No. 13 // proleće 2016. // Besplatan primerak
_ Autumn/Winter 2016-17
www.textilue.rs
Intro
Textil Design Studio
Vintage KOŠULJAR S CHIFFON STRIPE PRT DSN #006 #BLUE
VELUR CO EMB PRT DSN # 2145
KOŠULJAR S PEACH SKIN PRT DSN # ORNAMENT # BLACK
Za nastupajuću sezonu ističemo univerzalnu, bezvremenu poruku pesme Partibrejkersa: “Biti isti, biti poseban, biti slobodan, biti samo svoj…!” Jer moda je nešto svetovno, površno, ali u isto vreme nešto posebno, slobodno, jedinstveno. Svake decenije, učesnici modne industrije se suočavaju sa tehnološkim i socijalnim uticajima, neprekidno prikupljajući sve više i više inspiracije i kreativnosti u cilju održavanja individualizacije stilova. Uticaji umetničkih pokreta, muzike, različitih kultura, zdravog načina života i ekologije, novih vidova tehnologije vode ka rađanju novih identiteta kroz veliki talas kreativnosti i stila. Predviđanja kažu da će sezonu jesen/ zima 2017. godine obeležiti kako bazični materijali, boje, dezeni, tako i njihova potpuna suprotnost – uticaji folka, tehnički reinterpretirani materijali, nove neobične kombinacije. Unesite dodir grafike u kapute i odela. Uvucite folk art u casualwear. Manipulišite volumenima. Ili ekstra uzanim linijama. Dodajte malo širine mini suknjama. Igrajte se izrezima i asimetričnim oblicima. Modernizujte klasična odela. Bacite fokus na struk. Ponesite rol kragne. Dodajte šal. Pokažite noge. Obucite uzane duboke čizme. Sve je u kombinaciji funkcionalnosti i elegancije, miksovanju tradicionalnih sa tehničkim materijalima, sa kožom, krznima i čipkom! Štaviše, čipka je neuobičajeno materijal br. 1 za zimsku sezonu, a blejzer/sako je odevni predmet sezone! U kombinaciji sa džinsom, trenerkom! Stvaranje konstrasta – između gradske elegancije i casualweara. Drugačiji način pronalaženja novih dress kodova… Što se boja tiče, plavičasto-zelena, burgundy, senf žuta i nezaobilazna crvena definišu i ističu kolekcije dok blokovi crne, teget, sive i ponovo rođene braon, održavaju klasični i komercijalni aspekt ukoliko se ne poigramo sa formama i detaljima! Sve ovo i još više Textil je pripremio za vas! Pridružite nam se u igri i stvaranju! Mi smo započeli, vi završite priču kroz sopstvene kolekcije! Budite posebni, slobodni i samo svoji u načinu na koji ćete iskoristiti materijale koje smo vam spremili! Družite se sa nama online ili nas posetite da razmenimo ideje, poglede, rešenja… Energiju! “Isti, poseban, slobodan, biti samo tvoj…!” Textil. Jelena Pavlović creative director
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Quilted POLY KNIT STEP PRT # DSN2378 # CHECKS
POLY KNIT ALDO B DSN #1279 # OF WHITE
RAINCOAT STEP PRT DSN # ROMB JEANS
Lace CIP S LACE LINDA DSN # 02975 LACE # BURGUNDY
CIP S LINDA DSN #1504 LACE #43 BLACK
FUTER VIS 2403 LIKRA PRT DSN # FLOWER # BLACK WHITE OFF
Instagram.
TextilUzice
AW 2016 -17 trends
Textil Design Studio
Punch -
KOŽA S 1611 PUNCH DSN #3 # BLACK
POLY KNIT SCUBA PUNCH PRT DS # .D9378S
POLY KNIT SUEDE SCALLOPS DSN # TAUPE
Fur KRZNO COLOR LONG FUR # ZINFANDEL
KRZNO COLOR LONG FUR # PETROL
KRZNO LAMB # BLACK
Denim TEKSAS DENIM LOOK 0036 # DENIM
TEKSAS 100% WASHED # DENIM LIGHT
TEKSAS 100 % PRT DSN # UMBRELAS
Instagram.
TextilUzice
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AW 2016 -17 colors
Textil Design Studio
Burgundy VISKOZA PL. LIKRA PRT DSN # 2110 # FLOWER SANGRIA
VELUR RBS-00584 #1131 RHODODENDRON
KOŽA S 1611 # 1976 ZINFANDEL.
Melange POLY KNIT ALDO A DSN #2454 # GRAY
POLY KNIT STEP MELANGE DSN # WHITE OFF BLACK
VISKOZA PL. MELANGE FOIL DSN # ANIMAL BLACK
Mustard Yellow VISKOZA PL. XT-20 LIKRA #1885 ANTIQUE MOSS
POLY KINT ISSA DSN # YELLOW
KOŠULJAR S MUSLIN YOURY LRX DSN# ETNO# ORANG
Petrol PONTE ROMA VIS LIGHT J #1725 BLUE SARCELLE
KOŠULJAR VIS RAYON POPLIN #2125 ART GREEN
KOŽA S 1611 # 1989 BALSAM
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Jovana Gospavić
Faustusi, Prometeji, Šekspirovi Ričardi, korseti i Džiberi, moda, film i pozorište – mešaju se u svetu Jovane Gospavić. Ona se bavi scenografijom i kostimografijom, a trenutno je na master studijama na London College of Fashion. Studirala je u Beogradu, Antverpenu i Pragu, radila već za privatne klijente i pozorišta. A očigledno je da je ovo samo početak! Iz tvoj portfolija je očigledno da imaš bogato iskustvo rada u svetu mode, filma i izvođačkih umetnosti. Koji materijal ili koju teksturu bi vezala za svaki od njih? Nemam određenu asocijaciju na teksturu ili materijal koju bih neposredno povezala sa određenom vrstom proizvodnje. Raznovrsnost izabranih materijala je usko povezana sa svrhom i funkcijom traženog komada odeće/kostima/objekta u datom umetničkom medijumu. Koliko se razlikuju iskustva školovanja u Beogradu, Antverpenu, Pragu i Londonu? Da li je i gde postojao deo edukacije koji se odnosio na materijale? Da li je to zavisilo od specijalizovanosti studija? Postoje neke razlike i sličnosti u obrazovnim sistemima u ovim gradovima. Čak i kada postoji isti naziv predmeta i isti cilj seminara na različitim univerzitetima, postoje značajne razlike u pristupu i načinu na koji se predaje kostim i scenografija.
Na drugoj godini fakulteta primenjenih umetnosti u Beogradu, postojao je predmet tehnologija tekstila, gde smo učili tehnološki i industrijski proces stvaranja materijala od molekularne strukture različitih vlakana, preko porekla tkanina do faza industrijskog procesa i stvaranja konačnog proizvoda – tekstilnog materijala. U Pragu nismo imali predmet koji bi bio posvećen samo tekstilu i tkaninama. Imali smo nekoliko radionica sa MateriO’, što je francuska kompanija sa svojim ogrankom u Pragu, usmerena ka stvaranu biblioteke tehnološki inovativnih materijala kao i na pružanje podrške različitim kompanijama u proizvodnji materijala za budućnost. U Pragu smo imali i predmet scenske tehnologije koji je uključivao proučavanje različitih materijala i tehnologija koji se koriste za pravljenje scenografije, kao i osnovnih materijala, alternativa i njihovih zamena. U Antverpenu je glavni fokus bio na individualnom izučavanju tekstila i materijala, kao i na istraživanju i eksperimentisanju, kao i u Londonu, gde sve zavisi od ličnog interesovanja studenta i stepena uključenosti u istraživanje. Na Central Saint Martins imamo fantastičnu biblioteku materijala u kojoj su istraživači i univerzitetski saradnici spremni da organizuju individualne radionice i tutorijale u zavisnosti od toga šta je studentov zadatak. Da li pratiš trendove kada su materijali u pitanju?
Milica Ivić / English on page 8
Ja pratim trendove u ovoj oblasti, ali ne pratim ih strogo. Opet, izbor materijala zaista zavisi od svrhe i funkcije odevnog predmeta. Pokušavam da se obrazujem i da pratim najnovije inovacije u ovom polju. Gde sve pronalaziš zanimljive teksture? Inspiracija uglavnom dolazi iz neočekivanih izvora. Reference variraju od organskih prirodnih oblika, određenog dizajna i stilova u arhitekturi, igri svetlosti i senke itd. Uživam u radu sa nekonvencionalnim materijalima i istraživanju njihovih mogućnosti izvan njihovih osnovnih namena. U ovom trenutku me veoma zanima istraživanje estetike i teksture koju stvara Honeycomb – tehnički materijal koji se koristi za izgradnju laganih ali izdržljivih struktura u avionskoj industriji. D3O – materijal koji se koristi za zaštitnu odeću, je još jedan materijal koji dosta istražujem u poslenje vreme. Koliko modni trendovi utiču na kostimografiju u pozorištu? Da li kostimografija ima svoje trendove? Kostimografija prati modne trendove, ali suštinski zavisi od zahteva produkcije. Ako je zadatak da se stvori realističan, svetovni karakter, glavno istraživanje materijala će pratiti modne trendove kao i društveno poreklo i zahteve vremena. U određenim slučajevima, kostimograf će imati više slobode u izražavanju i naglašavanju vizuelne strane, dok
u nekim, kostimograf treba da stvori “nevidljivi” kostim čiji je cilj da se uklopi u pozadinu i da ni na koji način ne ometa radnju. Koliko se zahtevi rada u vezi sa živim izvođenjem na sceni razlikuju od modnih trendova i zahteva? Modni zahtevi su uvek više komercijalni i usmereni na prodaju određenog proizvoda ili modne linije. Sa druge strane, scenski kostim prati brif ili scenario i stvara iluziju željenog karaktera i kad je u pitanju pojedinac ili određena grupa. Bilo da je reč o pozorišnoj predstavi, filmu ili muzičkom spotu. Kada si se susrela sa kompanijom Textil? Pošto dolazim iz istog grada iz kojeg je kompanija Textil, već u srednjoj školi sam kod njih bila na dve kratke prakse. Ta iskustva su mi značajno pomogla u mom daljem obrazovanju i karijeri jer sam tu stekla prva znanja o tkaninama i tekstilnoj industriji. Imala sam priliku da otkrijem raznovrsne materijale i da uvidim razliku između njih. Čak i tokom daljeg obrazovanja sam ostala u kontaktu sa kompanijom Textil, koja je uvek pružala podršku mom radu, a Jelena Pavlović, CEO kompanije, mi je uvek rado pomagala u izboru pravih materijala za moje projekte. Veoma sam zahvalna što imam podršku kompanije kao što je Textil i iskreno se nadam da će se naša saradnja nastaviti u budućnosti na nekom uzbudljivom i kreativnom projektu.
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Textil Young Designer Award
Mates
Milica Ivić
MATES su Marko Ilijev i Saša Stević, mladi dizajneri koji su iznenada pojavili, očarali domaću modnu javnost i već osvojili Textil Young Designer Award. Na ovom Belgrade Fashion Week-u, pored kolekcije Black ’n’ Easy by MATES, predstaviće se kolekcijom za proleće/leto 2016. godine, pod nazivom Plima. Za Textil funzine su nam otkrili svoj odnos prema čudesnom svetu materijala.
Kako i u kojoj fazi rada se pojavljuje odluka o odabiru materijala? Da li izborom materijala započinje kreativni proces? Ili dolazi na kraju? M: Zavisi kako kad. Uglavnom odabir materijala dolazi pri samom kraju stvaranja kolekcije. Nažalost zanimljivi i kvalitetni materijali su retki tako da se nekada kreće i od materijala pa tek onda sledi izrada kolekcije. S: Usvajajući rad na fakultetu, svakoj kolekciji prilazili smo od inspiracije koja najpre utiče na atmosferu a onda i direktno na komade koji čine samu kolekciju. Samim tim materijali su bili na drugoj/trećoj „stepenici“. Uzimajući u obzir da volimo izazove, ovog puta odlučili smo da nam polazna tačka kreativnog procesa budu materijali.
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Koje karakteristike materijala najviše odgovaraju izgledu vaših kreacija? M: Lepršavost, zanimljive teksture materijala i sjaj su neke od karakteristika koje bih izdvojio kao nit koja se provlači kroz sve naše kolekcije. S:Svaka kolekcija za nas je svojevrsna priča koju pričaju komadi koje karakteriše sklad kroja i materijala. Izbor materijala nam je uvek izazov i proces kome se zaista svaki put radujemo. Moda ima svoje trendove, a isto tako i materijali. Koliko su vam važni? M: Pri realizovanju jedne kolekcije temeljno se bavimo trendovima za sezonu koji spremamo. Zaista su bitni trendovi koliko modni toliko i u tekstilu. S: Istražujemo i učimo svakim danom sve više. Ali često kažem da se trendovi zaista brzo smenjuju da se može slobodno izvući zaključak da je zapravo sve u trendu. Materijali su nam izuzetno važni i smatramo da će kvalitet biti uvek u trendu. Šta je najkarakterističnije za vaš odnos prema materijalima? S: Nešto čemu najviše težimo i od čega se trudimo da ne odstupamo jeste kvaliet i karakteristike koje idu tome u prilog. Kompromis pravimo samo u onim slučajevima u kojima
materijal ima autentične karakteristike kolekcije i izgleda atraktivno. Da li se i koliko se razlikuje odnos prema materijalima vas dvojice i kako ih usklađujete? S: Moram priznati da tu nema dileme, obojica se slažemo oko tog segmenta i retko kad dolazi do nekih velikih promena ili nesuglasica. Kako se minimalistički pristup ogleda u materijalima? A kako ljubav prema istorijskom kostimu? M: Dorada materijala je sličnija za haute couture izradu tako se da u tome ogleda odnos između istorijskog kostima i minimalističkog pristupa. S: Jednačina kojom se najčešće vodim jeste da ako je kroj zaista složen, materijal bi trebalo da bude svedeniji. Recimo da se to menja iz kolekcije u kolekciju. Kakvo je vaše iskustvo saradnje sa kompanijom Textil? M: Naše iskustvo je sjajno. Zaista hvala što su nam ukazali poverenje i prepoznali naš rad i trud. S: Textil je zaista prava riznica i mesto koje ima veliku ponudu kada su pitanju materijali. Oduševljeni smo saradnjom i zahvalni na ukazanom poverenju koje nastojimo da opravdamo novom kolekcijom. English on page 8
arakaš
Jelena K
n a l i M m o Notes fr
dnica akaš ure r a K a n Jele anja skog izd tema srp elila je Elle pod a in z a g e sa ma oje zapis v s m lo ti sa Tex ode. edelje m n e k s n a Mil
koji se te pravac s je le e h imiliano Mic ko i Mass ra ta a ru je b a fe p sledi, četvrtina lvatore žemo o Poslednja m etti za Sa o iv rn ž ciju u io u G n a o d d a irao kolek . Lon me k e n re s re e k v e tv o ć s je n m to e a š ž čite Ferag izao razli o sve ono Njujork je gantan. n a le im ja n e id ra z v to k ri š a a d e d an. P zajedno ma tek o kojoj je v alternativ modnim tove, koji i na ulica im it n lo š s ri a a o p n n m te u u s je pruga ta boja u! rvenom A Milano ljivu celin vila se dine: pale dvučen c o o o ta d g s p o a e a n n m a a e ri lj im jednom čin de kalenda ijim tonov če n kao ne ajneri još n e la iz ž v m d le i ta ro k e p s b n e u s i o rešivi Italija olovkom im sigurn se kakve j neopog v n o s a i v a ij s s rc n o li o a z a n u m z e će st i svoje su poka ene , dok su mode gd žiti ve uoblič fisticirano le g proleća o o e o d s b v n o o a e z o tr j n a e iv jansko oseć videti nov koje če definit tično itali n ju e to ij n te š c a u a it o a p n re a o k u d sive če u kada je umeće ilom. u vrlo no otu preto ntovi 6. godinu iv sa seksip ri 1 ž p 0 ju u i 2 u iv rt je lj e n d fl a ekamo upa uživ otvoreno strpljivo č i n/zimu e . Moćni i in e n a č s d i je o i je o g m a k z ru ije n uz d modele Ni kolekc izuzetak. ju se jeda dašnje a e a đ il s emo. b o re d u is o n k sva da pones m e s lo a tu 2016/17. d ti i. e e š s ru no! nam koji se dič eli promisno alute Mila rt S m v o k ta s u e Dizajneri p b og ci pravilo Italy” i ov nova Guc izrade a e n k č “made in s ti s n u ta ndro Fans teme vrh ra Alessa e jn u a v o iz h d su se oko ji an estetika aslanja n koja se n adiciju. bogatu tr
aly Made in It
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Intro
Mates MATES are Marko Ilijev and Saša Stević, young designers that appeared out of the blue, put a spell on local fashion public and already won Textil Young Designer’s Award. On this Belgrade Fashion Week, Mates will show two collections: Black ’n’ Easy by MATES and a spring /summer 2016 collection The Tide. In this Textil Funzine they have revealed to us their relationship towards the magical world of materials.
For the coming season we would like to point out an universal timeless message that Partibrejkers (Serbian rock band) song sends: “To be the same, to be special, free, your own…!” Because fashion is something earthly, superficial, but at the same time special, free, unique. Every decade makes participants of the fashion industry face technological and social influences, constantly collecting more and more inspiration in order to maintain the individuality of styles. The influences of art movements, music, different cultures, healthy lifestyle and ecology, new technological aspects, lead to the birth of new identities through a huge wave of style and creativity. Predictions say that the season Autumn/Winter 2017 will be marked by basic materials, colors, designs, as well as their total contrasts – folk influences, technical materials revisited, new unusual combinations. Add a touch of graphics to your coats and suits. Drag some folk art into your casual wear. Manipulate with volumes. Or extra tight lines. Add some width to miniskirts. Play with cuts and asymmetric shapes. Modernize classic suits. Focus on the waist. Bring some roll collars. Add a scarf. Show your legs. Wear long tight boots. It’s all about the combination of functionality and elegance, mixing traditional and technical materials, with leather, fur and lace! More so, lace is unexpectedly the No. 1 material for the winter season, while blazer/jacket is the item of the season. Combined with jeans or track suit! A different way to find new dress codes… As for colors, bluish-green, burgundy, mustard yellow and of course red, define and accent collections while blocks of black, gray, indigo blue and rebirth of brown maintain the classical and commercial aspect if we refrain from playing with forms and details. All this and much more Textil has prepared for you! Join us in the game and creation! We started and you should finish the story through your own collections! Be special, free and your own in the way you will use the materials we have prepared for you! Join us online or visit us in person to exchange ideas, views, solutions… Energy! “Same, special, free, to be your own…!” Jelena Pavlovic creative director
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How and in which phase of work do you decide which materials you will use? Does the choice of materials start the creative process? Or does it come in the end? M: Depends on the situation. Usually the choice of materials comes at the end of the creation of a collection. Unfortunately interesting and quality materials are rare so sometimes you do start from a material and build your collection from there. S: While on university we used to approach every collection from the inspiration which influences the atmosphere and then directly move on to pieces which make the collection. This makes the materials second or third step. Since we love challenges we decided this time to start from the materials.
Which characteristics of materials suit the best to the way your creations look? M: Carefreeness, interesting textures and gloss are some of the characteristics I would mention as a line that goes through all of our collections. S: Every collection is a specific story to us, a story told by clothing items which are a harmony of cuts and materials. Choosing the materials is always challenging and a part of the process we are always looking forward to. Fashion has its trends, and so do materials. How important are they to you? M: While creating a collection we are very thorough while dealing with trends for the season we prepare. Trends are really important, in fashion as well as in textile. S: We explore and learn every day. But I often say that trends replace one another so quickly, you could actually say that all is trendy. We find the materials really important and find that the quality will always be in. What is most specific abut the way you relate to materials? S: What we like and keep trying to maintain is quality level and characteristics that go with it. We only make compromises if
the material has some authentic characteristics and looks atractive. How different are the ways you two see materials and how do you compromise them? S: I have to admit that there is no dillema there, we both agree about that segment and we rarely have big changes or disagreements. What is the minimalistic approach in terms of materials? And what about the love towards the historical costume? M: Finishing of materials resambles more haute couture so this is the way historical costume and minimalistic approach relate to each other. S: The equasion I prefer is that if the cut is complex the material should be simple. Let’s say that it varies from collection to collection. Tell us about your collaboration experience with Textil company? M: Our experience is great. I sincerely thank them for trusting us and recognizing our work and effort. S: Textil is a real treasure and a place with a great offer in materials. We are thrilled with our collaboration and thankfull for the given trust which we try to justify with our new collection.
tech innovative materials library as well as supporting different companies in producing materials for the future. In Prague we also had a subject of stage technology which included studying different materials and technologies used for building set and stage, as well as their primary chosen materials, alternatives and innovational replacements. In Antwerp, the main focus was on individual textile and material research, exploration and experimentation as well as in London, where everything depends on the personal student interest and the level of the engagement in the research. At Central Saint Martins we have amazing material library with supportive university stuff and researchers who offer individual workshops and tutorials, depending on the student’s task.
but it crucially depends on production requirements. If the task is to create realistic, civil character, your main research material is going to follow fashion trends as well as certain social and period backgrounds. In some productions, the costume designer will have more freedom in expressing and exaggerating visual sides, but in some, the designer will have to create an ‘invisible’ costume which main aim is to bland in with the surrounding and which in no case distracts from story’s plot line.
Jovana Gospavić Faustus, Prometheus, Shakespeare’s Richard, corsets and Džiberi, fashion film and theatre, all mix well in Jovane Gospavić’s world. She does scenography and costimography, and is currently doing her master’s degree at London College of Fashion. She studied in Belgrade, Antwerp and Prague, and worked for private clients and theatres. It is obvious that this is just the beginning! It is obvious from your portfolio that you have a rich experience in fashion, film and performance art. Which material or texture would you link to each of them? I don’t have exact texture or material association that I would immediately connect with certain type of the production. Variety of chosen materials tightly depends on the purpose and function of the requested garment/costume /object in the particular production. How different are your experiences of studying in Belgrade, Prague, Antwerp and London? Was there ever a part of your education focused on materials? Did that depend on the focus of your studies? There are certain differences and similarities in educational systems in these cities. Even with the same course name and course aim that universities are sharing, there are significant differences in approaching and teaching costume and stage design. On the second year at Academy of Applied Arts in Belgrade we had a subject of textile technology, where we have been studying the technological and industrial process of creating textille from the molecular structure in different fibers, through the origins of fabrics to the stages of industrial process and creation of the final product - textile material. In Prague we didn’t have certain subject being only focused on textiles and fabrics. We had couple of workshops with MateriO’ which is French base company with the branch in Prague, focused on creating
Do you follow trends in terms of fabrics? I do follow trends in this field, but not strictly. Again, the choice of fabric really depends on the aim and the function of the garment. I am trying to educate myself and follow-up with the latest innovations in this field. Where do you find interesting textures? Inspiration mostly comes from unexpected sources. References vary from organic shapes in nature, certain styles and artificial designs in architecture, the dance between light and shadows and etc. I enjoy working with unconventional materials and exploring their possibilities beyond their given proposes. At the moment I am very interested in exploring aesthetic side and texture that Honeycomb creates - technical material used for building light but durable structures in airplane industry. D3O - material used for protective clothing, is the other one I research a lot recently. How much do fashion trends influence theatre costimography? Does costimography have its trends? Costume design does follow fashion trends,
How different are work demands in live performance on stage from those in fashion and fashion trends? Fashion demands are always more commercialized and focused on selling the particular product or a fashion line. On the other hand, costume follows the given brief or the script, and creates the illusion of a desired character both as individual or a certain group. Whether is created for a theatre performance, film or music video. What kind of collaboration experience do you have with Textil company? Coming from the same city as the company Textil is, during my secondary school, I did two short internships with them. These experiences have significantly helped me further in my education and career. I have gained my first knowledge of fabrics and textile industry from this company. I had an opportunity to discover variety of materials realizing the differences between them. Even during my further education, I have stayed in the contact with the company. Textile was always supportive of my work, and Jelena CEO of the company was always willing to help me in selection of the right fabric for my project. I am gratefully thankful to have the company as Textil is on my side, and I deeply hope that our collaboration will continue in the future, and possibly bring some exciting and creative project to life.