumpere. A vinde o hain nu nseamn neaprat a c- dea pe panta facilului i a comercialului, ci mai degrab a-i creea posibilitatea dezvoltrii cari- erei prin suportul material necesar altor colecii, altor prezentri i altor suporturi mediatice. Noi am structurat activitatea noastr pe dou niveluri: La anul nti, i nvm pe studeni gra- matica fotograei de fashion i le formm ca- pacitatea de a gndi conceptual, astfel nct la sfritul anului, ei s poat prezenta dou site- uri cu creaiile lor: Unul prezentat n sesiunea de iarn are un concept impus de costum, cellalt, prezentat n sesiunea de var, va cuprinde fotograi cu hai- nele fcute n coal la cursurile de prol. Nu poi face nimic n nici o industrie cre- ativ fr s cunoti n detaliu realizrile i personalitile semnicative din domeniul respec- tiv. n acest context, ni se pare esenial edu- carea studenilor notri n materie de fotograe contemporan de fashion. Ei trebuie s cunoas- c faptul c n acest domeniu exist nume care au revoluionat nu numai comunicarea mediati- c, dar i fotograa ca gen artistic. Mari creatori de mod i-au legat denitiv numele de fotograile fcute de ei. Erwin Olaf, David LaChapelle, Paolo Rover- si, Mario Testino, Sarah Moon, Steven Meisel, Nick Knight, Steven Klein, Mert & Marcus, An- nie Leibowitz, Eugenio Recuenco, Irving Penn, Jean-Baptiste Mondino sunt doar civa dintre fotograi de fashion ale cror opere vor stu- diate la curs. n primvara acestui an, vom avea, pentru prima dat n istoria Departamentului Mod un site cu toate website-rile tematice ale studenilor, realizate n ultimii trei ani. Vom putea, astfel, demonstra att nivelul la care ei au ajuns n materie de mod, dar i ori- ginalitatea suportului mediatic, pe care deja tiu s se bazeze. La anul doi, pariul nostru e i mai ambiios. Studenii trebuie s realizeze un fashion-lm cu o durat de 3, 4 minute care s e un discurs au- dio-visual pornit de la un concept clar i original. of your activity, like your clothes and buy them. Selling an item of clothing doesnt neces- sarily mean to accept the commercial and easy way, it rather creates the opportunity to de- velop your career through the material support needed by other collections, presentations or media supports. We have structured our activity on two levels: During the rst year we teach the students the grammar of fashion photos and form their capacity to think conceptually, thus at the end of the year they will be able to present two sites with their creations. The one presented during the winter ses- sion suggests a concept imposed by the cos- tume, the other one, presented during the sum- mer session, comprises photos displaying the clothes made at classes. You cannot do anything in any creative in- dustry without being aware of the signicant achievements and personalities in that domain. In this context, we nd it essential to edu- cate our students in contemporary fashion pho- tography. They must know the fact that in this domain there is a name which revolutionized not only the media communication but also photog- raphy as an artistic genre. There are great fashion creators who are strictly connected to their photos: Erwin Olaf, David LaChapelle, Paolo Roversi, Mario Testino, Sarah Moon, Steven Meisel, Nick Knight, Steven Klein, Mert & Marcus, Annie Lei- bowitz, Eugenio Recuenco, Irving Penn, Jean- Baptiste Mondino are only some of the fashion photographies studied at classes. This spring, for the rst time in the history of the Fashion Department, we shall have a site with all the students thematic websites accom- plished during the last three years. Thus we shall have the occasion to demon- strate not only their knowledge in fashion but also the originality of the media support which they can already count on. Regarding the second year students, our bet is even more ambitious. Students must make a fashion lm, lasting for 3 or 4 minutes, an audio- visual discourse derived from a clear and original and clear concept. 201 Considerm c lucrm ntr-un mediu stimu- lant, unde creativitatea e exersat cotidian, ca o forare a propriilor limite. Pentru c pn la urm, orice activitate artis- tic este o excursie n necunoscut. n necunos- cutul din tine i n arbitrarul lumii nconjurtoare. Dac n urma acestor activiti tu ca student ai aat lucruri noi i importante despre tine i ai nvat s le faci cunoscute i celorlali, nseam- n c munca noastr na fost n zadar. We consider that we work in a stimulating environment where creativity is practised every day, as a compulsion of ones own limits. As, in the long run, any artistic activity is a trip towards the unknown. The unknown you can feel in yourself and in the arbitrary aspects of the surrounding world. If after all these activities you, as a student, have experienced new and relevant things about yourself, and you learned how to make the oth- ers familiar with them, that means you havent worked in vain. edina foto Buna Vestire, 2013 Photo session Annunciation, 2013 202 Alexandru-Ioan MRGINEAN asistent universitar doctor junior lecturer doctor 203 Ceramica greac timpurie, a stilului arha- ic, dovedete o elegan a stilizrii pe care am redescoperit-o recent pe un vas, tip platou, din muzeul de arheologie de la Varna din Bulgaria. Deseori, conceptul de elegan a fost asociat cu perioadele decadente n istoria stilurilor, datorit ranamentului stilistic inerent perioadelor trzii ale etapelor de maturizare a stilului respectiv. Elegana gurilor unui Domenikos Theotokopo- ulos se asociaz cu manierismul tot astfel cum Laocoon este privit ca exemplu de decaden a stilului elenistic. Oare Gnditorul de la Haman- gia, statuetele cicladice sau Venus din Lespugue s e tot forme ale unui stil trziu, ranat, deca- dent? Elegana stilizrii din frescele din Cnossos sau ale unor morminte etrusce sunt rezultatul unor decantri, n timp, ale unor concepii despre cum trebuia s arate stilizarea imaginii pictate, i nu doar interpretarea de moment a artistului. Dei studiul corpului i proporiilor umane a dus arta antic pe un drum al stilizrii, care n anumi- te cazuri s-a apropiat de un anume realism, chiar n portretistica egiptean n granit sau n portre- tele de la Faium, putem observa c elegana vi- ziunii se pierde n concepia realismului roman, ct i n stilizrile de tip bizantin, de sorginte egiptean sau oriental. Dac putem compara un Laocoon cu diverse compoziii baroce de tip Sfnta Tereza n extaz sau cu abordarea stilis- tic michelangeolesc ntr-o lucrare ca Moise, putem observa c atribuim categoria estetic de Coordonatele matematice ale eleganei The early Greek ceramics of the archaic style certies the elegance of stylization which I have re- cently found on a tray type dish in the archaeologi- cal museum from Varna, Bulgaria. The concept of elegance was often associated with the decadent periods of time in the history of styles given the inherent stylistic renement during the late phases of that styles stages of maturation. The elegance of Domenikos Theotokopoulos is associated with mannerism just as Laocoon is considered an example of decadence in the Hellenistic style. May The thinker from Hamangia, the Cycladic stat- ues or Venus from Lespugue be the forms of a late, rened and decadent style? The elegance of stylization in the frescoes from Cnossos or the Etruscan tombs are the result of several gradual decantations of some conceptions about the way the stylization of painted images was supposed to look like, not only the spontaneous interpretation of the artist. Although the study of the body and hu- man proportions oriented the ancient art towards the stylization which, in certain cases, got closer to a certain realism, even in the Egyptian portrait- making in granite or the portraits from Faium, we can observe that the elegance of vision vanishes in the conception of the Roman realism, as well as in the Byzanthine stylizations, which were originally Egyptian or Oriental. If we can compare a Lao- coon to different baroque compositions like Saint Theresa in ecstasy or to the stylistic Michelangean approach in a work like Moses, we can notice that The mathematic coordinates of elegance 204 elegan aa cum este resc n evaluarea unor aspecte din artele vizuale i anume bazndu-ne pe ideile personale, preconcepute, fr a ne baza pe vreo metod de cercetare tiinic. Desigur, tiina este un fenomen social, cu propriul su sistem de recompense, cu snobismele sale tipi- ce, cu mecanismele sale interesante de alian i autoritate...; sociologii i antropologii au des- coperit c nsui procesul de schimbare a teori- ei tiinice este unul social.- ar spune Thomas Kuhn. Adevrurile tiinice sunt n fond acorduri sociale citate n repetate rnduri, privind ceea ce este real, acorduri la care s-a ajuns printr-un proces tiinic de negociere. Negocierile pri- vind ce anume constituie o dovad sau un bun test sunt la fel de dezordonate ca orice disput ntre avocai i politicieni. 1 Interesant este abordarea din punct de vedere al rezolvrilor tehnice ale vestimentaiei care, asemntor domeniilor nrudite ale de- signului de produs sau ambiental, opereaz cu coduri matematice n momentul nevoii de iden- ticare al unui material textil sau al unei culori anume. Lipsa ncifrrii, a codicrii similare cu notele din muzic, las limbajul artistic descope- rit din punct de vedere al transmiterii prin alte medii dect prin sine nsui. Descrierile n cuvin- te nu vor putea reconstitui niciodat mozaicuri sau picturi antice pierdute ireversibil. Faptul c exist comparaii literare care ne povestesc cum psrile se npusteau asupra strugurilor din pic- tura unui Apelles ne creeaz o idee vag despre miestria trompe loeil-ului n Grecia antic. Chiar n condiiile actuale ale codicrii matematice ale imaginii, ale corespondenei unei multitudini de tonuri cu standardizri de tip RAL sau PANTONE este imposibil descrierea prin cuvinte, astfel ca peste sute de ani o imagine s poat reconsti- tuit pe baza unor cuvinte. Deci fr s ne raportm neaprat la teoriile enunate de Thomas Kuhn, ne am ntr-un uni- vers care scap oricror ncercri de denire n ce privete noiunea de elegan concept estetic ce nu poate ncadrat n coordonate matematice. Chiar dac la momentul actual moda este s ne nvrtim ntr-o lume a proceselor i nu a obiecte- 1 Lee Smolin, Spaiu, timp, univers, editura Hu- manitas, Bucureti, 2008, p. 53. we attribute the aesthetic category of elegance in its natural way in the evaluation of some aspects in visual arts counting on personal and preconceived ideas without relying on any scientic research method. Science is certainly a social phenom- enon, provided with its own system of rewards, typical snobisms, interesting alliances and author- ity mechanisms...; sociologists and anthropologists found out that the transforming process of the scientic theory is a social one.- that is what Tho- mas Kuhn would say. Scientic truths are, in fact, social agreements cited quite frequently when re- ferring to what is real, the agreement they reach through a scientic process of negociation. The negociations referring to what represents a proof or a good test are as disordered as any dispute between lawyers and politicians. 1 What I nd interesting is the approach from the perspective of the clothings technical solu- tions which, like all the domains connected to the product and environmental design, operates with mathematical codes when identifying a textile material or a certain colour. The lack of a codi- cation which is similar to musical notes leaves the artistic language unprepared when transmitting through more different contexts than itself. The descriptions in words will never have the opportunity to develop the irreversibly lost mosaics or ancient paintings. The fact that there are literary comparisons telling us how the birds were swooping upon the grapes in the painting of Apelles creates a vague idea regarding the trompe loeil mastery in ancient Greece. Even in the present conditions of the images mathematic codication, or considering the cor- respondence of a multitude of tones with RAL or PANTONE standardizations, it is impossible to de- scribe all this in words to facilitate the reorgani- zation of the image on the basis of some words one hundred years later. Thus, without necessarily connecting to the theories stated by Thomas Kuhn, we nd ourselves in a universe, which cannot be dened in terms of elegance an aesthetic concept which cant be seen in mathematic coordinates. Although at the moment it is fashionable to act in a world of proc- 1 Lee Smolin, Space, Time, universe, publishing House Humanitas, Bucharest, 2008, p. 53. 205 lor sau punctelor determinabile ca poziie, form, structur n spaiu, n momentul n care coborm n prozaic realizm c avem nevoie de coduri i termeni clari de exprimare care s ne fac inteli- gibili a se citi citibili de ctre semenii notri, ntruct i conceptul de elegan face parte, n cele din urm, din limbajul comunicrii interuma- ne. Sigur c domeniul categoriilor estetice i al artei, n general, aparent nu are legtur cu ma- tematica, deoarece n art avem o innitate de soluii valabile, pe cnd n matematic avem o singur soluie. Pentru a contrazice ce am spus mai sus, citez n continuare din opera citat a lui Lee Smolin: Din ntmplare am fost unul dintre cei care au descoperit prima soluie propriu-zi- s a ecuaiilor care denesc o teorie cuantic a cosmologiei. Acestea se numesc ecuaiile Whee- ler-DeWitt sau ecuaiile constrngerilor cuantice. Soluiile acestor ecuaii denesc strile cuantice menite s descrie universul ntreg. Lucrnd la n- ceput cu un prieten, Ted Jacobson, apoi cu altul, Carlo Rovelli, am gsit pe la sfritul anilor 1980 un numr innit de soluii al acestor ecuaii. Era un fapt extrem de surprinztor, cu att mai mult cu ct puine din ecuaiile zicii teoretice pot rezolvate exact. n concluzie, descoperirile tiinice i noi- le tehnologii impun profesionitilor cunoaterea unor programe (aplicaii), sau cel puin implic faptul de a ti ce s ceri unui colaborator ingi- ner, atunci cnd tu eti artistul, pentru a vorbi pe nelesul membrilor echipei atunci cnd spui c ai nevoie urgent de cinci metri liniari de pnz printabil cu eco-solvent i nu cu latex, cu 67% bumbac i 33% poliester, albastru tip Pantone 2745, la 330 grame / metrul ptrat i nu 350 gra- me cum ar dori s-i dea furnizorul pentru c numai pe aceea o mai are n stoc. Culorile Pantone aate n trend n toamna anului 2013, Verde smarald 17-5641 a fost desemnat culoarea anului The Pantone colours in fashion in the autumn of 2013, Emerald green 17-5641 was designated the colour of the year
esses, not of objects or points which can be deter-
mined as position, form, structure in space, when we enter the prosaic context, we realize that we need codes and clear terms of expression to make us inteligible read it as readable by our fel- lows as the concept of elegance nally belongs to the language of inter-human communication. It is certain that the general domain of aes- thetic and artistic categories has apparently no con- nection with mathematics, as in art we have an innity of viable solutions while in mathematics we have a single solution. In order to contradict what I mentioned before, I shall further quote from Lee Smolins work: I happened to be one of those who discovered the rst solution of the equations de- ning a quantum theory of cosmology. These are named the Wheeler-DeWitt equations or the equa- tions of quantum constraints. The solutions of these equations dene the quantum conditions meant to describe the whole universe. Working with a friend, Ted Jacobson, then with another one, Carlo Rovelli, at the very beginning, at the end of the 80s I found these equations innite number of solutions. It was an extremely surprising fact as few equations in theoretical physics can be solved exactly. In conclusion, the scientic discoveries and new technologies ask the professionals and ex- perts to know some programs or applications, or involve the idea that it is important for you to know what to ask from an engineer collaborator when you are the artist, in order to be under- stood by the teams members when you say that you urgently need ve meters of printable canvas provided with some eco-solvent, not with liquid rubber, 67% cotton, and 33% polyester, the Pan- tone 2745 type blue, 330 grams / square meters, not 350 grams as the supplier would suggest as that is the only one he has got in stock. 206 Matei ARNUTU lector universitar doctorand lecturer phd candidate 207 Mi-e imposibil s scriu despre coal 1 aa cum era nainte de 1997, anul n care am fost admis ca student la Facultatea de Arte Plastice. Despre pe- rioada de studenie a scrie cu plcere, dar poate cu o prea mare doz de subiectivism. A tentat s mpart aceast bucat de timp n trei felii. Pri- ma (cea de dup admitere), plin de entuziasm, stare amplicat de profesorul Valeriu Mladin, un om de o energie contagioas. A doua (cea din anul 2), o felie digerat cu greu n perioada de lucru n atelierul profesorului Mircia Dumitrescu. A treia (aceea la care m voi raporta mereu ca la cea mai relevant perioad din formarea mea), marcat, de ntlnirea cu Florin Mitroi, toate trei nvelite n aura vrstei de douzeci i ceva de ani. Mai adecvat ar s vorbesc despre prezent. Despre cum apare coala 2 vzut din postura celui care este nc student (doctorand), dar i profe- sor 3 . Mai precis, din perspectiva celui care pred cursuri de prelucrare a imaginii pe calculator un domeniu care opereaz cu aplicaii complexe, ntr-un mediu virtual aproape inseparabil de cel online , dar care n perioada studeniei, succint pomenit mai sus, nu tia nc ce nseamn un telefon mobil. Iat cu ce vitez ntinerete coala 4 ! 1 A se citi Universitatea Naional de Arte Bucureti. 2 Vezi nota 1. 3 A nu se confunda cu titlul academic. 4 Vezi nota 1. UNArte mai tnr cu 150 de ani It is impossible for me to write about school 1
as it used to be before 1997, when I was ad- mitted as a student at the Art Faculty. I would be pleased to write about my studenthood, but I would be too subjective. I would be tempted to distribute this piece of time in three slices. The rst (the one following my admittance), was full of enthusiasm, a condition amplied by profes- sor Valeriu Mladin, a contagiously energetic man. The second (the one experienced in the second year), a hardly digested slice, during the work period in the studio of professor Mircia Dumitres- cu. The third (the one I shall always consider the most relevant period of my formation) marked by the encounter with Florin Mitroi. All these three slices are enfolded by the aura of a beautiful age twenty years and some more. It would be more appropriate for me to refer to the present. About the way school 2 appears from the perspective of the one who is still a student (a PhD candidate) yet also a professor 3 . More precisely, from the perspective of the one who teaches courses about the computer image processing a domain operating with complex applications, in a virtual medium which is almost inseparable from the online one , but one who, during his already mentioned studenthood, had 1 Read the National University of Arts, Bucharest. 2 See the rst note. 3 Not to be confused with the academic title. UNArte 150 years younger 208 209 210 211 212 Elena Cocoil, Insectar, 2013 Elena Cocoil, Insectarium, 2013 213 Un scriitor romn contemporan arma c suntem ine ambii, scufundate deopotriv n realitate i n mediul virtual. Ne petrecem suci- ent de mult timp conectai la mediul online, astfel nct acest fapt s ne modeleze existena. Internetul este un mijloc de informare priori- tar. Cnd cineva are o ntrebare / dilem, Google e primul loc unde caut rspunsul. i de cele mai multe ori doar acolo. Din ce n ce mai accesibil, internetul devine i din ce n ce mai competent ca surs de informaii, pe msur ce instituiile educaionale serioase i dezvolt biblioteci i spaii de informare online. Dincolo de simpla in- formare, procesul de nvare se mut i el n virtual, tutorialul ind un cuvnt care ar trebui s intre curnd n DEX. Punctul n care se a realitatea virtual n acest moment este dominat ns de reelele de socializare. Pentru majoritatea tinerilor sub 30 de ani realitatea concret i cea virtual sunt inseparabile, ba de multe ori cea de-a doua o determin pe prima. Atitudinea fac ce fac pen- tru ca s postez nu mai e o noutate, iar pentru unii a devenit un obicei. Social media a depit ns de mult componenta de divertisment. Feno- menul reelelor de socializare ne-a potcovit pe noi inele ambii cu obiceiuri noi 5 . Acestea au lucrat att de adnc n contiina noastr, n- ct au nceput s remodeleze ntreaga societate. Informaia / tirea culeas direct de la locul unui eveniment de ctre surse multiple se propag nemijlocit n reelele sociale. Apare astfel jurna- lismul participativ, care aduce un aport semnica- tiv n ceea ce privete obiectivitatea informaiei. Receptorul nu mai poate att de uor manipulat de media, pentru c i poate extrage informaia din mai multe surse independente. Astfel, ecare individ dotat cu un telefon cu camer conectat la internet, posesor al unui cont pe o reea de socializare, devine jurnalist. Poate fr voia lui. Jurnalismul participativ a devenit deja o subcate- gorie a jurnalismului, ind dezbtut de diveri au- tori precum Sue Robinson i denit de Wikipedia. Ascensiunea recent a social media a adus 5 Profesorii comunic n mod uzual cu studenii pe Facebook. Acolo se lanseaz ntrebri, se posteaz anunuri, resurse, documente, materiale documentare etc. no idea what a mobile phone meant. This is the way school can remain young 4 . A Romanian contemporary writer has stated that we are amphibious beings, existing both in reality and in the virtual context. We spend suf- cient time connected to the online world to be modelled by this. The Internet represents a prioritary means of information. When someone has a question/ dilemma, Google is the rst context where he can nd the answer. And, most of the time, only there. More and more accessible, the Internet becomes more and more competent as a source of information, while the serious educational in- stitutions develop their online libraries and infor- mational spaces. Beyond the simple information, the learning process also moves into the virtual, and the tutorial becomes a word to be included in dictionaries very soon. However, the point where we can nd the virtual reality at this moment is dominated by social networks. For most of the young people, who are younger than 30, the concrete and vir- tual realities cannot be separated, and very often the latter determines the former. An attitude like I do what I do to post is no longer something new, and for some it has become a habit. Yet social media had gone beyond the entertaining view long time ago. The social network phenom- enon overwhelmed us the amphibious be- ings with new habits 5 . These penetrated our conscience very profoundly thus they started to re-structure the whole society. The information / news collected directly from the place of an event by multiple sources is dissimulated directly into the social networks. Thus we speak about the participative journalism which signicantly contributes to the objectiveness of information. The receiver is no longer manipulated by the me- dia so easily as it receives the information from more independent sources. As a result, each in- dividual, equipped with a phone provided with a camera connected to the internet, the possessor 4 See the rst note. 5 Professors regularly communicate with students on the Facebook. That is the place where they launch questions, post announcements, resources, documents, documentary materials etc. 214 argumente pentru reconsiderarea jurnalismului mai degrab ca proces, dect ca produs al unui trust de tiri anume. Din aceast perspectiv, jur- nalismul este participativ, un proces distribuit n- tre mai muli autori i care implic att jurnalitii, ct i publicul. 6 Era digital a inaugurat un nou fel de jur- nalism, n care cetenii obinuii joac un rol mai important n procesul de apariie a tirilor, ascensiunea jurnalismului popular ind posibil prin intermediul internetului. Folosind telefoane inteligente dotate cu camer video, cetenii ac- tivi sunt capabili s nregistreze tiri i evenimente i s le ncarce pe canale precum You Tube, aces- tea ind adesea descoperite i preluate de piaa media mainstream. ntre timp, accesul facil la tiri provenind dintr-o varietate de surse online, pre- cum blogurile sau social media, a oferit cititorilor oportunitatea de a colecta informaii din multi- ple surse ociale i neociale, n loc s accese- ze doar uxurile media tradiionale supuse unor agende. 7 Apariia n acest text a ideilor de mai sus e justicat de unele cazuri n care studeni la Arte, n spe chiar unii de la Mod (i urmresc pe Facebook), duc n paralel o activitate jurna- listic. i nu ntotdeauna n domeniul n care i pregtete coala. Accesul nelimitat la informaii profesionale din ce n ce mai competente i dezvoltarea simului civic datorat apariiei uxurilor de tiri indepen- dente (chiar dac nc rave) sunt lucrurile bune, sntoase, peste care ambianul poate s dea notnd n mediul virtual. Poate ns stimulat creativitatea de acest mediu? Rspunsul este, fr ndoial, armativ. Documentarea online a devenit obligatorie na- inte de orice demers conceptual menit s gene- reze proiecte concrete. Epoca internetului n care trim se intersecteaz cu era designului, iar acesta e innit mai uor accesibil online. Studentul (i nu numai) poate vedea ce s-a 6 Robinson, Sue, Journalism as Process: The Organizational Implications of Participatory Online News, Journalism & Communication Monographs, 21 septembrie, 2011, nr. 13, p. 137. 7 A se vedea: http://en.wikipedia.org/wiki/ Journalism#cite_note-9 of an account on a social network, can become a journalist. Perhaps unwillingly. The participative journalism has already become a sub-category of journalism analysed by different authors such as Sue Robinson and dened by Wikipedia. The recent development of social media brought a lot of arguments to reconsider journal- ism more as a process than as the product of a certain news core. From this viewpoint, journal- ism is participative, a process distributed among more authors which involves not only the jour- nalists, but also the public. 6 The digital era inaugurated a new kind of journalism in which common citizens play a more important role in the dissemination of news, and the development of popular journalism is possi- ble only by means of the Internet. While using intelligent phones provided with a video camera, the active citizens are able to record news and events and save them on different channels such as You Tube, then these are often found and overtaken by the media mainstream market. In the meantime, the easy access to the world of news deriving from a variety of online sources, such as blogs or social media, offered the read- ers the opportunity to collect information from multiple ofcial and informal sources instead of accessing only the traditional media streams sub- mitted to an agenda. 7 The appearance in this text of the ideas above is justied by several cases when students from the Art University, more exactly some belonging to the Fashion Department (I follow them on the Facebook), also deal with a journalistic activity. And not always in the domain school prepared them for. The unlimited access to professional and more and more competent information and the develop- ment of civic sense, given the emergence of inde- pendent streams of news (even if they are frail), are the good and proper things the amphibian can feel while swimming in the virtual medium. 6 Robinson, Sue, Journalism as Process: The Organizational Implications of Participatory Online News, Journalism & Communication Monographs, September 21, 2011, no. 13, p. 137. 7 See: http://en.wikipedia.org/wiki/Journalism #cite_note-9 215 fcut pn n prezent ntr-un anumit domeniu. Are acces instant la munca celor mai importani designeri, poate studia tendinele etc. Mediul online este prin deniie interactiv, iar anumii dezvoltatori de proiecte artistice mizeaz pe implicarea utilizatorului de internet n demer- sul lor creativ. Un exemplu din domeniul modei ar proiectul D.dress conceput de newyorkezii de la continuumfashion.com. Acetia au creat o aplicaie cu ajutorul creia orice utilizator poate s construiasc tiparul unei piese vestimentare conform unui algoritm ce are la baz forma triun- ghiular. Acest tipar este ulterior tiat i asamblat pe msura (co)autorului. Iat mai departe cum enun creatorii conceptul din spatele D.dress i modul n care funcioneaz proiectul: Elena Cocoil, Insectar, 2013 Elena Cocoil, Insectarium, 2013 Laura Dimancea, Insectar, 2013 Laura Dimancea, Insectarium, 2013 However, can creativity be stimulated by this domain? The answer is, without any doubt, yes. The online documentation became compulsory before any conceptual approach meant to gener- ate concrete projects. The Internet epoch expe- rienced by us intersects with the design era, and this is much easier to access online. The student (and not only) can see what has been done in a certain domain. He enjoys instant access in the work of the most important designers, he can study the trends etc. By denition, the online medium is interac- tive, and certain artistic project makers count on the implication of the Internet user in their creative approach. A suggestive example in the fashion domain is provided by a project, D.dress, 216 Bianca Budau, Rochie Pop Art, 2013 Bianca Budau, Pop Art Dress, 2013 217 Viitorul modei i viitorul produselor de con- sum n general se a nu doar n tehnologii i materiale avansate, ci i n reevaluarea designu- lui, manufacturii i desfacerii. Mixnd producia rapid, aplicaiile interactive i accesibilitatea in- ternetului, putem lsa pe oricine s se implice direct n procesele de design i producie. Pe scurt, colecia D este de fapt un software. Aplicaia D.dress i permite s desenezi o rochie, o transform ntr-un model 3D i export un tipar pentru a realiza o rochie real pe msura ta. Un cutter laser sau un plotter taie n material tipa- rul, care apoi este cusut i asamblat ntr-o rochie. Toate creaiile au n comun tema Little black dress i forma triunghiului generat de aplicaie. Aceasta permite practic oricui s i creeze pro- priul design inovativ de rochie. (Sursa: continu- umfashion.com.) n compania acestor fenomene i desfoar activitatea studentul la arte. Are acces aproape nelimitat la informaie de calitate (fapt care printre altele i ofer ansa de a face exerciii de libertate), precum i la software de ultim generaie. i asta dac ne referim doar la mediul virtual n care noat ambienii, care vine ca o completare la noiunile hiperspecializate puse la dispoziie de profesori. Acest context ind creat, tragem concluzia c, cel puin n teorie, din ce n ce mai tnra UNAB este locul de unde pornesc elitele domeni- ilor creative din viitorul apropiat. conceived by the New Yorkers from continuum- fashion.com. They created an application which can be approached by any user to construct the pattern of a clothing item according to an algo- rithm based on a triangular form. This pattern is subsequently cut and assembled according to the (co)author. Here is the way the creators dene the concept beyond the D.dress and the way in which the project works: The future of fashion, and the future of con- sumption products in general, can be found not only in advanced technologies and materials, but also in the re-evaluation of design, manufactures and deliveries. By mixing the fast production, the interactive applications and the accessibility of the Internet, we can allow anybody to involve directly in the design and production processes. Briey, the D collection is actually a soft- ware. An application such D.dress can make you draw a dress, transform it into a model in three dimensions and export a pattern to create a real dress for you. A cutter laser or a plotter outlines the pattern in the material which is then sewn and assembled into a dress. All creations are mutually focused on the Little black dress topic and the form of the triangle is generated by the application. This permits practically anyone to create his own innovative dress design. (source: continuumfashion.com) The art student develops his activity in the company of these phenomena. He enjoys an almost unlimited access to qualitative informa- tion (which among other facts offers him the chance to practise liberty exercises), as well as to the most recent software. All this if we refer only to the virtual medium in which the amphibians swim, as an additional detail to the hyperspecial- ized notions the professors are provided with. Given this context, we draw the conclu- sion that, at least theoretically, the younger and younger National University of Arts Bucharest marks a starting point for the elites of the crea- tive domains in the very close future. 218 Adina CEZAR coregraf choreographer 219 De-a lungul timpului, arta (indiferent de for- ma acesteia) i moda s-au intersectat sub diferite forme. Au fost momente n care designerii s-au inspirat dup operele artitilor celebri, momente n care ei au devenit artiti i momente n care cele dou pri au colaborat la realizarea unor colecii ieite din comun. n ceea ce privete relaia dintre mod i dans, consider c ne este clar tuturor: moda este o form de art ce mbrac micarea trupului. Personaje precum Isadora Duncan au repre- zentat o surs de inspiraie i un model pentru generaii ntregi de designeri vestimentari. Studiul micrii, a cineticii corporale, a for- melor n micare supuse legilor zicii reprezint pentru orice designer de vrf o provocare i un studiu de o via. Micarea i moda sunt elemente inseparabile ale esteticului cotidian. Costume n micare In the course of time, art (regardless of its form) and fashion intersected in different forms. There were moments when the designers inspired from the works of famous artists, moments when they became artists and moments when the two parts cooperated to realize an outstanding col- lection. Regarding the connection between fashion and dance, I consider that it is clear to each of us: fashion represents an art which clothes the bodys motion. Characters such as Isadora Duncan repre- sented a source of inspiration and a model for generations of fashion designers. For each important designer the study of mo- tion, corporal kinetics, forms in motion, subordi- nated to the laws of Physics, represents a chal- lenge and a lifetime study. Motion and fashion are the inseparable ele- ments of everydays aesthetics. Costumes in movement 220 Andrei Mortasifu 221 Elide Toma 222 Liliana IFRIM lector universitar doctor inginer lecturer doctor engineer 223 Absolvent al unei Universiti Tehnice, Gheor- ghe Asachi din Iai, cu un doctorat la Universi- tatea Politehnic Bucureti i cu o experien de peste 20 de ani n industriile modei, deci n prin- cipiu ind foarte tehnic, mi gsesc paradoxal locul i rolul bine denit n mijlocul artitilor. Pentru mine este foarte clar faptul c aceast disciplin este bine-venit i necesar la Depar- tamentul Mod din cadrul UNAB. Chiar dac rolul acestei materii este perce- put ca ruca cea urt a domeniului, disci- plina pe care nimeni nu o place, dar pe care reuesc s o neleag, n timp, ajung s o i respecte, are acelai rol n bagajul informaional al viitorului designer ca i sarea n buctria unui Chef cu 3 stele n ghidul Michellin. Dup nalizarea studiului tehnic i devenirea mea inginereasc, ntlnirea direct cu designul i moda a avut loc la prima rm din Romnia care ncepnd cu anul 1991 a educat publicul s neleag i s consume moda. Aici am avut ocazia s am n echipa pe care o coordonam, pe lng economiti, ingineri, specialiti n resurse umane sau marketing i management i civa designeri, produi de prestigioasele Universiti de Arte din Bucureti i Cluj. Lucrnd cu colegii designeri, am realizat ce caliti, abiliti, competene au acumulat n pre- gtirea lor academic. Am avut astfel posibilita- tea s sesizez ce poate i ce trebuie mbuntit din punct de vedere tehnic n pregtirea lor. Ruca cea Urt sau despre rolul i locul Tehnologiei i construciei tiparului A graduate from a Technical University, Gheorghe Asachi from Iai, a PhD at the Poly- technic University, Bucharest, and more than 20 years experienced in fashion industries, this being tehnical, I paradoxically nd my well- dened place and role among artists. It is very clear to me that this discipline is welcome and necessary at the Fashion Department within the National University of Arts Bucharest. Although the role of this subject is perceived as the Ugly little duck of the domain, the disci- pline nobody seems to like, but which they can gradually understand and respect, has the same role in the informational baggage of the future designer as the salt in the three-star kitchen of a Chef in the Michellin guide... After the completion of my technical and en- gineering studies, my practical encounter with design and fashion occurred at the rst company in Romania which, starting with 1991, educated the public to understand and consume fashion. Here I had the opportunity to coordinate a team comprising both economists, engineers, special- ists in human resources, marketing or manage- ment and several designers taught by the pres- tigious Art Universities from Bucharest and Cluj. Working with my designer colleagues, I realized the qualities, abilities and competences they have accumulated during their academic training. Thus I had the possibility to notice what can and must be improved technically in their development. The little ugly Duck or about the role of Technology and pattern constructions 224 The opportunity to contribute to the forma- tion and modeling of the future generations of de- signers was offered to me two years ago by Mrs. Unda Popp, as soon as I got my engineering PhD at the Faculty of Business Entrepreneurship, Engi- neering and Management within the Polytechnic University, Bucharest. Her offer derived from some certain animosity and indisposition related to the discipline I am still delighted to share with my stu- dents. I hope that now, after two years of activity with this group, I could stimulate the interest in this discipline, which does not comprise a series of formulas, it is simply clear, beautiful, full of logic and reason. It is the technical alphabet of profes- sion, it simply IS and must be HERE and NOW The students were surely told about design and fashion for a lot of times, these were topics approached by my eminent colleagues. However, as I was more an engineer than an artist, I would like to introduce several notions regarding the role of textiles in general and clothing in particular in the context of industrial evolution and globalization. In other words, I would like our students to be aware of the fact that without textiles (or the so-called light industry), we couldnt have talked about the transport infrastructure, furnaces and heavy ma- chinery, (the so-called heavy industry) and why not, perhaps we could have missed the possibility to be so familiarized with the Internet, Facebook, or smart-phones and so on and so forth I invite you to go back in time, from another viewpoint, an unusual incursion for the University of Arts, Bucharest. We refer to evolution and revolution: the industrial revolution and the revo- lution in clothing, deriving from the former. The interaction of art, science and mecha- nisms can be expressed through the connection among the artistic, scientic and technical events ordered chronologically in the system of values: the understanding of the universe, the control of natural forces, the automation of industry, the preventive medicine, the productive agriculture, the artistic explosion... The industrial revolution itself does not origi- nate in the development of the heavy and trans- port industry but in the textile industry, a repre- sentative industry in most of the countries during that period of time. Oportunitatea de a contribui la formarea i modelarea viitoarelor generaii de designeri mi-a fost oferit n urm cu doi ani de ctre doamna Unda Popp, imediat dup ce am obinut titlul de Doctor inginer la Facultatea de Antre- prenoriat, Ingineria i Managementul Afacerilor din cadrul Universitii Politehnice Bucureti. Oferta doamnei Unda Popp a venit pe fondul unor animoziti i antipatii vdite fa de dis- ciplina pe care cu druire o mprtesc acum studenilor. Sper c acum, dup cei doi ani de activitate n cadrul acestui colectiv, am reuit s trezesc interesul pentru aceast disciplin, care nu e alctuit dintr-o niruire de formule, ci e pur i simplu clar, frumoas, plin de logic i raiune. Este alfabetul tehnic al profesiei, pur i simplu ESTE i trebuie s e AICI i ACUM. Studenilor li s-a vorbit cu siguran despre design, mod i meseriile modei de nenumrate ori, teme atinse de toi distinii mei colegi. Eu ind ns mai puin artist i mai mult inginer, doresc s le introduc acum cteva noiuni des- pre rolul textilelor n general i al mbrcmintei n particular, n ceea ce privete evoluia indus- trial i globalizare. Cu alte cuvinte, a dori ca studenii notri s contientizeze faptul c fr textile (sau aa-numita industrie uoar), nu ar existat infrastructura de transport, furna- le i maini grele, (aa numita industrie grea) i de ce nu, poate nu am ajuns s m att de familiarizai acum cu internetul, Facebook-ul, smartphone-ul .a.m.d. V invit s facem o incursiune n trecut, dintr-un alt punct de vedere, o incusiune ati- pic pentru UNAB. Vorbim despre evoluie i revoluie: revoluia industrial i decurgnd din aceasta revoluia n mbrcminte. Interaciunea artei, tiinei i tehnicii se poate exprima prin relaia dintre evenimentele artistice, tiinice i tehnice ordonate cronolo- gic n cadrul sistemului de factori: nelegerea universului, controlul forelor naturii, automati- zarea industriei, medicina preventiv, agricultu- ra productiv, explozia artistic. Revoluia industrial n sine nu i are originea n dezvoltarea industriei grele i a transporturilor, ci n cadrul industriei textile, industrie reprezenta- tiv n majoritatea rilor pentru acea perioad. 225 Prima revoluie industrial: formarea complexului industrial modern The rst industrial revolution: the development of the modern industrial district The great inventions, Jennys spinner cre- ated by Margreaves (1764), Arkwrights spinner (1769) and Cromptons ne ber spinner (1779), introduced mechanized equipments and/or oper- ated through some external energy which is innitely higher than the one of the living engine in the spinning process. The revolution in the textile industry extends and develops in weavings simultaneously with the invention of Cartwrights mechanic loom (1785). This process of development is associated with the concentration of productions, the transi- Marile invenii: maina de lat Jenny a lui Margreaves (1764), maina de lat a lui Arkwright (1769) i maina de lat re ne a lui Crompton (1779) au introdus utilaje mecanizate i/sau acionate prin energie exterioar innit mai mare dect cea a motorului viu n procesul de lare. Revoluia n industria textil se extinde n estorii odat cu inventarea rzboiului de e- sut mecanic a lui Cartwright (1785). Acest proces de dezvoltare este nsoit de concentrarea produciei, de trecerea de la pro- ducia n sistem meteugresc la cea n sis- 226 tem de fabric, de la producia casnic de tip fe- udal (sau a breslelor) la producia industrial de tip capitalist. Folosirea mainii cu abur ca surs de energie i apariia mainilor textile, n condi- iile deja existente ale unor ntreprinderi care fa- bricau maini, au condus la crearea complexului industrial modern iniial n Anglia i, ulterior, n ntreaga lume (Rusu, C., Cojocaru, G., 1980). Concentraia de maini textile n sistemul fa- bric a fost posibil datorit noii surse de ener- gie produs de maina cu abur; producia tex- til putea acum amplasat oriunde, neavnd nevoie de energia vntului, a apelor curgtoare sau de energia animal. Materii prime i accesorii Raw materials and accessories tion from the craft production to the one achieved in factories, from the feudal home production (of guilds) to the capitalist industrial production. The usage of steam engines as sources of energy and the appearance of textile machines, given the al- ready existing circumstances of some enterprises producing machines, facilitated the creation of the modern industrial complex initially in Eng- land and subsequently in the whole world (Rusu, C., Cojocaru, G., 1980). The concentration of textile machinery in the factory system was possible due to the new sources of energy produced by the steam engine; the textile production could be viewed anywhere, 227 Valoricarea cantitilor mari de esturi textile a nceput s e limitat de modul de confecionare manual a mbrcmintei. ntr- adevr, coaserea manual reprezenta un proces laborios, cu consum mare de timp, care pe de o parte oferea locuri de munc pentru un numr mare de persoane, dar pe de alt parte nu putea organizat i extins la scar industrial cores- punztoare produciei de material textil. Inovarea n procesele de coasere, respectiv nlocuirea muncii manuale cu maini, a aprut ca o necesitate, iar o serie de inventatori s-au preocupat de conceperea i realizarea de maini de cusut care s mreasc productivitatea n fa- bricaia mbrcmintei. n domeniul confeciilor textile, n anul 1791 apare primul brevet al unei maini de cusut (Thomas Saintl) care mecanizeaz aceast ac- tivitate fr ca invenia s e extins la scar industrial. Ulterior, austriacul Josef Madersper- ger a prezentat prima sa main de cusut, a c- rei construcie a nceput-o n anul 1807. La 9 octombrie 1855 I. M. Singer breveteaz modul de acionare a mainii de cusut (cu pedal i curea). n 1855 I. M. Singer a nceput s ex- porte maina de cusut astfel dezvoltat, iar n anul 1867 a fost ninat la Glasgow, n Scoia, prima fabric din afara Statelor Unite ale Ameri- cii. n anul 1889 a fost lansat maina de cusut acionat cu motor electric de la Singer. as the energy of the wind and owing water or the animal energy were no longer needed. The capitalisation of large quantities of textile weavings started to be limited by the methods applied to make the clothing manually. Indeed, the manual sewing represented a laborious proc- ess, consuming a lot of time which, on one hand provided work places for a high number of people and, on the other hand, it could not be organized and extended to the industrial scale correspond- ing to the production of textile materials. The innovation in the sewing processes and the replacement of the manual work with machin- eries emerged as a necessity, and a series of in- ventors were preoccupied with the conception and realization of sewing machines meant to increase the productivity in the clothing manufacturing. In the domain of textile ready-make clothes, in 1791 they launch the rst patent of a sew- ing machine (Thomas Saintl) which mechanizes this activity without the industrial extension of the invention. Subsequently, the Austrian Josef Madersperger presented his rst sewing machine whose construction was begun in 1807. In Octo- ber 9, 1855, I. M. Singer patented the functional- ity of the sewing machine (provided with a pedal and a belt). In 1855 I. M. Singer started to export the sewing machine he had developed, and in 1867 they founded the rst factory from outside the United States of America at Glasgow, Scot- Diverse tipuri de tipare, pentru: fusta Clo, fusta clasic, bluz Diffrent type of patterns, for: Cloche skirt, classic skirt, blouse 228 Procurarea de haine la preuri moderate pen- tru ntreaga populaie a fost posibil prin dou di- recii de dezvoltare primar: producia de mas i distribuia de mas (Kidwell i Christman 1974). Producia de mas presupune dezvoltarea de tehnologii de realizare a unei caliti de producie medie, valabil pentru majoritatea consumato- rilor de confecii de gata. Distribuia de mas necesita dezvoltarea de reele de distribuie (ma- gazine) i inovare n vnzri i promovare. Revoluia n mbrcminte a avut loc n Statele Unite ale Americii ca dubl revoluie. Prima a fost trecerea de la confeciile realizate n cas sau la comand la confeciile de serie realizate n fabrici. A doua a fost trecerea de la purtarea de haine ca semn al clasei sociale i al ocupaiei la purtarea de haine ale democraiei astfel nct toat lu- mea poate purta haine la fel. Potrivit Kidwell i Christman (1974), n secolul al XVIII-lea oricine ar mers pe jos din Philadelphia la Boston putea distinge cu uurin oamenii din orae diferite prin diferenele izbitoare ntre hainele lor. mbrcmintea era distinctiv prin diferena n tipul de estur i tipar. America a fost de- pendent de Anglia, de unde procurau esturi ne de mtase, ln i bumbac, n timp ce alte ri au avut acces limitat la materiale, folosind materiale aspre i de calitate sczut. Croitorii realizau produse de mbrcminte pentru cei bogai, iar sracii purtau confecii realizate de ctre amatori. Secolul al XIX-lea, revoluia in- dustrial, aa cum am artat mai sus, a adus maini, fabrici i noi surse de putere. O serie de invenii mari au mecanizat producerea de re i esturi. Aa cum am artat mai sus, pn n anul 1850 se dezvolt i se distribuie maina de cusut, land. In 1889 they launched the sewing machine operated by an electric engine from Singer. The acquisition of clothes at moderate prices for the whole population was possible by two means of primary development: the mass pro- duction and the mass distribution (Kidwell and Christman 1974). The mass production assumes a technological development to realize the qual- ity of an average production, which is valid for most of the ready-made clothes consumers. The mass distribution needed the development of some distribution networks (shops) and innova- tion in sales and promotion. The revolution in clothing took place in the United States of America as a double revolution. The rst was represented by the transition from the ready-made clothes realized at home or or- dered, to the series ready-made clothes realized in factories. The second was expressed by the transition from clothes wearing, as a sign of so- cial class and occupation, to the clothes wearing, as a sign of democracy so that everybody could wear their clothes similarly. According to Kidwell and Christman (1974), in the 18th century, anyone could have gone on foot from Philadelphia to Boston, or could have easily dis- tinguished the people from different towns through the striking differences among their clothes. The clothes were distinctive through their tex- ture and pattern. America was dependent on Eng- land, the country which delivered them ne silky, woolen and cotton textures, while other countries had only a limited access to materials and used rough low quality materials. The tailors made the items of clothing for the rich ones and the poor ones were wearing the ready-made clothes real- ized by amateurs. The 19th century, the industrial 229 care este foarte rapid adoptat pentru realizarea cmilor de brbai i a gulerelor, pelerinelor i crinolinelor pentru femei. Pn la sfritul seco- lului al XIX-lea maina de croit a devenit uzual; mainile de clcat s-au transformat n mijloace de producie eciente. Brbaii au nceput s se mbrace la fel, similaritate oferit de producia prin intermediul mainilor i tehnologiei. Produsele de mbrcminte pentru femei s-au dezvoltat mult n urma celor pentru br- bai. n anul 1860 confeciile de serie pentru femei includeau doar pelerinele i paltoanele, moda de femei ind deservit n continuare de ctre croitori. Departamentele de confecii din magazine erau specializate pe confecii pentru brbai. La nceputul secolului al XX-lea, a fost organizat procesul produciei de mas, care a permis furnizarea de confecii att pentru br- bai, ct i pentru femei. Astfel s-a nscut indus- tria de confecii textile, cu un sistem de organi- zare pentru a realiza confecii de gata pentru toat lumea (Kidwell and Christman 1974). Creativitatea n mod este abilitatea de a produce variante noi, soluii neateptate i cre- dibile, care rspund problemei, veche de cnd lumea, a vestimentrii corpului, de a dezvolta viziuni proprii, proaspete i interesante a aces- tora, n contextul actual. (Sue Jenkyn Jones (Saint Martins Colege) Fashion Design, Ce n- seamn s i creator de mod?) Specicul industriei modei este dat de per- manenta schimbare i noutate care trebuie adus pe pia, cu implicaii directe n special n activi- tatea de creaie, cercetare, dezvoltare, market- ing i promovare a produsului, vnzare. Simulta- neitatea sezoanelor se regsete n toate fazele de la concepia produselor, la aprovizionarea cu Simultaneitatea activitilor de management pe grupuri de activiti la momentul martie 2010 The simultaneousness of management activities in activity groups March 2010 PV 2013 TI2012/13 PV 2012 TI 2011/12 PV2011 Colecia Collection x x Tendine Trends x x Strategii colecie Collection strategies x x Concept colecie Collection concept x Producie/implementare Production/Implementation x Distribuie Distribution x Feed-back revolution, as I mentioned before, brought ma- chineries, factories and new sources of power. The production of bers and weavings were mecha- nized by a series of great inventions. As I certied above, they developed and distributed the sewing machine until 1850; it was rapidly adopted to make shirts and collars, mantles and crinolines for women. Until the end of the 19th century the cutting machine became usual; the irons transformed in efcient means of production. Men started to dress up similarly, a similarity offered by production by means of machineries and technologies. The womens clothing items developed a lot compared to the ones worn by men. In 1860, the series of women ready-made clothes included only the mantles and coats, and womens fashion was further achieved by tailors. The departments of ready-made clothes in the stores were structured in mens ready-made clothes. At the beginning of the 20th century they organized the mass production process which permitted the delivery of ready-made clothes both to men and women. Thus they devel- oped the textile ready-made industry, provided with an organizing system to realize ready garments for everyone (Kidwell and Christman 1974). In fashion creativity represents the ability to produce new variants, unexpected and credible solutions, which respond to the problem, which is already ancient, to develop the others personal, innovative and interesting visions, in the present context. (Sue Jenkyn Jones (Saint Martins Col- lege) Fashion Design, What does it mean to be a fashion creator?) The specicity of fashion industry is given by the permanent transformation and novelty, which must be taken to the market, with direct impli- 230 materii prime i accesorii, marketing i vnzare. Astfel, managementul din domeniul industri- ei confeciilor textile se confrunt cu o problem profesional deosebit de complex. El trebuie s asigure o creaie de produs ritmic, planicare contra cronometru, producie de calitate i la termenele planicate, concepte de promovare care s se detaeze protabil, de concuren. Managementul n aceast industrie triete un calendar multiplu, ind permanent conectat la cel puin trei realiti temporale, cu tot attea termene specice, aa cum se arat n tabelul de pe aceast pagin (L. Ifrim, I. S. Avram, D. M. Micu, 2010) Aa cum se observ din tabel, cu excepia activitii de producie unde nu se regsesc mai multe sezoane simultan, toate celelalte activiti au n vedere dou sau mai multe sezoane. Deci UNAB ar trebui s poat pregti specialiti activi ntr-o zon dinamic. Specialitii care s rs- pund n acelai timp cerinelor strategice la nivel european, dar i specic rii noastre. Viitorul industriei de textile i mbrcmin- te din Europa va construit pe punctele forte existente: Creativitatea n proiectarea i dezvoltarea de produse; Inovaia n materiale i procese; Flexibilitate n producie i managementul lanului de aprovizionare; Calitatea produselor i serviciilor. Platforma tehnologic va bazat pe trei pi- loni, care n acelai timp reprezint cele trei ele- Custur de nsilare: a) mod de execuie; b) seciune Stitch: a) fullment procedure; b) section Semn ntins: a) mod de execuie; b) seciune Stretched sign: a) fullment procedure; b) section cations especially in creative activities, research, development, marketing and product promotion, or sales. The simultaneity of seasons can be found in all stages from the products conception to the provision with raw materials and accesso- ries, marketing and sales. Thus the management in the domain of ready- made clothing industry copes with a very complex professional problem. It must ensure a rhythmical product creation, a plan against time, qualitative production, proper deadlines, and promotional concepts to protably detach from their rivalry. In this industry, the management experiences a multiple calendar being permanently connected to at least three temporal realities, provided with specic terms, like in the table on the next page (L. Ifrim, I.S. Avram, D.M. Micu, 2010) As we notice from the table, excepting the production activity, where one cannot nd more simultaneous seasons, all the other activities have two or more seasons in mind. As a result, the National University of Arts Bucharest should be able to train active special- ists in a dynamic zone. The specialists, which are aimed to properly correspond to strategic de- mands both at the European level and according to the characteristics of our country. The future of the textile and clothing indus- try in Europe is going to be constructed on the strong existent points: Creativity in the product projection and de- velopment; Innovation in materials and processes; 231 Semne largi: a) seciune; b) prepararea foilor i tie- rea semnelor Large signs: a) section; b) the preparation of sheets and the carving of signs Custur n urma acului: a) mod de execuie; b) seciune Sewing behind the needle: a) fullment procedure; b) section mente eseniale pentru o viziune pe termen lung care vor exploata aceste puncte forte n acord cu tendinele sociale i economice generale: O trecere de la produse de baz ctre pro- duse specializate din procesele de high-tech; bre, lamente, esturi i produse nite, cu proprieti funcionale nalte, cu proprieti int bazate pe nano-micro biotehnologii, noi nisaje i tratamente speciale, procese digitale etc; Crearea i extinderea ntrebuinrii texti- lelor i n alte sectoare i domenii de aplicare (sisteme de transport, construcii, aplicaii me- dicale, electronice de consum); Sfritul erei de fabricarea n mas a pro- duselor textile i confeciilor i trecerea spre o nou er industrial, caracterizat prin persona- lizare, exibilitate, producie la cerere, mpreun cu logistica inteligent, distribuie i servicii. Aceast viziune tridimensional, mprtit de ctre industrie i comunitatea tiinic, cu- prinde toate cele 3 elemente cruciale de inovare industrial: Materiale, procese i tehnologii; Produse i piee; Management. Pe plan intern, prin Strategia Naional de Export a Romniei pentru urmtoarea perioad s-a stabilit c factorii critici de succes care in- ueneaz competitivitatea la nivel internaional a sectoarelor de confecii sau nclminte sunt identicai ca ind: preul, calitatea, designul, ambalarea, eticheta ecologic. Viziunea strategic pentru perioada 2005 Flexibility in production and the manage- ment of the supply chain; The quality of products and services. The technological platform will be based on three attributes, which simultaneously represent the three essential elements of a long-term vision approaching these strong points in accordance with general social and economic trends: A transition from the main products to- wards the specialized high-tech processes; bers, laments, weavings and nite products, with high functional properties, with target properties based on nano-micro biotechnologies, new nishings, and special treatments, digital processes, etc; The creation and extension of the textiles usage in other sectors and domains (transport systems, constructions, medical applications, electronic devices...); The end of mass production in the area of textiles and the transition towards a new in- dustrial era, characterized by personalization, exibility, ordered production, besides intelligent logistics, distribution and services. This tridimensional vision, shared by indus- try and the scientic community, comprises the three essential elements of industrial innovation: Materials, processes and technologies; Products and markets; Management. Internally, through the Romanian National Export Strategy regarding the next period of time, they stated that the critical factors of suc- cess inuencing the competitiveness of ready- 232 Custuri de acoperire: a) surlat; b) feston; c) punct de butonier Coating stitches: a) overcasting; b) festoon; c) buttonhole point 2009 i cea pentru 2010 2013 implic trece- rea gradual de la sistemul lohn la intrarea n funciile de design i marketing pentru a putea benecia de oportunitile unei afaceri complete sub propria marc. Pentru punerea n practic a acestei viziuni este necesar dezvoltarea de programe i specializri pentru design i con- structori de tipare, prin instituii ale Ministerului Educaiei i Cercetrii, universiti i asociaii profesionale. n concluzie, pe lng aducerea pregtirii designerilor mai aproape de nevoile industriei i construirea de aliane ntre designeri i orga- nizaii, tendinele menionate n SNE vor aduce schimbri puternice pe toate planurile n organi- zaiile din industria de confecii textile. Invit deci i pe aceast cale pe studenii notri s abandoneze percepia i modul de abordare a disciplinei de Tehnologie i Construcia Tiparului ca pe ruca cea urt a curiculei. Aceste discipline i ajut de fapt n dobn- direa unor abiliti de mod, fr de care nu vor putea rezista pe piaa concurenial contem- poran. Prin studiul acestei discipline nu se in- cearc ngrdirea sau limitarea creativitii. Vor- bim doar de aspecte practice, logice, raionale, tehnice i economice. Un produs trebuie s e conceput cu sim artistic, dar i cu realism, cu viziune asupra posibilitilor de realizare practi- c n criterii temporale i de costuri controlate i controlabile. Noiunile teoretice astfel dobndite pot dublate de tehnologia informaiei, att de fa- miliar tinerei generaii. Programele de Fashion dedicate i dezvoltate de anumii productori de soft-uri (a se vedea Lectra: http://www.lec- tra.com/en/industries/fashion/index.html) pot completa i compensa noiunile dobndite pe parcursului cursului de tipar doar n condiiile made clothes or footwear at the international level are identied as being the price, quality, design, wrapping, the ecological label. The strategic visions for the period between 2005 and 2009 and the one between 2010 and 2013 involve the gradual transition from the lohn system to the entrance in the design and mar- keting functions in order to benet from the op- portunities of a complete business under its own brand. In order to apply this vision, one needs the development of programs and specializations for design and pattern constructors through the insti- tutions of the Ministry of Education and Research, universities and professional associations. All in all, besides the perspectives regarding the designers training much closer to the industri- al needs and the construction of alliances between designers and organizations, the trends mentioned in the SNE will bring powerful transformations in each context in the ready-made clothing industry. I invite our students to stop approaching this discipline, Technology and the Pattern Construc- tion, as the ugly little duck of the curriculum. These disciplines actually support them to gain some fashion skills without which they wouldnt resist on the contemporary competitive market. This subject does not limit the idea of creativity. We refer only to practical, logical, rea- sonable, technical and economic aspects. A prod- uct must be conceived not only artistically, but also realistically, focusing on practical achieve- ments in temporal criteria as well as on control- led and controllable costs. The theoretical notions acquired like this can be doubled by the technology of information, which the young generation is so familiar with. The Fashion programs developed by certain soft producers (see Lectra: http://www.lectra.com/ en/industries/fashion/index.html) can complete 233 n care bazele construciei tiparului au fost bine nelese i nsuite. Unul din proiectele ambiioase n aceast direcie ar trebui s e iniierea unui parteneriat ntre UNAB i Lectra, pentru a permite accesul facil al studenilor i viitorilor designeri la tehni- c i tehnologie. Sunt mndr i onorat s u parte a aces- tui colectiv didactic n demersul formrii viito- rilor specialiti care n 1, 2 sau 3 ani vor lupta pentru a-i gsi locul pe piaa muncii. Mult succes, studeni i profesori, nou tuturor! La Muli Ani UNAB! and compensate the notions acquired during the pattern course only if the conditions regarding the basis of the pattern construction were well understood and appropriated. One of the ambitious projects in this respect should be expressed by the initiation of a part- nership between the National University of Arts, Bucharest and Lectra, in order to permit the fac- ile access of students and future designers to the technical and technological context. I am proud and honored to belong to this teaching staff and educate future specialists who in one, two or three years are going to strive in order to nd their place on the labor market. Good luck, students and professors, to all of us! Happy birthday, the National University of Arts, Bucharest! Diferite modele de custuri Different types of stitches Formare de custur de blocare la dou re, tip 301 Formation of two thread lockstitck, type 301 234 Bogdan HOJBOT confereniar universitar doctor associate professor doctor 235 n programa curicular, studiului bijuteriei i este dedicat un semestru, timp insucient i aa pentru interesul care crete constant pen- tru aceast disciplin. Aceast preocupare se evideniaz i n alegerea domeniului, ca studiu Masteral, mai mult, interesul tot mai susinut este i din partea studenilor altor departamente, dar mai ales al celor de la Departamentul Mod, con- cretizat n multiple i diverse colaborri sau prin alegerea cursului meu opional de iniiere n arta bijuteriei. Legtura cu cei de la Mod este i mai - reasc datorit vechii prietenii care m leag de profesorii de acolo: Unda Popp i Ioana Avram, cu care am fost coleg de facultate cu ceva ani n urm. Interesele artistice comune ne-au fcut s ne ntlnim mereu, pe plan didactic n proiectele studenilor de la Licen i Master sau n diferitele comisii de examinare ale doctoranzilor unde sunt solicitat s particip. Astfel, aceste iniiative au nceput s apar odat cu apropierea unor proiecte de vestimentaie cu bijuteria sau accesoriul metalic, dar i invers. n acest sens voi da exemplul ce- lor doi masteranzi crora le coordonez lucrrile: Amelia Ghioal, Maria Stnescu. Amelia Gioal exploreaz scrierile astro- logilor despre zodiac, studiind simbolurile i semnicaiile acestora, combinndu-le apoi cu elemente specice zonei artelor vizuale, obinnd compoziii spectaculoase. Fiecare zodie este re- Despre elemente simbolice folosite n compoziia podoabelor din metal In the curriculum, we focus on the study of jewels for a whole semester, which is not enough given the constant interest in this discipline. This preoccupation is also distinguished in the selec- tion of the domain, as an MA study; moreover, there is the more and more sustained interest of the students belonging to the Fashion Depart- ment materialized in multiple and diverse collab- orations or by choosing my optional course which introduces them in the art of jewels. The relationship with those belonging to the Fashion Department is even more natural due to the old friendships connecting me to those pro- fessors, Unda Popp and Ioana Avram, whose col- league I used to be some years ago. Our mutual artistic interests made us encounter a lot, didac- tically, in our BA or MA students projects, or in different examination boards examining the PhD candidates where I am solicited to participate. Thus these initiatives started to emerge simul- taneously with some projects associating the cloth- ing with jewels or metallic accessories and vice versa. From this viewpoint, I shall illustrate this with the example of my three MA candidates: Amelia Ghioala, Maria Stanescu. Amelia Gioal (Ami): one can obtain spec- tacular compositions by exploring the astrolo- gists writings about zodiacs, studying the zodia- cal signs and their signications and combining them with specic artistic elements. Each zodiac sign can be represented through a composition About the symbolical elements used in the composition of metal ornaments 236 prezentat printr-o compoziie format din ele- mentele i simbolurile sale specice. Oricine i poate face cunoscut zodia, fr s o spun, doar prin simpla purtare a unui acce- soriu care s fac referire la aceasta. Se pot des- coperi astfel trsturi de caracter ale persoanei care poart acest accesoriu. Maria Stnescu cerceteaz cele cinci solide platonice ce alctuiesc noiunea de geometrie sa- cr, solide ce reprezint structura morfogenetic ce se a la baza realitii i a matematicii, ind i ea plin de nelesuri i de simboluri. Proiectele au fost selecionate pentru pre- ocuparea ctre anumite zone de semnicaii i simboluri pe care ncerc n puine cuvinte s le dezvolt. Aceste proiecte de studiu de la Metal ct i de la cursul opional au putut dezvoltate cu ajutorul profesorilor de la Departamentul Mod. Lucrrile realizate astfel pot completa inute ves- timentare i vor spori expresivitatea imaginii pur- ttorului n faa spectatorului. Cele mai multe podoabe din metal au ajuns la noi, venite din negura timpului, cu o anumit ncrctur simbolic. Podoabele aparinnd eta- pei de nceput sunt reinute ca ind elemente n- zestrate cu puteri magice. Au fost descoperite, cu aproximativ 6000 de ani .H cuprul, aurul, argintul, plumbul, cositorul sau staniul (ignornd clasicri- le la care apeleaz tiina). Referitor la semnica- iile i puterile magice atribuite metalelor, nc din cele mai vechi timpuri, nu vom zbovi prea mult. Despre aur, primele nsemnri le avem de la Herodot care descrie altarele Semiramidei. De pe atunci aurul nseamn nu numai bogie, ci i putere, reprezentnd cea mai cutat prad de rzboi. Persanii nu deineau zcminte din nobi- lul metal, dar au jefuit bogatul Babilon, Asiria i Egiptul, tezauriznd o imens cantitate de aur. Metalul strlucitor nu oxideaz i este asociat n aproape toate culturile, soarelui. Aurul constituie simbolul cunoaterii i este sinonim cu nemurirea i lumina. Considerat metalul regal, nu ruginete i nu se murdrete. n tradiia greac, aurul se identic cu fora fecundatoare, cu puterea de a domina, cu bogia, cu druirea, cu strlucirea. Egiptenii l caracterizau drept carne a soa- relui, simbol al invulnerabilitii n faa bolilor, n faa dumanilor i simbol al celor ce depesc sfe- formed from its specic elements and symbols. Anyone can make his zodiac known, without telling it, only by simply wearing an accesory re- ferring to it. Thus we can discover the character- istics of the person wearing this accesory. Maria Stanescu:- I have chosen to research the ve solid Platonics comprising the notion of sacred solid geometry representing the morphogenetic structure found at the basis of reality and math- ematics which are full of meanings and symbols. All these projects were selected for their in- terest in certain zones of signication and sym- bols which I try to develop in few words. The study projects regarding the Metal as well as the optional course could be developed with the sup- port of the professors from the Fashion Depart- ment. The works realized in this way can complete the attire and will increase the expressiveness of the one wearing it in front of the spectator. Most of the metal jewels are very old and symbolical. The ornaments belonging to the ini- tial stage are considered as being endowed with magical power. About 6000 years ago they dis- covered the copper, gold, silver, lead or tin (ig- noring the classications approached by science). Referring to the metals magic signication and magical powers in very old times, we shall not spend too much time with. Regarding gold, we have the rst records from Herodotus, who describes the altars of Seramide. Back then gold meant not only wealth but also power, representing the most hunted tro- phy. Persians did not own this precious metal but they reaved the rich Babylon, Assyria and Egypt, hoarding an immense quantity of gold. The shiny metal does not oxidize and is associated to sun in most of the cultures. Gold represents the symbol of knowledge and is the synonym of light and immortality. Regarded as a royal metal, it neither rusts nor stains. In the Greek tradition gold iden- ties with the force of fertility, the power to domi- nate, with wealth, devotedness and brightness. The Egyptians dened it as the esh of sun, the symbol of invulnerability to illnesses and en- emies, the symbol of those who go beyond the terrestrial area as a material deserved only by persons related to the celestial world. In all reli- gions, gold is considered a sacred material, that 237 Alexandra Ioni, Set bijeturii, 2013 Alexandra Ioni, Jewelry set, 2013 238 Amelia Ghioal, Set bijuterii Zodiac, 2013 Amelia Ghioal, Zodiac Jewelry set, 2013 239 ra pmntescului, ca material ce se cuvine doar persoanelor ce in de lumea celest. Aurul este considerat, n toate religiile, un material sacru i din aceast pricin mpodobea altare i icoane. Despre argint avem credina c puric apa, iar vasele de argint au caliti antiseptice. Este mult mai des ntlnit n construcia de podoabe, alturi de aur i platin. Alt material descoperit de oameni, cuprul sau arama are nenumrate semnicaii simbolice. Obiectele de cupru folosite n practicile magice se consider a avea puteri vindectoare i harul de a alunga rul. Vasele de cupru sunt uor de prelucrat, datorit calitii plastice a materialului, i n toate culturile arama presupune o anumi- t cldur, o anumit atracie n raport cu omul (multe vase de gtit sunt din cupru). Metalele vin nc din preistoria ndeprtat, cu un enorm prestigiu, i simbolic se identic deseori cu soarele, cu luna, cu stelele. Acest pre- stigiu ar putea s ne ajute s nelegem locul pe care l-au ocupat metalele n istoria creaiei de podoabe, nc de la nceputuri. Multe din semni- caiile ce li se atribuiau iniial s-au pierdut, dar convingerea c metalele au puteri diferite de ce- lelalte lucruri de pe pmnt persist. La fel s-a ntmplat i cu pietrele preioase i semipreioase. Mircea Eliade n Cosmalogie i alchimie babilonian, editura Vremea, Bucureti, 1937), ne vorbete de piatra lapizlazuli, care juca un rol important n viaa babilonienilor. Culoarea albastr a acestei pietre semipreioase era culoa- rea cerului nstelat, iar barba zeului lunii, Sin-di- vinitate a nopii nstelate era fcut din ea, ca de altfel i prul lui Ra, zeul soarelui, care era tot din lapizlazuli. Semnicaia pietrelor preioase i semiprei- oase s-a pstrat mult mai bine. Pentru Diamantul, mrturiile (ce dateaz din sec. VI-V .H ) ne vorbesc de aceast piatr care era cunoscut i folosit n practici magice. Anticii apreciau att calitile zice: coloraia, (incolor, cenuiu, albastru, roz, verde, galben, portocaliu, lila, brun ), transparena, duritatea, ct i propri- etile ei tmduitoare ( pentru aparatul urinar, stomac, intestine sau pentru epilepsie.). Diaman- tul era descrcat dup ecare utilizare n ap rece i apoi ncrcat la soare. is why it used to garnish altars and icons. Regarding silver, we believe that it puries water and the silver dishes are provided with an- tiseptic characteristics. It is more frequently met in the construction of ornaments, by the side of gold and platinum. Another material discovered by people, the copper or brass, has numerous symbolical signi- cations. The copper objects used in magical prac- tice are believed to have healing powers, and the grace to vanish evil. The copper dishes are easy to process due to the plastic quality of the mate- rial and in all cultures copper assumes a certain degree of heat, a certain attraction related to man (a great deal of kitchenware is made of brass). Metals derive from a remote pre-history, with an enormous prestige and, symbolically, they of- ten identify with the sun, moon and stars. This prestige might help us to understand the place and role of metals in the history of creative orna- ments, from the very beginning. Many of their initial signications vanished, and the assump- tion, that metals are provided with powers that are more different than the other items in the world, still persists. This is what also happened to the precious and semi-precious stones. In Babylonian cosmol- ogy and alchemy, (Bucharest, Vremea Publishing House, 1937), Mircea Eliade mentions the lapiz- lazuli stone, which had an important role in the life of the Babylonians. The blue colour of this semi-precious stone is the colour of the starry sky, and the beard of the moon god, Sin-a divin- ity of the starry night-was made of it, just like at the Egyptians the hair of Ra, the god of sun, what made of lapiz-lazuli too. The signication of the precious and semi- precious stones has been preserved much better. Regarding the diamond, the evidence (dat- ing in the VI-Vth centuries B. Chr.) refers to this stone which has been known and used in magical practice. The ancients appreciated both its physical qualities such as coloration (colourless, gray, blue, pink, green, yellow, orange, violet and brown), transparency, asperity, and its healing properties (for the urinary tract, stomach, intestines, or for epilepsy). The diamond was unloaded after its us- age in cold water and then loaded under the sun. 240 n plan astrologic, era considerat de babilo- nieni ca protector a celor nscui n zodia leului i a balanei, de bizantini c-i favoriza pe cei ns- cui n zodia racului, iar n Evul Mediu european a existat credina c diamantul i protejeaz pe cei nscui n berbec. I se atribuia i calitatea vindectoare de ciu- ma i de reconciliere a relaiilor ntre soii aai n prag de desprire, de aici i credina c diaman- tul din compoziia inelului de logodn pstreaz linitea i armonia cuplului. Mai rspndit n natur, rubinul era tiat i lefuit n oval, i pietrele cele mai mari i valo- roase purtau nume proprii. Era considerat piatra vieii, capabil s ntreasc inima i s asigure vigoare ndelungat. Legenda spune c tezaurul de rubine era pzit cu strnicie de un dragon i putea obinut prin eliberarea de puterile lui. Insula Ceylon era supranumit insula rubinelor. O varietate de corindon ca i rubinul, sarul fascineaz prin albastrul su fermector i i se atribuie puteri n alinarea durerilor i impiedica- rea disputelor i a certurilor. Considerat piatr episcopal n Evul Mediu, s-a considerat c sa- rul aduce proprietarului su putere, onoare i nemurire. Din punct de vedere astrologic sarul favorizeaz nativii din sgettor i zodia vrs- tor (dup bizantini) iar dup astrologii moderni pe cei din zodia capricorn. Se credea c sarul purtat te face vesel, odihnit, cucernic, ntrind suetul pentru linite i armonie, conferind virtui celeste, inocen, iubire de adevr. Coroana imperial german are montat n fa un sar de origine indian. S-ar prea c tot de la indieni avem convingerea c sarul este bun n nepturi de pianjen i mucturi de erpi. Mereu s-a considerat c smaraldul fortic memoria, ascute mintea i trateaz boli ale sto- macului, insomnii, boli de cat i de bil, boli ale inimii i ochilor. Piatra se descarc n ape curgtoare i se ncarc imediat la soare. Din convingerea c verdele specic smaraldului este culoarea speranei, n textele medievale l gsim menionat ca piatr care confer nelepciune, nevinovie i iscusin. Pietrele semipreioase au o ncrctur une- ori chiar mai bogat dect pietrele preioase. Din lapizlazuli sau lazurit, piatra de culoarea Astrologically, the Babylonians considered it the protector of those born in the Lion and Libra zodiac, the Byzantines thought it favoured those born in the Cancer zodiac, and in the European Middle Ages people said the diamond protected those born under the sign of Aries. There was also the assumption that it was well-known for protecting people from the plague and for reconciliating the relationships between the partners aiming to separate hence the belief that the diamond used in the composition of the engagement ring preserves the peace and har- mony of the couple. More frequently met in nature, the ruby was cut and polished in oval shapes and the bigger and more precious stones had their own names. It was considered the stone of life which was able to strengthen the heart and assure a sustained vigor. The legend says that the ruby treasury was ercely watched by a dragon and it could be ob- tained by releasing it from its powers. The Ceylon island was called the island of rubies. Being a variant of corundum like the ruby, the saphire fascinates the human look through its charming blue while it is thought to have pow- ers to ease the pain and stop disputes and ar- guments. Considered an episcopal stone in the Middle Ages, people believed that the saphire brought power, honour and immortality to its own- er. Astrologically, the saphire favors the Sagittarius and Aquarius signs (according to Byzantines) and those belonging to the Capricorn zodiac sign, ac- cording to modern astrologers. People believed that the saphire they wore made them joyful, recreated and relaxed, devout, strengthening the soul for peace and harmony, and conferring celes- tial virtues, innocence, and love of truth. The German imperial crown is provided with an Indian saphire. It seems that the Indians made us believe that the saphire is good against spider stings and snake bites. It was always thought that the emerald forti- es ones memory, sharpens our mind, and cures stomach aches, insomnias, liver and gall illnesses, or the sicknesses of heart and eyes. The stone un- loads in streams and loads immediately under the sun. Considering the emerald green the colour of hope in medieval texts, we also nd it as a stone 241 cerului senin, se confecionau de ctre anticii ro- mani i greci gurine, amulete i sigilii. Protec- toarea nativilor fecioar, lazuritul se credea c alin durerile de cap, scade tensiunea arterial, febra, i nclzit trata inamaiile i umturile. Printre credincioii buditi, cristalul de stnc este unul dintre cele 7 lucruri de nepreuit. Con- siderat piatra rbdrii i a perfeciunii, n Tibet cristalul de stnc este folosit n tratarea rni- lor, iar sferele confecionate din el erau folosite n vrjitorie. Apa but din pahare din cristal de stnc trateaz durerea de dini. Alung ghinio- nul, necazul, trateaz depresiile i ntrete ini- ma, opalul protejeaz nativul din Capricorn. Att pietrele semipreioase, ct i cele prei- oase au o ncrctur magic similar i au fost folosite cu prisosin att n construcia de po- doabe, ct i n cea de gurine i amulete utili- zate n diverse ritualuri magice. Folosirea lor ns s-a fcut mai ales pentru frumuseea lor propriu- zis, coloraia vie, nuanele ranate, transparen- a care face lumina s e dirijat cu maxim efect. Simbolistica prolelor i gurilor se altur simbolisticii metalelor i pietrelor, n cadrul com- poziiei plastice a podoabelor. Cele mai multe ti- puri de prole i guri, ncepnd cu geometrismul elementar comport o simbolistic cu trimiteri n sfera credinelor magice sau religioase. Vom analiza cteva simboluri de prole i guri ntlnite n cazul podoabelor artistice din metal. Mihai Constantinescu, Artefact, 2013 conferring wisdom, innocence and ingenuity. The semi-precious stones sometimes value more than the precious stones. The Roman and Greek ancients used the lapiz-lazuli or the lazurite, the stone displaying the colour of the serene sky, to make gurines, amulets and seals. The protector of Virgin na- tives, the lazurite was thought to ease head aches, lower blood pressure or fever, and cure inammations and swellings, if heated. Among the Buddhist believers, the rock crystal is one of the seven inestimable things. Considered the stone of patience and perfection, in Tibet the rock crystal is used to cure the wounds, and the spheres made of this were used in witchcraft. The water drunk from the rock crystal cures the tooth ache. It banishes the misfortune and distress, it cures depression and strengthens the heart, and the opal protects the Capricorn native. Both the semi-precious and precious stones are endowed with a similar magic expression, and were used abundantly not only in the construc- tion of ornaments but also in the one of gurines and amulets used in different magic rituals. How- ever, they were used especially for their proper beauty, vivid colours, rened nuances, transpar- ency, conducting light with the maximum effect. The symbolism of proles and gures associ- ates with the symbolism of metals and stones in the artistic composition of adornments. Most of the gures and proles, starting with the elementary Ovidiu Toader, Brar, 2013 Ovidiu Toader, Bracelet, 2013 242 Ovidiu Toader, Set bijuterii, 2013 Ovidiu Toader, Jewelry set, 2013 243 PROFILE I FIGURI CU SEMNIFICAIE AS- CUNS Sunt cazuri cnd podoaba dispune de pro- le sau guri cu o semnicaie ascuns, iar pur- ttorul ei nu este contient de aceste semni- caii, i aa se ntmpl cel mai adesea astzi. Chiar i creatorii de podoabe artistice, avnd nscrise anumite guri n limitele propriei lor compoziii, ignor semnicaiile i trimiterile oculte. Se nscriu n aceast categorie mai ales elementele primare de ordonare a spaiului: punctul, linia n diverse conformaii i formule, prolele i gurile geometrice. n 1940, a aprut cartea intitulat Das Zei- chenbuch (Cartea semnelor), de Rudolf Koch, la care ne vom referi mai departe. Punctul de- semneaz nceputul, linia orizontal desemneaz ntinderea, linia vertical desemneaz nlimea, cercul simplu desemneaz perfeciunea, crucea desemneaz ntlnirea din mai multe direcii, in- tersecia. Iar punctul nconjurat de un cerc de- semneaz centrul. O semnicaie aparte are tri- unghiul situat cu vrful n sus i cu vrful n jos, iar suprapunerea a doua triunghiuri echilaterale d, dup cum se tie, gura, Steaua lui David. Astzi se acord mai puin importan unor ase- menea semne.Totusi am ntlnit urmatoarele in- terpretri, mai puin cunoscute ale desenelor de pe bijuterii. Dintre prolele geometrice: ptratul reprezint perfeciunea, unghiul ascuit din care coboar o dreapt aduce n discuie furca, ace- eai dreapt al crui vrf se ridic pe vertical tot dintr-un unghi ascuit se numete clete. Tri- unghiul cu toate laturile egale semnic spiritul; trei linii orizontale semnic spiritul sau tempera- mentul linitit, calm; trei linii verticale semnic un spirit nalt, evoluat; trei linii ondulate nscrise pe orizontal indic un temperament sensibil, mictor; ntretierea a dou oblice opuse cu o orizontal indic un spirit distrus. O vertical din care se ridic, n partea superioar, dou linii oblice opuse simbolizeaz brbatul; un triunghi al crui vrf superior este continuat cu o linie avnd n interiorul su un cerc simbolizeaz femeia care urmeaz s e mam. Acelai triunghi, dar fr cerc desemneaz n general femeia. Acelai tri- unghi, nscris pe orizontal cu vrful din care con- tinu o dreapt spre orizontal, avnd alturi un geometrism, suggest a kind of symbolism which refers to the sphere of magic or religious beliefs. PROFILES AND FIGURES WITH HIDDEN SIG- NIFICATIONS There are cases when the ornament is pro- vided with proles or gures with hidden signi- cations, and its owner is not aware of these signications and this is what frequently hap- pens nowadays. Even the creators of artistic adornments, with certain gures provided within the limits of their own compositions, ignore the occult signications and references. In this cat- egory we can especially mention the primary ele- ments used to organize the space: the point, the line in different conformations and formulas, the geometric proles and gures. In 1940, they published Rudolf Kochs book, Das Zeichenbuch16 (The book of signs), which we shall further refer to. The point marks the be- ginning, the horizontal line suggests the extension, the vertical line expresses the height, the simple circle highlights perfection, the cross underlines the meeting of more directions, the intersection. And the point, which is surrounded by a circle, designates the centre. The triangle, situated with its top upwards and downwards, becomes very special, and the juxtaposition of two equal-sided triangles would nally highlight the well-known gure, The Star of David. Nowadays people pay less attention to such signs. However, I learnt the following less known interpretations of drawings which one could see on jewels. Concerning the geometrical proles: the square represents per- fection, the sharp angle, releasing a straight line, analyzes the pitchfork, and the same straight line, vertically releasing from a sharp angle, is named pincers. The triangle, with its equal sides, signies the spirit; three horizontal lines signify the peace- ful and calm spirit or temperament; three vertical lines suggest an advanced high spirit; three wavy lines inscribed horizontally indicate a sensible and exciting temperament; the turning of two obliques with a horizontal indicates a destroyed spirit. A vertical, which in the upper part errects two op- posed oblique lines, symbolizes the man; a trian- gle, whose superior top is continued with a line enclosing a circle, symbolizes the woman who is going to be a mother. The same triangle, yet with- 244 mic cerc, desemneaz femeia care nate un co- pil. O vertical din care se desprind, spre captul inferior dou oblice opuse face trimitere la cineva care a czut sau care a murit. Triunghiul continu- at la captul care-l nscrie pe vertical cu o linie dreapt n jos desemneaz moartea mamei. Toa- te aceste nsemne nscrise pe bijuterii, tiute doar de cunosctori, transmit mesaje greu lizibile. n simbolica cretin, intersecia dintre dreapta orizontal i o dreapt vertical aduce n discuie crucea. Reinem o multitudine de formu- le ale crucii: Crucea greac, crucea latin, crucea sfntului Petru care a fost rstignit cu capul n jos, crucea sfntului Andrei crucea n tau sub form de T, crucea cardinalilor, crucea ortodox tripl care simbolizeaz credina profund, cru- cea ortodox tripl care n partea ei inferioar are braul vertical, n partea inferioar traversat de o diagonal, formnd un X (neregulat) se nume- te crucea Sfntului Andrei. Toate cele enumerate mai sus au fost enunate n lucrarea lui Rudolf Koch Das Zei- chenbuch, editura Insel Verlag, Leipzig, 1940. Lumea astzi reine aceste nsemne gravate pe bijuterii doar ca simple elemente decorative. Sunt cazuri n care prolurile i gurile au o semnicaie mai uor de desluit, iar cteodat chiar evident. n perioada postmodern, intervine proble- ma unor semne cu o semnicaie asupra crora s-a convenit prin ceva similar unor reguli stabi- lite sau a unui protocol. De prin anii 90 datea- z micarea spiritual numit New Age, ce i propune armarea unui nou tip de spiritualitate dect cea bazat pe vechile religii mozaic, cretin, islamic etc. care nu mai mulumesc generaiile aate acum n formare. Se propune o spiritualitate situat deasupra vechilor religii, avnd n centrul ei gura unui Mesia care se identic cu zodia Vrstorului. n cadrul mi- crii se opereaz nu att cu discursul verbal ct mai ales cu simboluri. La baza micrii st o anumit terapie a simbolurilor. Astfel, triun- ghiul cu laturile egale semnic micarea New Age nsi. Se consider c acest triunghi poate constitui un obiect de nchinare, de venerare n mai multe feluri, asemntor cu ceea ce este crucea pentru cretini. Crucea rsturnat, cu out any circle, generally designates the woman. The same triangle, inscribed horizontally, with its top conducting a straight line towards the hori- zontal, associated with a little circle, designates the woman who gives birth to a child. A vertical releasing two opposed obliques towards the infe- rior side refers to someone who had collapsed or died. The triangle continued at the side, which in- scribes it vertically, with a straight line downwards, designates the mothers death. All these features marked on the jewels, known only by connoiseurs, convey hardly readable messages. In the Christian symbolism, the intersection be- tween the horizontal and vertical line emphasizes the cross. We retain a wide range of formulas re- garding the cross: the Greek cross, the Latin cross, the cross of Saint Peter, who was crucied upside down, the cross of Saint Andrew, the cross in the form of a T, the cardinals cross, the triple Orthodox cross expressing the profound faith, which at its su- perior side is provided with a vertical arm, and at its inferior side it is traversed by a diagonal, forming an irregular X, named the cross of Saint Andrew. All these were stated in Rudolf Kochs work Das Zeichenbuch, Insel Verlag, Leipzig, 1940. Nowadays people retain these marks on jew- els only as simple decorative elements. There are cases when the signication of proles and gures can be read in a much easier way, and sometimes it is even obvious. During the postmodern period of time we no- tice the problem of some signs whose signica- tion was approached through something similar to an established rule or protocol. The spiritual movement New Age dates in the 90s and it aims to assert a new type of spirituality which is more different than the one based on the old religions Mosaic, Christian, Islamic etc. which no longer satisfy the developing generations. They propose a spirituality situated above the old religions focused on the gure of Mesia who identies with the Aquarius zodiac sign. In this context they operate not only with the verbal discourse but especially with symbols. The move- ment is supported by a certain therapy of the sym- bols. Thus, the equal sided triangle suggests the New Age movement itself. It is considered that this triangle can represent an object to worship 245 braele frnte, coborte n jos face trimitere la refuzul oricrei religii, inclusiv a cretinismului i orientarea spre noua spiritualitate. SIMBOLISTICA FIGURILOR I CORPURILOR GEOMETRICE Simbolistica gurilor geometrice dinuie din cele mai vechi timpuri. Astfel, ptratul constituie simbolul geometric care exprim orientare cva- dripartit a oamenilor n spaiu, organizarea acti- vitilor vitale n funcie de regiunile bolii cereti i de pzitorii ei supranaturali. Pe aceeai linie putem avea n vedere dreptunghiul i triunghiul, la care, de asemenea, ne-am mai referit, rombul, pentagonul, de la care avem ca derivat pentagra- ma, hexagonul, octogonul, i mai ales cercul care ntr-o prim accepiune simbolizeaz soarele i luna, ntr-o accepiune ulterioar reprezint roa- ta ca simbol al micrii. Pentru alchimiti, cercul simboliza aurul, iar n budism simbolizeaz ilu- minarea, desvrirea omului n uniune cu prin- cipiul primordial. El include deopotriv binele i rul, contrariile, ideile antagonice i care se com- pleteaz denumite n tradiia chinez Yin i Yang. SIMBOLISTICA NUMERELOR Mai veche este simbolica numerelor i litere- lor. Cifra 1, n oricare dintre alfabetele cunoscute, desemneaz nu doar o entitate la care poate adugat ceva sau poate sczut, tinznd spre zero, ci desemneaz i creaia dumnezeiasc, n- ceputurile i originea energiei, impulsul primar. 2, reprezint desvrirea unitii vzut ca ntreg sau ca atragere a contrariilor, e i simbol al pere- chii, al nelegerii care permite complementarita- tea. Cifra 3, cu ajutorul cunotinelor elementare de religie cretin, tim c e simbol al trinitii. Exist o tiin derivat dintr-o component a matematicii numerologia care se numete numerologia simbolic (n romnete a fost car- tea lui Gladys Lobos Numerologia Magic). Nu- merele pot desemna centrul, ordinea, echilibrul, proporiile n funcie de prolul suprafeei p- trat, dreptunghi, triunghi etc. Semnicaia unei litere nscrise n compozia podoabei se cere atent desluit i presupune o operaiune anevoioas. La egipteni ndeosebi, ceea ce noi numim cruce egiptean (ANKH) con- stituia o hieroglif cu rezonane sacre. Dup apariia cretinismului, inscripii (n lati- something in more ways, similar to what the cross represents for the Christians. The inverted cross, with broken and descending arms, refers to the refusal of any religion, including Christianity and the orientation towards the new spirituality. THE SYMBOLISM OF GEOMETRIC FIGURES AND STRUCTURES The symbolism of geometric gures has been known forever. Thus the square represents the geometric symbol expressing peoples quadri- partite orientation in the space, the organization of vital activities according to the regions of the sky and its supernatural protectors. In the same context we can consider the rectangle and the triangle we had already referred to, the rhombus and pentagon producing the pentagram, hexa- gon, octagon and especially the circle, which at rst sight symbolizes the sun and the moon and, from another viewpoint, it represents the wheel as a symbol of motion. For alchemists, the circle symbolized the gold and in Buddhism it symbol- ized illumination, mans perfection in his union with the primordial principle. It includes both the good and the evil, the oppositions and antagonic ideas completing each other and named Yin and Yang in the Chinese symbolism. THE NUMBERS SYMBOLISM The symbolism of numbers and letters is an- cient. In any alphabet, number 1 suggests not only an entity, which can be increased or de- creased, tending towards zero, it also expresses the divine creation, the beginnings and origin of energy, the primary impulse. Number 2 rep- resents the perfecting unit seen as a whole or attraction of opposites, it is also the symbol of pairs and comprehension allowing complementa- rity. Number 3 is known to be the symbol of trin- ity, given the elementary knowledge of Christian religion. There is a science derived from a com- ponent of mathematics numerology named symbolical numerology. (In Romanian it was the book of Gladys Lobos Magic Numerology17). Numbers can express the centre, order, balance and proportions according to the prole of the surface square, rectangle, triangle etc. The signication of a letter in the decora- tions composition must be carefully decoded and presumes a hard operation. In the case of Egyp- 246 Claudiu Dosaru (1,2), Mihai Constantinescu (3-6), Inele, 2013 Claudiu Dosaru (1,2), Mihai Constantinescu (3-6), Rings, 2013 1 2 3 5 4 6 247 n) de tipul INRI, litere care n asociaie cu diver- se oblici i verticale dau monograma lui Cristos, trebuie avute n vedere la fel. Specialitii n cabalistic exceleaz n eviden- ierea unor astfel de semnicaii. n lumea laic, ntlnim nc din antichitatea greco-roman, prezena literelor, constituind ini- iala numelui mpratului ori a altui demnitar, pe inelele cu funcie de sigiliu. Mai trziu, n Evul Mediu, perioada Renaterii i pn n zilele noas- tre, includerea unei litere ori a unui joc de litere n compoziia unei podoabe poate indica propri- etarul iniial sau comanditarul acestei bijuterii, poate arta chiar apartenena la o anumit aso- ciaie mai mult sau mai puin elitist, iar astzi la un anumit club. Astzi, cel puin, prezena literelor n com- poziia podoabelor indic sfera de apartenen a obiectului prin raportare la o anumit persoan de rang nalt. Aproape toate casele regale, recurg la sistemul monogramelor (combinaii de litere ce fac trimitere la numele proprietarului de obiecte, la numele prestatorului de servicii .a.m.d.). SIMBOLISTICA PROFILELOR FIGURATIVE FITOMORFE CRENGI (SAU RAMURI) Simbolurile tomorfe extrem de numeroase le putem ntlni nc din preistorie atunci cnd e vorba de gurarea unor crengi (sau ramuri), frunze sau a unor ori. Eliphas Levi Cheia mari- lor mistere, editura Antet, Bucureti, 1994. Semnicaiile crengii, ntlnit ca gur i n compoziia unor podoabe, poate constitui un me- saj de prietenie, de tandree, de dragoste, dar i de pace, iar frunzele fac referire la: noroc, izbn- d, succes. Avem astfel frunzele de ferig, frun- za de trifoi, frunzele de lotus, frunzele de stejar, frunzele de acant, frunzele de laur etc. Alturi de frunze avem orile: margaretele, orile de cire, orile de mr, orile de crin, tran- darul .a.m.d. i fructele. Urmeaz apoi simbolistica zoomorf: insecte, ine subacvatice, reptile, psri, mamifere. Dintre insecte, scarabeul este consacrat de credinele egiptenilor, libelula este iari frecvent ntlnit n construcia podoabelor, mai ales n perioada anilor 1900, a se vedea bijuteriile La- lique, buburuza cea prevestitoare de bine i pur- ttoare de noroc, albina promitoare de fericire tians, especially what we dene as an Egyptian cross (ANKH) represented a hieroglyph provided with sacred resonances. After the emergence of Christianity, there were INRI type inscriptions (in Latin) which, if associated with different obliques and verticals, outlined the monogram of Christ. Specialists in the Kabbalistic domain excel in the prominence of such signications. In the secular world, already in the Greek- Roman antiquity, we notice the presence of let- ters constituting the initial of the emperors name or another dignitarys, on the rings used as seals. Later, in the Middle Ages, the period of Renais- sance up to our days, the insertion of a letter or a game of letters in the composition of a jewel can indicate the initial owner or the comanditary of this jewel, it can even show the afliation to a certain association, which is more or less elitist, and nowadays to a certain club. Today, at least, the presence of letters in the decorations composition indicates the objects sphere of afliation through its connection to a certain senior person. Almost all the royal houses approach the system of monograms (letter com- binations referring to the name of the objects owner, the name of the service provider etc.). THE SYMBOLISM OF PHYTOMORPHOUS FIGURATIVE PROFILES BRANCHES Referring to the family of phytomorphous symbols, which are extremely numerous, we can already meet them in pre-history when it is about the guration of some branches, leaves or ow- ers. Eliphas Levi The key of great magic, Bu- charest: Antet, 1994. The signications of branches, as a gure, or in the composition of some decorations, can rep- resent a message of friendship, tenderness, love, as well as peace, and the leaves refer to luck, tri- umph and success. Thus we have the fern leaves, the clover leaves, the lotus leaves, the oak leaves, the acanthus leaves and the laurel leaves. Besides leaves we have owers : daisies, cherry owers, apple owers, lilies, roses and the fruits. Then one can refer to the zoomorphic sym- bolism: insects, underwater beings, reptiles, birds and mammals. Regarding the insects, the scarabeus is con- 248 i bunstare, dar i pianjenul ori scorpionul. Se altur lumea inelor subacvatice; bro- tacul, purttor de noroc, estoasa semnicnd sntate i via ndelungat, scoica semnicnd ntotdeauna comoara care se ascunde. Din lumea reptilelor reinem: salamandra, oprla, arpele, dragonul. n funcie de civilizaie i spaiile culturale, semnicaiile unor aseme- nea guri simbolice variaz. La europeni arpele simbolizeaz ispita dar, i inteligena, dragonul simbolizeaz spiritul negativ i distrugtor ntru- chipat n balaur, la asiatici, dimpotriv, dragonul, sinonimul balaurului european, are semnicaie pozitiv. Foarte veche e simbolistica psrilor. Pas- rea phoenix, la egipteni, simbolizeaz ntotdeau- na renaterea. Ibis simbolizeaz delitatea i respectarea jurmntului, lebda simbolizeaz graia, acvila aspiraia spre nalt, ndrzneal i curaj, bufnia simbolizeaz inteligena. Grupul mamiferelor mai des redate n alctu- irea bijuteriilor: cprioara, apul, berbecul, calul, zimbrul, leul, tigrul, leopardul, ursul, pisica sau rsul. n toate cazurile simbolica face trimitere la unele caliti sau trsturi caracteristice ani- malului i care pot transferate i omului. Exis- t unele dicionare de simboluri cu aplicaii mai mult n sfera gracii, prezentnd modul cum este prolat gura pe o suprafa sau ntr-un anumit context cultural. n cazul simbolicii gurative antropomorfe, problematica pare mai complicat, innd seama mai ales, de diversitatea cazurilor ntlnite. Cnd e vorba de anumite zeiti simbolul reprezentat pare lesne de neles, avnd n vedere atributele zeitii respective. De asemenea, cnd e vorba de monede reprezentnd chipul unui suveran, integrate n compozia unei podoabe, trimiteri- le pe care le face simbolul sunt limpezi. Chiar i n raport cu religiile monoteiste diverse, putem distinge cazuri n care descifrarea simbolului nu ridic prea multe probleme. Preocuprile n acest sens continu. Dincolo de toate aceste simboluri bine anali- zate de diveri specialiti, interesul meu este s ndrum studenii s realizeze bijuterii cu forme i acorduri cromatice atent studiate, care s trans- mit emoii i sentimente delicate precum orice nected to the faith of Egyptians, the dragon-y is frequently met in the construction of decorations, especially in the 1900s, see the Lalique jewels, the lady bird, which announces the good and your luck, the bee, which promises you happiness and well-being, or the spider and the scorpio. The world of the underwater beings is com- pleted with the frog, bringing you luck, the tor- toise, expressing health and a long life, the shell, always emphasizing the hiding treasure. From the world of reptiles we retain the sala- mander, lizard, snake and the dragon. According to civilization and ample cultural apaces, the sig- nications of such symbolical gures vary. In the European context the snake symbolizes tempta- tion and intelligence, the dragon symbolizes the negative and destroying spirit, and for the Asians the dragon means something positive. The birds symbolism is also very old. In Egypt the Phoenix bird always symbolized rebirth and renewal. Ibis used to symbolize delity and the obediance of the oath, the swan symbolizes grace, the eagle the high aspiration, boldness and courage, the owl symbolizes intelligence. The group of mammals which is more fre- quently used in the composition of jewels: the deer, the goat, the ram, the horse, the aurochs... and the lion, the tiger, the leopard, the bear, the cat or the lynx... in all these cases the symbolism refers to the characteristic qualities or features of the animal which can be transferred to man. There are some dictionaries of symbols with graphic ap- plications presenting the way the gure is proled on a surface or in a certain cultural context. In the anthropomorphous gurative symbol- ism the topic seems more complicated, consider- ing especially the diversity of the cases. When it is about deities, the represented symbol seems easy to be understood given the attributes of that deity. Moreover, it is about coins representing the face of a sovereign, integrated in the composition of a decoration, while the symbols references are clear. Even in the connection with different mono- theist religions, we can distinguish cases when the symbols decoding does not represent a problem. This kind of preoccupations continue. Beyond all these symbols, which are well analysed by different specialists, my interest is 249 to orient my students to make jewels in carefully studied forms and chromatic harmonies, meant to express delicate emotions and feelings like any work of art. Especially as the jewels, like cloth- ing itself, always join their carrier, helping him to convey concrete messages, related to his person- ality, to all the others around. oper de art. Cu att mai mult cu ct podoa- bele, ca i vemintele, nsoesc mereu purttorul lor, ajutndu-l s transmit celor din jur mesaje ct mai coerente, n acord cu personalitatea sa. Bogdan Hojbot, Schie pentru pandantiv i brar, 2014 Bogdan Hojbot, Sketches for pandantiv and bracelet, 2014 Rzvan Botezatu, Brar, forjare cu elemente de oel de Damasc, 2013 Rzvan Botezatu, Bracelet, forge with elements of Damascus steeel, 2013 Mihai Constantinescu, Brar, 2013 Mihai Constantinescu, Bracelet, 2013 250 Adina NANU cadru didactic UNAB n perioada 1951 1985 cadru didactic UNATC din 1990 UNAB professor between 1971 and 1986 professor at the UNATC since 1990 251 Dac ar s aleg un simbol care s rezu- me toat cariera mea didactic, de cercetare i de creaie (aproape 40 de ani la UNA i ali 20 la UNATC), a alege o plrie. Pare o frivolitate dar a putea umple toat pagina cu nepreuitele ei funcii, de la comunicarea social (rang, avere, sex, vrst, cultur etc.) la valoarea economic (de marf, depinznd de materiale, mod, marketing, etc.), la cea estetic (ncununnd compoziia de ansamblu a imaginii umane, principala art de- corativ vizual, de care nimeni nu se poate lip- si). Ce poart cineva pe cap l reprezint nainte de orice, spune cine este sau drept cine vrea s e luat, dac are imaginaie, gust sau umor. Nu ne putem aminti de Napoleon fr bicorn sau de Mihai Viteazul fr cum. Pentru mine totul a pornit de la plriile pe care mama mea le pstra n cutii rotunde, de pe vremuri, i cu care ne jucam uneori. Cnd am nceput s predau Istoria Costumului la Sceno- grae, apoi i la Mod, le-am scos la iveal ca pe un nepreuit material didactic. Pentru ca studenii s neleag c o plrie este numai un element dintr-o compoziie artistic, la fel de expresiv i de unitar ca i un tablou sau o statuie, am n- cercat s reconstitui, pornind de la ecare din p- lriile vechi, cte un ansamblu cu haine, panto i accesorii, din ce aveam prin cas i din ce am gsit pe la rude i prieteni. Aa s-a nscut colec- ia i prima ei expoziie Un secol de costum ca i primul lm de scurtmetraj, cu colaborarea UNA Elogiul Plriei If I had to choose a symbol to summarize all my research and didactic and creative activity (almost 40 years spent at the National University of Arts, Bucharest and other 20 years at the UN- ATC), I would choose a hat. It might seem shallow however I would ll all the page with its precious functions, from social communication (rank, for- tune, gender, age, culture, etc.) to the economic value (as some goods, depending on materials, fashion, marketing, etc.) or the esthetic one (en- wreathing the general composition of the human image, the main visual decorative art, which no- body can be deprived of). What somebody wears on its head surely represents him, tells who he is or who he pretends to be, if he is endowed with imagination, preferences or humour. We cant re- member Napoleon without his bicornous outt or Mihai Viteazul without his cap. In my case, everything started from the hats kept by my mother in round old boxes, which once we used to play with. When I began to teach the History of the Costume at the Departments of Scenography or Fashion, I took them out as if they represented some priceless didactic materi- al. For the students to understand that a hat was only an element in an artistic composition, which was as expressive and unitary as a painting or statue, I tried to restore, starting from each of the old hats, an ensemble of clothes, shoes and accessories, found in my house or at my relatives and friends. This is the way we created the col- The hats eulogy 252 Adina Nanu la primirea diplomei Doctor Honoris Causa, UNATC, 2014. mpreun cu: Ana Stanciu (1), Pupi Filitti (2), Laureniu Damian (3) Adina Nanu when getting the Doctor Honoris Causa Diploma, UNATC, 2014. Together with: Ana Stanciu (1), Pupi Filitti (2), Laureniu Damian (3) 1 2 3 253 lection and its rst exhibition A century of the costume and the rst short lm, in partnership with the UNA and UNATC. Since then we have organized 15 exhibitions (from Venice we brought a tricorn), and weve got more than 500 hats due to our friends and the friends of our friends, who always happened to nd a bowler, a top hat or a beret only as a memory, as they had no more space for them in their home, but which they could not throw away either, like their children do... At the moment my former students are my colleagues or friends and I am very happy to see the way the Fashion Department extends and de- velops. Many of my dreams, which were not pos- sible before 1989, became true in the meantime. From 4 students a year, as it used to be when my daughter started to attend the faculty classes, now there are up to 100, and the selection is done naturally, gradually. We also managed to make all students learn from all our professors and they took advantage of all their different equipment and specializations. Thus the noviciate with a sin- gle master, the danger of limitation and the imita- tion of a single artistic personality were avoided. At school they were attracted by valuable specialists and their human quality derived from their enthusiasm, with the minimum of material benets. Abreast of the times, they travel abroad (another dream, which my generation could not even dream of), they are aware of everything happening all over the world, they do not have to focus on elementary experience on their own (as we discovered what could be done with a square or circle, or how can you provide a sample with another form if you cut it). After World War II I experienced the diap- pearance of the hat which had become politi- cally suspect, as it was considered a sign of the bourgeois landlords; the workers were instigated against them in the class conict and I sorrowfully saw how it was replaced with the headkerchief and the cap. For many years I have been waiting for the return of the hat to its well-deserved place and rank, which is going to inevitably happen simul- taneously with the development of all young peo- ples artistic education. My explanation regarding i UNATC. De atunci am fcut 15 expoziii (de la Veneia am adus un tricorn), iar numrul plri- ilor a trecut de mult de 500, datorit prietenilor notri i prietenilor prietenilor, care gsesc mereu cte un melon, un joben sau o beret pstrate doar de amintire, pentru care nu mai au loc n cas dar pe care nici nu se ndur s le arunce, aa cum arunc toi copiii lor. Acum, fotii mei studeni mi sunt colegi sau prieteni i m bucur nespus s vd cum crete i norete departamentul Mod din UNA. Multe dintre visurile mele, imposibile nainte de 1989, s-au mplinit ntre timp. De la 4 studeni ntr-un an, cum erau pe vremea cnd ica mea a nce- put facultatea, s-a ajuns pn la 50, iar selecia se face resc, pe parcurs. S-a realizat i trecerea tuturor studenilor pe la toi profesorii seciilor, beneciind de dotrile i specializrile lor diferi- te. Astfel se evit ucenicia la un singur maestru, primejdia limitrii, dar i a imitrii unei singure personaliti artistice. n coal au fost atrai specialiti de valoare, iar calitatea lor uman reie- se din entuziasmul cu care lucreaz, cu benecii materiale minime. n pas cu vremea, ei circul n strintate (alt vis irealizabil al generaiei mele), sunt la curent cu ce se ntmpl pe ntreg pmn- tul, nu trebuie s fac singuri experiene elemen- tare (cum descopeream noi ce se poate face cu un ptrat sau un cerc i cum poi s dai unui tipar alt form dac i dai o tietur). Am trit n anii de dup al doilea rzboi mondial dispariia plriei, devenit suspect politic, soco- tit semn al burghezo-moierimii, mpotriva creia era aat proletariatul la lupta de clas, i am vzut cu jale cum era nlocuit cu basmaua i apca. Atept de muli ani revenirea plriei la locul i rangul care i se cuvin, ceea ce sa va ntmpla inevitabil odat cu creterea nivelului educaiei artistice a tuturor tinerilor. mi explic de ce mer- ge att de ncet prin faptul c democratizarea a asigurat deocamdat doar instrucia de baz de tip tiinic, prin nvmntul general obligato- riu. Doar unele zone favorizate, pentru care arta a ajuns mod de via, i dau importana cuvenit, ca Italia sau Japonia. La noi, cei care hotrsc orientarea studiilor nu au avut iniierea necesa- r pentru a aprecia importana tririi artistice a imaginii vizuale ca i a muzicii, a cror amploare 254 ar trebui s egaleze n coal orele de literatur i poezie. Sper cu ncredere ca mcar strnepoii mei s apuce s se bucure din plin de arta pl- riei, care va nori n viitor fr ndoial, alturi de celelalte arte. Deocamdat i pentru ei, ca i pentru mine n copilrie, plria e obiect de joa- c, mijloc de stimulare a fanteziei. Acum, pentru marele public, se constat numai c Moda e la mod i asta e bine, e un prim pas. Ultima mea plrie, pe care am primit-o n dar de la Conducerea UNATC, reprezint o evo- care a unora din cele mai vechi tradiii universi- tare europene, instituite acum o mie de ani la Oxford, i face parte din costumul de Doctor Ho- noris Causa. De abia a doua zi dup ceremonia de nvestitur, mi-am dat seama c ptratul care ncununeaz boneta a fost probabil la origine o car- te inut n echilibru pe vrful capului, iar nurul cu pompon era semnul marcnd pagina citit. Dac ne amintim c pn n secolul al XV-lea, cnd s-a rspndit tiparul, crile erau scrise i ilustrate de mn, unicate scumpe miglite prin mnstiri, p- tratul de carton acoperit cu pnz ncepe s emane o aur magic, ncrcat de nelepciunea i talentul multor generaii de nvai. Rmn recunosctoare inimoilor artiti de la UNATC pentru c m-au primit n mijlocul lor. i iremediabil optimist, m vd ca o mic trstur de unire ntre cele dou instituii artistice, a cror colaborare o visam pe vremuri i pe care Departamentul Mod ncepe s o realizeze acum. Jos plria! this issue consists in the fact that, for the time being, democracy had ensured only the basic sci- entic instruction by means of the compulsory general education. There are only some privileged areas, where art has become a lifestyle and got its well-deserved importance, such as Italy or Japan. In our country, those who decide the orientation of studies did not share the initiation needed to appreciate the importance of the artistic experi- ence in the contexts of visual image and music, whose amplitude should equal the literature and poetry classes at school. I am hopeful that at least my great-grandsons will have the chance to highly enjoy the art of hats, which is certainly going to develop in the future, together with other arts. For the time being, not only for them but also for my- self in my childhood, the hat represents a playing object and a method to stimulate fantasy. Now, for the great public, it is noticed that Fashion is in fashion and that is good, it is a rst step. My last hat, which I have got as a present from the UNATC management board, represents an evocation of some old European academic traditions, initiated a thousand of years ago at Oxford, and is related to the Doctor Honoris Causa costume. It was only the next day after the investiture ceremony when I realized that the square enwreathing the cap might have originally been a book kept in balance on ones head and the string provided with a pompon was the sign marking the already read page. If we remember that until the 15th century, when they extended the printing, the books were written and illustrated manually, expensive unique items were carefully made in monasteries, the carton square was cov- ered with canvas, one could notice a magic aura charged with the wisdom and talent of many gen- erations of scholars. I am grateful to our passion- ate artists from the UNATC for having accepted me. And irremediably optimistic, I see myself as a slight connection between the two artistic insti- tutions, whose partnership I was expecting once, which the Fashion Department is on the verge to accomplish. Hats off! 255 Adina Nanu mpreun cu Maria i Miron Oprescu la primirea diplomei Doctor Honoris Causa, UNATC, 2014 Adina Nanu together with Maria and Miron Oprescu when getting the Doctor Honoris Causa Diploma, UNATC, 2014 256 Leontina MAILATESCU iniiatoarea Seciei de Creaie Vestimentar the initiator of the Creative Clothing Department 257 M consider un om mplinit soarta mi-a ofe- rit o via cu totul deosebit, mie, al optulea copil din familia Mailatescu, nscut ntr-un sat Ce- tatea de Balt, de lng Blaj. Astzi, la 81 de ani, m simt onorat i re- compensat suetete de faptul c sunt nc pre- zent n memoria colegilor mai tineri de la Depar- tamentul Mod, care m-au invitat s scriu cteva rnduri despre anii de nceput ai Seciei CREAIE VESTIMENTAR. Am funcionat ca profesor co- ordonator nc de la ninare, n 1971. n anii aceia coala de nvmnt specializat de art se numea Institutul de Arte Plastice Nicolae Grigo- rescu Bucureti, iar creaia vestimentar era o specializare n cadrul Seciei Arte Textile, alturi de Imprimeuri i Tapiserie. Am descoperit vocaia artistic nc de pe bncile colii Medii de Arte Plastice de la Cluj, unde am fost ncurajat s continui studiile la fa- cultate, la Bucureti capitala rii dat ind faptul c oportunitatea de a participa la viaa cultural i artistic ar mai deschis. Am fost admis cu not mare (alturi de ali colegi de la Cluj, Vladimir etran, Viorel Mrginean i Ovidiu Patina), iar dup 6 ani, la nalul studiilor, am fost reinui n cadrul Institutului ca asisteni uni- versitari, urmndu-ne apoi, ecare, cariera artis- tic i profesional. Destinul meu m-a condus ctre Secia Tex- tile, pentru a m ocupa de tehnici i tehnologii specice (att artistice, ct i industriale). Acest nceputurile seciei Creaie Vestimentar 1971 I consider myself an accomplished man fate has endowed me with a very special life, me, the eighth child of the Mailatescu family, who was born in a village Cetatea de Balt, next to Blaj. Today, at the age of 81, I feel honored and spiritually rewarded by the fact that I am still present in the memory of my younger colleagues at the Fashion who asked me to write several lines about the beginnings of the Fashion Department. I had worked as a coordinating professor from the very beginning, since 1971. Back then, the specialized art school was named The Insti- tute of Fine Arts Nicolae Grigorescu Bucharest, and fashion design represented a specialization of the Textile Art Department together with the Department of Prints and Tapestry. I had already discovered my artistic talent while attending the Secondary Art School from Cluj, where I was encouraged to continue my upper studies at Bucharest the capital of the country considering that I could have more op- portunities to participate in the cultural and artis- tic events. I was admitted with a high mark, (to- gether with other colleagues from Cluj, Vladimir etran, Viorel Mrginean and Ovidiu Patina), and 6 years later, at the end of faculty time, we were selected to become University tutors, while also continuing our artistic and professional career. My fate conducted me towards the Textiles Department and made me approach specic techniques and technologies (both artistic and The beginnings of the Fashion Design Department 1971 258 lucru a cntrit foarte greu civa ani mai trziu, la nominalizarea i la acceptarea mea ca organi- zator al noii secii, cnd s-a pus problema nin- rii specializrii Creaie Vestimentar. Rectorul Institutului de Arte Plastice de la acea vreme, profesorul universitar Gheorghe Achiei, a considerat foarte bine-venit o atare specializare, iar dintre colegele mele de la vre- mea aceea eu am fost socotit potrivit pentru aceast misiune. Este cazul s explic faptul c, pentru n- inarea seciei, n anul 1970, Ministerul nv- mntului de la acea epoc a propus o burs de studiu la Universitt fr angewandte Kunst Wien (titulatura actual). A fost anul n care coala superioar de Arte Aplicate Kunstgewerbeschu- le a devenit universitate. Menionez notorietatea universitii, care printre profesorii i absolven- ii si numr nume notorii, cum ar : Gustav Klimt, Oskar Kokoschka, Vivienne Westwood, Karl Lagerfeld, Jil Sander, Pipilotti Rist, Frano- is Valentiny, Hugo Markl, Gertrude Hchssmann sau Stefan Sagmeister. Am socotit i socot i acum o mare onoare pentru mine oportunitatea care mi-a fost oferit, precum i faptul c am avut ocazia s studiez la prima universitate european de arte aplica- te, chiar i pentru doar cteva luni, cu profesori renumii, avnd ca tutore pe doamna Gertrude Hchssmann, personalitate din avangarda modei vieneze. Am preluat de acolo modelul de studiu, disciplinele strict necesare, precum i elemente de exprimare artistic, putnd astfel construi o curicul universitar aplicat condiiilor din Ro- mnia acelor vremuri. M fascina ideea de a crea haine care s rs- pund ct mai multor ocazii, s satisfac ct mai multe gusturi, s poat purtate i s convin ct mai multor forme corporale sau vrste. Eram perseverent i progresam odat cu studenii, pe care m strduiam s i formez n conformitate cu cele nvate la Viena. Nu era uor, deoarece creaia specic modei era i este diferit de cea artistic, iar acest lucru era foarte greu de neles i acceptat de ctre colegi i studeni. Ca profesor, eram obligat s cunosc ndea- proape tehnicile de tipar i confecionare, s ofer soluii de creaie, de redare n desen i s co- industrial). This fact meant a lot some years later, when I was appointed the organizer of the new department, when they founded the Fashion Design specialization. The rector of the Art Institute during that pe- riod of time, professor Gheorghe Achiei, had wel- come this kind of specialization and, from all my colleagues, I was considered the most appropriate one to develop this mission. It is the time to explain the fact that then, in order to found the department in 1970, the Min- istry of Education proposed a scholarship at Uni- versitt fr angewandte Kunst Wien (the actual entitling). It was the year when the Upper School of Applied Arts, Kunstgewerbeschule, became a university. I mention here the notoriety of the Uni- versity, famous for its professors and graduates such as: Gustav Klimt, Oskar Kokoschka, Vivienne Westwood, Karl Lagerfeld, Jil Sander, Pipilotti Rist, Franois Valentiny, Hugo Markl, Gertrude Hchss- mann or Stefan Sagmeister. I still consider this opportunity a great hon- or; moreover, I am glad Ive had the occasion to study at the rst European University of Applied Arts, even if only for several months, with well- known professors, coordinated by Mrs. Gertrude Hchssmann, a personality of the Viennese fash- ion avant-garde. I borrowed the pattern of study, the strictly needed disciplines, as well as the ele- ments of artistic expression, thus elaborating an academic curriculum according to those Roma- nian circumstances. I was fascinated to create clothes which were supposed to match with a wide range of oppor- tunities, satisfying more preferences, to be nally worn and t more bodies and ages. I was tenacious and developed at the same time with my students, which I tried to educate according to those learned in Vienna. It was not easy as the creation specic to fashion has always been more different than the artistic one, and this detail was hardly understood and accepted by my colleagues and students. As a professor, I had to know the pattern and production techniques very well, to provide crea- tive solutions in drawings, and coordinate the ac- tivity of the fashion lab. This period of time will be always special for me, not only because of the novelty of the situation but also due to my experi- 259 Ioana Avram i Unda Popp, prezentndu-i rochiile din hrtie, 1975 Ioana Avram and Unda Popp, presenting their paper dresses, 1975 260 ordonez activitatea laboratorului de mod. Acea perioad rmne un lucru deosebit n viaa mea, nu doar prin noutatea situaiei, ci i prin experi- enele trite alturi de studenii mei de atunci. Fiecare dintre ei dorea s e ct mai origi- nal i era dornic s demonstreze c poate un creator de mod talentat. A meniona pe Gerda Kneipp, tefan i Lizica Rdulescu, Doina Costa- che Cerisier, Nicolae Tudor, Ella tefnescu, care de-a lungul carierei lor au demonstrat corectitudi- nea drumului nceput n Romnia acelor vremuri. De asemenea, dintre studentele mele de atunci, Unda Popp, Ioana Avram, Paula Bar- bu, Claudia Muat au ajuns astzi profesoare la UNAB. Am ncercat s insuu un spirit romnesc n tot ceea ce nseamn mod, s deschid ua crea- iei de mod ctre valorile naionale, cu att mai mult, cu ct chiar n acel an, Yves Saint Laurent lansa n cultura i arta universal iia romneasc. Problema care se punea era ca studenii s e capabili s creeze, s exprime i s realizeze piese vestimentare care s nu e doar artistice sau creative, ci s e mbrcminte care rspun- de diferitelor cerine, teme sau nevoi reale. Dei a trecut mult vreme, i pentru cei de azi acele timpuri pot prea anacronice i depite, totui nu trebuie uitat c existau faciliti i oportuniti deosebite pentru cei ce doreau s se pregteasc pentru profesia de creator de mod. Studenii beneciau de consultarea revis- telor de mod, la Biblioteca Institutului sau la CEPIU (Centrul de Cercetare pentru Industria Uoar), unde puteau vizionate ultimele cre- aii lansate la Paris capitala modei, dar acest lucru se referea doar la documentare, deoare- ce n Institut era foarte ncurajat originalitatea vestimentar, iar studenii erau ndrumai s e ct mai inovativi n creaiile lor. Facultatea noastr punea la dispoziie ma- nechine pe dimensiunile standard, un atelier dotat cu materiale, maini de cusut (chiar dac nu cele mai performante), asisten tehnic (un tehnician specializat, care sprijinea studenii la construcia tiparului i la confecionarea vesti- mentaiei), manechine (de croitorie) i un ma- nechin viu, care participa i la cursurile de cro- chiuri, absolut obligatorii. ence together with my students back then. Each of them wished to be as original as pos- sible and was eager to prove that he could be a talented fashion creator. I would mention Gerda Kneipp, tefan and Lizica Rdulescu, Doina Cos- tache Cerisier, Nicolae Tudor, Ella tefnescu who, during their career, demonstrated the corectness of the way started in Romania of those times. Regarding my former students, Unda Popp, Ioana Avram, Paula Barbu and Claudia Muat, they are now professors at the National University of Arts, Bucharest. I tried to provide all that means fashion with a Romanian spirit, to stimulate fashion towards the national values, especially as during that year Yves Saint Laurent was promoting the world and Roma- nian culture and art. The main issue was that students were sup- posed to be able to create, express and realize items of clothing, which were meant to be not only artistic or creative, they were demanded to represent a sort of clothing responding to differ- ent patterns, topics or real needs. Although it had happened a long time ago, and we might consider these times anachronistic or oudated, we must not forget the special facilities and opportunities provided for those who wanted to train and be- come fashion designers. The students could benet from the consulta- tion of fashion magazines at the Institutes Library or at the CEPIU (The Research Centre for Light In- dustry), where they could see the latest creations launched at Paris the capital of fashion, however this fact referred only to the documentary aspect since at the Institute originality was highly stimu- lated and students were recommended to be as innovative as possible in their creation. Our faculty provided the students with stand- ard mannequins, a studio equipped with materi- als, sewing machines (even if they were not very specialized), technical assistance (a specialized technician, who used to support the students in the construction of patterns and the clothing de- sign), tailoring mannequins and a living manne- quin, who also participated in the sketch courses, which were absolutely compulsory. During that period of time the materials, which had to become clothing items, were pro- 261 La acea vreme, materialele care trebuiau s devin produse vestimentare erau asigurate de ctre facultate (cam 3-4 sortimente, cum ar : pnza de decor, o mtase foarte n Excel- sior, o estur de ln de capr, aspr As- tar, i... cam att), erau albe, nevopsite i aveam posibilitatea s le vopsim sau s le imprimm la atelierele Seciei Arte Textile. De asemenea, se creau accesorii, cu precdere plrii sau sacoe, care s completeze inutele. Aa se face c stu- denii nvau cte puin i despre aceste tehnici. Institutul avea i un laborator de fotograe, cu un fotograf angajat pentru a imortaliza colec- iile realizate de ctre studeni, n ideea ca ecare experien sau produs nit s rmn ca docu- ment, iar arhiva s poat vizionat de ctre studeni sau profesori, oricnd, ca surs de in- spiraie sau ca material didactic. Dei acest lucru s-a pierdut, el a fost gndit dup modelul ster- reichischen Museums fr Kunst und Industrie, din care s-a dezvoltat Kunstgewerbeschule, dar poate ideea ar putea reluat. Ani buni am facut echip cu Adina Nanu, colega mea, care preda istoria costumului i care stimula experimentele neconvenionale n rndul studenilor, astfel nct rigoarea colii de mod era mblnzit de teme mai libere, mai amuzante. Uniunea Artitilor Plastici sprijinea tinerii, chiar i pe studeni, i le oferea uneori dreptul la expunere n slile sale, iar adeseori studenii foarte meritorii erau premiai pentru inventivita- tea i originalitatea lor. De asemenea revista MODA, de pe lng co- operaia de consum, gzduia i creaiile studen- ilor de la mod. Pasiunea mea, n afara obligaiilor didactice i profesorale, mi-o satisfceam cumprndu-mi materiale, pentru a le confeciona eu nsmi, iar azi, la vrsta mea, m mir ct de multe obiecte vestimentare am creat, vopsit, imprimat i con- fecionat chiar cu mna mea. Deschid dulapul, i dup atta vreme m bucur de astfel de reali- zri, ecare cu amintirea ei. Am lme i fotograi care stau mrturie pentru ntreaga mea carier de profesor la Secia de Mod, i uneori readuc n memorie, cu nostalgie, momentele n care toate acestea au nceput. vided by the faculty (about 3-4 assortments such as: decorative canvas, a very soft and tender silk Excelsior, a woolen fabric suggests the goat factor, roughness Astar, and... thats it), they were white and unpainted, and we had the op- portunity to print them in the studios of the Textile Arts Department. They also created accessories, especially hats or bags, to complete the outt. As a result, the students also learned a few details regarding these techniques. The Institute also had its photo lab and an employed photographer to immortalize the collec- tions realized by students as they considered each experience or nite product a document, for the archive to be seen by students and professors any time they wanted, as a source of inspiration or as a didactic material. Although we can refer to it no more, it was conceived according to the sterrei- chischen Museums fr Kunst und Industrie model, which developed the Kunstgewerbeschule, yet the idea might be reconsidered. For years I have been working with Adina Nanu, my colleague, who was teaching the his- tory of the costume and was promoting the un- conventional experiments among students thus the schools rigor was softened by more exible and more amusing topics. The Professional Artists Union supported the young generation, even the students, and some- times provided them with the right to exhibit in their exhibition rooms, and the meritorius stu- dents were often awarded for their inventiveness and originality. The FASHION magazine by the Consumer Co- operatives was also sheltering the creations of the students belonging to the Fashion Department. Besides my didactic and professional responsi- bilities, I used to satisfy my passion by buying ma- terials to subsequently confection them and today, at my age, I am surprised to see how many clothing items I have created, painted, printed and made with my own hands. I open my wardrobe and, after such a long time, I can enjoy this kind of accom- plishments and the memories they are related to. I have got lms and documentaries illustrating my whole career as a professor at the Fashion Depart- ment and sometimes I nostalgically remember the moments when all these had begun. 262 Evenimente Events 263 Anul II, ZVON DE PRIMVAR Instant Fashion Show, Sun Plaza, Bucureti, 2013 Second year BA, THE WHISPER OF THE SPRING Instant Fashion Show, Sun Plaza, Bucharest, 2013 264 265 Coleciile studenilor Departamentului Mod prezentate cu prilejul srbtoririi a 70 de ani de activitate British Council n Romnia, Centrul Cultural Britanic, Bucureti, 2013 The collections of the Fashion Department students presented at the 70s anniversary of the British Council in Roma- nia, the British Cultural Centre, Bucharest, 2013 266 Coleciile studenilor Departamentului Mod prezentate cu prilejul srbtoririi a 70 de ani de activitate British Council n Romnia, Hotel Hilton, Bucureti, 2013. n imagini apare colecia Roxanei Prvu. The collections of the Fashion Department students presented at the 70s anniversary of the British Council in Roma- nia, Hilton hotel, Bucharest, 2013. In photos appears Roxana Prvus collection. 267 Lcrmioara Crian, Sibiu, 2013 268 edina foto pentru Colecia LadZestra, UNAB, Bucureti, 2014 Photo session for the LadZestra Collection, UNAB, Bucharest, 2014 269 270 Coleciile studenilor: Alexandru Ivan (1), Raluca Mndi (2), Mdlina Georgescu (3), Romexpo, Bucureti, 2013 The collections of the students: Alexandru Ivan (1), Raluca Mndi (2), Mdlina Georgescu (3), Romexpo, Bucha- rest, 2013 1 3 2 271 Coleciile studenilor: Lcrmioara Crian (1), Alina Gurgu (2), Romexpo, Bucureti, 2013 The collections of the students: Lcrmioara Crian (1), Alina Gurgu (2), Romexpo, Bucharest, 2013 Prezentare UNAB Mod: Doina Berchin (3), Romexpo, Bucureti, 2013 UNAB Fashion presentation : Doina Berchin (3), Romexpo, Bucharest, 2013 1 2 3 272 Liliana uroiu, vernisajul expoziiei de Art i Costum Sur les toits de Paris, Athne Palace Hilton, Bucureti, 2013 Liliana uroiu, the opening of the Art and costume exhibition Sur les toits de Paris, Athne Palace Hilton, Bucharest, 2013 273 Adina Nanu lucrnd cu Viorica Sldescu n Laboratorul de Imprimerie din cadrul Departamentului Arte Textile, 2013 Adina Nanu working with Viorica Sldescu in the Printing Laboratory inside of the Textile Arts Department, 2013 274 Prezentarea Coleciei DeConFashion, cu prilejul semnrii parteneriatului dintre UNAB i Scoala de Mod din Viena, DADA, Bucureti, 2013 The presentation of a collection, DeConFashion, when signing the partnership between the National University of Arts Bucharest and the Fashion School from Vienna, DADA, Bucharest, 2013 275 Prezentarea Coleciei DeConFashion, cu prilejul semnrii parteneriatului dintre UNAB i Scoala de Mod din Viena, DADA, Bucureti, 2013 The presentation of a collection, DeConFashion, when signing the partnership between the National University of Arts Bucharest and the Fashion School from Vienna, DADA, Bucharest, 2013 276 277 Gala Absolvenilor Departamentului Mod, UNAB, Bucureti, 2013 The Fashion Departments Galla, UNAB, Bucharest, 2013 278 279 Mega Fashion, lmri nocturne n curtea colii, UNAB, 2013 Mega Fashion, night shooting in schoolyard, UNAB, 2013 280 Unda POPP Doina BERCHIN Unda POPP Paula BARBU Ioana AVRAM Doina LUCANU Alina Maria GRIGA Liliana UROIU Aurelia POMPONIU Venera ARAPU Rzvan VASILESCU Sergiu CHIHAIA Oana Maria ROCA Gheorghe PREDA Alexandru-Ioan MRGINEAN Matei ARNUTU Adina CEZAR Liliana IFRIM Bogdan HOJBOT Adina NANU Leontina MAILATESCU Viziune idilic La familia 6 Aventura 10 Performing-ul de costum sau cum i dai via unei teme de coal 26 Trei plrii pentru ntlnirea cu moda 44 Moda i semnele schimbrii 64 Arta Firului i jocul formei 84 Reciclarea inovativ sau upcycling 102 Moda ca pasiune, profesie i stil de via 120 Gnduri la ceas aniversar 136 Pasiune pentru Mod 146 Activitate personal dendidaist 156 Postmodernismul i moda 176 O tem de cercetare Cltoria n trecutul istoric naional 186 Magia imaginilor 196 Coordonatele matematice ale eleganei 202 UNArte mai tnr cu 150 de ani 206 Costume n micare 218 Ruca cea Urt sau despre rolul i locul Tehnologiei i construciei tiparului 222 Despre elemente simbolice folosite n compoziia podoa- belor din metal 234 Elogiul Plriei 250 nceputurile seciei Creaie Vestimentar 1971 256 Evenimente 262 281 Unda POPP Doina BERCHIN Unda POPP Paula BARBU Ioana AVRAM Doina LUCANU Alina Maria GRIGA Liliana UROIU Aurelia POMPONIU Venera ARAPU Rzvan VASILESCU Sergiu CHIHAIA Oana Maria ROCA Gheorghe PREDA Alexandru-Ioan MRGINEAN Matei ARNUTU Adina CEZAR Liliana IFRIM Bogdan HOJBOT Adina NANU Leontina MAILATESCU Idyllic vision La familia 6 Adventure 10 The costume performance or how can you render life to a school topic 26 Three hats for the encounter with fashion 44 Fashion and the signs of change 64 Fiber Art and the game of forms 84 The innovative recycling or upcycling 102 Fashion as passion, profession and lifestyle 0120 Anniversary thoughts 136 Passion for Fashion 146 Personal Dandidaist activity 156 Postmodernism and fashion 176 A topic of research The journey to the national histori- cal past 186 The Magic of Images 196 The mathematic coordinates of elegance 202 UNArte 150 years younger 206 Costumes in movement 218 The little ugly Duck or about the role of Technology and pattern constructions 222 About the symbolical elements used in the composition of metal ornaments 234 The hats eulogy 250 The beginnings of the Fashion Design Department 1971 256 Events 262 280 281 284 editura UNArte Bucureti 2014 UNArte publishing house Bucharest 2014 ISBN 978-606-720-008-9