Moments of silence before, during and after prayer in a “hollowed seclusion” can be seen as metaphors for a meditative state, that seems to dislocate one from a certain environment, not least like the visually brilliant first scene from Luchino Visconti’s “Il Gattopardo” (1963).

In the last year I immersed myself in Visconti’s visual universe, from “La Terra Trema” (1948), “Senso” (1954) to “Ludwig” (1973) or “L’innocente” (1976). Piero Tosi’s resplendent costumes for “Il Gattopardo” or “Ludwig” were an important cultural reference for the collection. 19th century morphologies mixed with interbellum silhouettes, funeral attire, monastic garb, references to mid-century couture & self-references to my own collections or the ones that I made during the six years of creative direction for irina schrotter & Theatre + Opera Costume Design — were all interwoven with modern cuts and proportions. All these elements are meant to be culturally tied to my visual obsessions and at the same time are outlining hybrid shapes which make me comprehend certain items.

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Digitally printed fabrics, produced at Westiment Atelier, were made by two amazing artists: Keszeg Agnes & Mihai Nuțu — and were referencing their own archives and techniques (developed in the past 2 decades), the millinery was exquisitely conceived and hand-made by Cosmina Nicolescu — FANDACSIA, the Merinos Wool knitwear was locally produced at DEMIRA. Some of the most complex shapes and items were made in the irina schrotter Atelier. Special thanks to Aurora Goncescu for her valuable input and lots of gratitude to one of my beloved mentors — Irina Schrotter. The soundscape was a mix of Georgiana Fodor‘s breathtakingly beautiful piano interpretation of Chopin’s Valse in C Minor, two powerfully consistent songs by YVAT & EMIL: “Teachers of the Sky” & “The Source”, and Christophe Alvarez’s masterful interpretation of Chopin’s “Polonaise”, Op. 22. Four artists that I admire, and I feel blessed to be able to have their work in my project. The video at the beginning of the show was made by SILKEIGHT / Ștefan Trifan — with whom I have been collaborating for the visual identity.

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Special thanks go to: Irina Schrotter — the soul of Romanian Creative Week Iași, to Ovidiu Buta who is the Curator of the Romanian Designers Section at Romanian Fashion Week & of the “Wonderlands” central exhibition in the Palace of Culture — Elena Viziteu & Anda Zota signed the exhibition design, to Ada Teslaru and Irina Păcurariu who have been actively & creatively involved in the whole festival. Their know-how and commitment are priceless. Anca Ungureanu & the UniCredit Bank team — are such an important part of RCW! As it happens each year — Alexandru Abagiu & Sorin Stratulat — impeccably coordinated the make-up & hair Beauty District teams. Ioana Ciolacu & Alex Mistrețu — proved, again, to be very good organisers of the backstage. Alina Nechifor elegantly coordinated the professional models and special model guests. Thankful to all the models that graced the catwalk for my collection, including some of my dear friends and muses: Ioana Constantinescu, Beatrice Zervas, Ofelia Cozma, Judith State, Aura Popa, Alina Botea, Ana Sidor Crișan. Special thanks to PhD Liana Martin! Cătălin Alionte — RCW’s Director (who flawlessly also organised RFW) & Ramona Ursu — PR & Communication — did amazingly good jobs of communicating the event. Lisa Toma, Anca Iancu, Mihai Lupu, Adriana Mazilu, Aura Popa, Ela & Raul Lazăr, Daniel & Andrew (RCW’s visual identity) — were creatively and logistically involved, making everything work in the whole festival. Yet again, Lecturer PhD Andrei Budescu who coordinated the UAD Cluj-Napoca photo-video students and Raluca Ciornea (RCW’s official photographer) have provided beautiful imagery. Photo credits: Raluca Ciornea (catwalk & backstage), Amanda Maier (backstage), Raul Bălică (catwalk). This event is made possible through the input of hundreds of people and volunteers — to whom we are deeply grateful!