Rozalb de Mura 233
072
TFD_libro.indb 233
26/11/09 16:56:16
Since 2006, the
Romanian avant-garde
fashion label Rozalb
de Mura has been
rediscovering fresh
moments from the past,
then setting them in
utterly contemporary
contexts–un inchingly
mixing real and
imaginary characters
and coolly playing with
time and space. The
memorable encounter
between the eccentric
character and designer
Olah Gyarfas happened
in 2006. Ever since,
the contemporary style
of the Transylvanian
designer, impervious to
short-lived trends and
marked by austere cuts
and exuberant details,
found an ideal platform
in the nonconformist
aura of Rozalb de
Mura label. The label
draws its ideas from
diverse references such
as the music of the hip
Swedish music duo The
Knife, walks on a frozen
volcanic lake, sci-
movies, and Cretan
cryptic notes.
Rozalb de Mura
www.rozalbdemura.ro
TFD_libro.indb 233 26/11/09 11:39:15
TFD_libro.indb 234
26/11/09 16:56:18
711 INSPIRATION. When I start a new
collection, I try to discover a “place” I’ve
never been to. It can be disconcerting at
the beginning; nevertheless, this feeling
of being immersed in a new world fuels
the imagination. Although my collections
are generally built around a theme, I
sometimes allow myself to be guided by
intuition and sudden gusts of inspiration.
712 W
ORKPLACE. The quiet
Transylvanian town of Miercurea Ciuc is
far from the temptations of a big city. The
pace of life is blissfully serene and out-of-
time. My studio has chocolate brown walls
and wooden benches, a lot of old frames,
paintings, white porcelain, a fur–and
manically ordered objects on my huge
working table.
713 M
ATERIALS. It’s the theme of
the collection that dictates the choice
of fabrics, from a very arti cial and
electro-glamour feel, with metallic or
uorescent colors in “A cracked smile
and a silent shout” (2007) to an all black
look in cashmere, tweed, and polyamide
in “Thing” (2008). Plain, thin cotton is
revisited. I often dip it in a coat of paint
to give it the airiness of a dry leaf and the
porosity and volume of paper.
714 Y
OUR RIGHT ARM? It’s much easier
when one doesn’t have to attend to all
the not-so-creative aspects of a job. I’m
lucky because I have a marketing team
that I totally trust. I have great freedom
but still need to take into consideration
their opinion and respect some rules we
established.
715
T
RADITIONAL MANUFACTURING VS. EXPERIMENTATION. The
past, with its fabulous costumes, artisans, and techniques
is always a great source of inspiration. You churn it
through your own personal philter and you get that unique,
contemporary touch.
234 1,000 Ideas by 100 Fashion Designers
TFD_libro.indb 234 26/11/09 11:39:15
Rozalb de Mura 235
TFD_libro.indb 235 26/11/09 16:56:24
716 BRAND VA L U E S . Rozalb de Mura
is the name of a ctional character we
invented–mysterious, anachronical,
generous, an enthusiastic traveller in space
and time, passionate about art, music,
nature, and science. The public is expecting
the next dimension of the story that comes
with each collection.
717 S
TYLE. I’m very eclectic in my
choices. For example, I adore minimalism,
and paradoxically enough, the amboyant
exuberance and foolishness of the eighties.
The outcome might be described as a well-
balanced mix of ideas, apparently classical
cuts and unexpected details. I want my
style to retain a contemporary look, with a
vaguely perverse air here and there.
718 I
S FASHION ART? In the twenty- rst
century, boundaries between fashion,
art, and design became charmingly
blurred. Rozalb de Mura is where fashion
and art collide. In the latest project, we
commissioned the British sound artist
Mikhail Karikis to compose the music for
our show at Ideal Berlin and OnIOff in
London and he commissioned us to make
clothes for his performances and a special
drawing for his Morphica album.
719 SALES. My main concern is to tell a
story and to communicate a vision, but I’m
aware of the practical side as well: learn
feedback, have a good mix of products,
establish the right price. In Romania,
there is not much support for developing
a business in this eld, therefore it’s hard
for a young label to build an international
pro le. Being in the right place (showroom,
catwalk show) in the right moment helps
a lot.
720 Y
OUR RIGHT ARM? People wearing
the clothes and getting emotionally
involved with Rozalb de Mura stories. Like
a small community, we try to coagulate.
Certainly, working with fabulous musicians
and performers like Patrik Wolf, Brazilian
Girls, Róisín Murphy, Loredana, Andi
Vasluianu, or Anamaria Marinca is also
a great reward of this work.
TFD_libro.indb 235 26/11/09 11:39:15
TFD_libro.indb 236
26/11/09 16:56:31
721 INSPIRATION. When referring back
to what has in uenced my collections
it is easy to see how inspiration can be
subconscious. Quite often I nd that
something seemingly insigni cant can
trigger a “starting point” for a collection.
My concepts frequently relate to nature
either through color or structures. I
often feel inspired when in new, natural
surroundings outside of a city.
722 D
EVELOPING A COLLECTION. It
is good to release what creative energy
naturally brings to your concept,
otherwise it can be sti ing. It is important
to research your themes and gain new
knowledge on the concept in order to
broaden your ideas and creative urge. I will
often brainstorm many different ways to
translate my ideas before selecting crucial
elements to take forward into key detailing
and silhouettes.
723 M
ATERIALS. Fabric is key to how
a piece hangs and wears. It is one of the
most important elements in my work and
often a key starting point of inspiration.
Natural bers are my preference; I rarely
feature synthetic materials. I tend to
stick to Italian and English fabrics for
my outerwear and tailoring cloths as the
woolens and cashmeres. In the summer,
look to Spain for cottons and linens. I
think it is important to source locally
wherever you can.
724 T
RADITIONAL MANUFACTURING VS.
EXPERIMENTATION. It is always good to
push boundaries; developing a product is
never-ending and to experiment will only
enhance your natural progression with any
product. The craft of tailoring is always my
reference point, so there is a lot of tradition
in my cutting and structural design.
725 B
RAND VA L U E S . When a customer
purchases a piece of Evie Belle they
are guaranteed something that is an
investment in quality and style. The
brand does not compromise on quality
and customers appreciate that. We pay
particular attention to detailing the
design, to fabric, and to the make of each
piece.
236 1,000 Ideas by 100 Fashion Designers
TFD_libro.indb 236 26/11/09 11:39:15
Sairah Hicks/Evie Belle 237
TFD_libro.indb 237 26/11/09 16:56:51
730
G
OOD HABITS. Remain focused on your visions. Use
inspiration combined with sensibility to create interesting,
yet commercially viable collections. Always remain ahead
of the game, be forward thinking, and lead, do not follow.
Open up your mind to all sources of inspiration and use the
things that you love to drive your passion forward. Take
time to draw, paint, take photographs, take walks, travel,
party, chat, laugh, and create.
726 STYLE. We are a growing,
affordable-luxury British label that
promises longevity and is certainly not just
a “ ash in the pan.” We have built a loyal
customer base and with growing interest
we can only expand to cover more areas of
fashion and the luxury market.
727 E
VOLUTION. It is good to evolve in
many aspects of your life and it’s healthy
to regularly reassess each direction. I
think it important early on to establish
your handwriting and then improve
certain aspects as you grow as a designer.
Every designer is continually learning and
therefore improving in some respect.
728 S
TREET FASHION VS. FASHION
DESIGNER. Fashion and trends are two
different entities. A street trend can be
derived from varying subcultures in music
and other art forms. Catwalk trends can
also become diluted into high street trends,
which is probably where the phrase “It’s in
fashion” is leaning towards currently. As
any good designer knows, their work comes
from inside not from following trends and
it is only through analysis that certain
trends across a designer’s collection can be
dissected.
729 S
ALES. Selling can be a struggle
to many creative sorts. For a business to
succeed and retain longevity as a brand,
commercial awareness and customer
targeting are key. You have to focus on
creating new and interesting collections.
However one cannot forget the pieces that
will sell well to those satis ed, returning
customers that love that particular
product. Change for change’s sake is not
always necessary.
TFD_libro.indb 237 26/11/09 11:39:16
..................Content has been hidden....................
You can't read the all page of ebook, please click here login for view all page.