THE REVIVAL OF
No.1 | Dec. 2016
DESIGN + EDITING No.1 | Dec 2016
VERONICA POPA DESIGN+EDITING Veronica Popa
Veronica-Gabriela Popa Student no. 21282737 University of West London Ideas and Perspectives Module No. AD50178E
No.1 | Dec. 2016
CONTENTS Illustrations
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The revival of folklore in the contemporary Romanian design
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Reinterpreted symbols
8
European similarities
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MA RA MI
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Brancusi reinterpreted
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Nationalist propaganda in advertising
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Nationalist propaganda in politics and mass-media
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Folklore, myths and music
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Bibliography
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List of Illustrations Figure 1: How Romanian blouses became an international style (2016), Available at: http:// www.artefactmagazine.com/2016/02/29/howromanian-blouses-became-an-internationalstyle/ [Accessed: 28 October 2016] Figure 2: The Romanian society and the globalization tendencies (2016), Available at: http://gandeste.org/general/ andreea-arsene-societatea-romaneasca-sitendintele-globalizarii-2/64457 [Accessed: 24 October 2016] Figure 3: Cristian Crisbasan, Oianu makes Romanian Punk (2013), Available at: http:// www.sub25.ro/fashion/oianu-face-romanianpunk-2063.html [Accessed: 29 October 2016] Figure 4: The national trend not dead yet (2014), Available at: http://designist.ro/design-deobiect-2/trendul-traditional-not-dead-yet-2/ [Accessed: 29 October 2016] 4
Figure 5 and back cover: Manifest against the mall clothes. The Pink Cemetery CollectionLana Dumitru (2015), Available at: https:// lorichelba.wordpress.com/2015/06/16/ manifest-impotriva-hainelor-de-mall-colectiapink-cemetery-lana-dumitru-pentru-moja-ro/ [Accessed: 29 October 2016] Figure 6: The Art of living Gallery. Valentina Vidrascu Clothing (2016) Available at: http:// www.theartoflivinggallery.info/vesminte-byvalentina-vidrascu/ [Accessed: 30 October 2016]. Figure 7. Traditional Latvian textile motifs (2010) Available at: http://moonsilk-stitches. blogspot.co.uk [Accessed: 30 October 2016] Figure 8. Balkan traditional patterns (2015) Available at: http://www.vectorpack.net/ balkan-traditional-seamless-patterns.html? store=gb [Accessed: 30 October 2016]
Figure 9. Romanian patterns (2016) Available at: http://semne-cusute.blogspot.co.uk/ [Accessed: 30 October 2016] Figure 10, 11. MARA MI by Andra Clitan (2009) Available at: http://www.alo-moda.ro/ pasarela-2009-mara-mi-by-andra-clitan.html [Accessed: 30 October 2016] Figure 12. From Paris to Bucharest-The CraftLab Collection (2013) Available at: https:// adelaparvu.com/2013/09/22/de-la-paris-labucuresti-colectia-the-craft-lab-semnata-deirina-neacsu/ [Accessed: 30 October 2016] Figure 13. A new lifestyle trend (2016) Available at: http://www.revistadinlemn. ro/2016/07/09/un-nou-trend-de-lifestyle/ [Accessed: 30 October 2016] Figure 14. Constantin Brâncuși-Artist and sculptor: Paris studio, 1920, photograph by Edward Steichen (2012)
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Available at: http://the189.com/sculpture/ constantin-brancusi-artist-and-sculptor/ [Accessed: 30 October 2016] Figure 15. Blue endless column dress (2015) Available at: http://shoplana.tictail.com/ product/blue-endless-column-dress [Accessed: 29 October 2016] Figure 16. Sewed signs-in the beginning there were graphic signs (2015) Available at: http://www.traditii.pancarpatica.ro/ [Accessed: 30 October 2016] Figure 17, 18. About book illustration with Madalina Andronic (2015) Available at: https://www.igloo.ro/articole/despreilustratia-de-carte-cu-madalina-andronic/ [Accessed: 29 October 2016] Figure 19. The awesome project (2015) Available at: http://the-awesome-project. tumblr.com/ [Accessed: 29 October 2016] Figure 20. Challenges and opportunities for online branding in a post-communist space (2013) Available at: http://www.
brandba.se/blog/2013/10/2/challenges-andpportunities-for-online-branding-in-a-postcommunist-space [Accessed: 29 October 2016] Figure 21. Come back Romania (2014) Available at: http://www.romautentic.ro/ campanie/intoarce-te-romane/ [Accessed: 29 October 2016] Figure 22. PSD: the first campaign with traditional motifs from Romania (2014) Available at: http://www.obiectiv.info/psdprima-campanie--cu-motive-populare-dinromania_40160.html [Accessed: 29 October 2016] Figure 23. PSD creates a campaign under the name ‘Proud of being Romanians’ with photos from Belarus and Poland (2014) Available at: http://mobile.hotnews.ro/ stire/17240873 [Accessed: 29 October 2016] Figure 24. This is my ‘ia’ (2014) Available at: http://stirileprotv.ro/stiri/actualitate/ iac-asa-e-ia-mea-17-mai-ziua-in-care-toatecititoarele-the-one-sunt-invitate-sa-poarte-
ie.html [Accessed: 29 October 2016] Figure 25: The national trend not dead yet (2014), Available at: http://designist.ro/design-deobiect-2/trendul-traditional-not-dead-yet-2/ [Accessed: 29 October 2016] Figure 26. Subcarpati: The Romanian’s ballad (2012) Available at: gttp://infomusic. ro/2012/06/subcarpati-balada-romanuluivideoclip/ [Accessed: 30 October 2016] Figure 27. Art and culture: Subcarpati with Madalina Paval and Aforic (2014) Available at: http://www.evive.ro/s-u-b-c-a-r-p-a-t-ilive-la-timisoara-cu-manalina-paval-si-aforic/ evenimente/18-ianuarie-2014 [Accessed: 30 October 2016] Figure 28. The new album of Subcarpati: ‘The united vilages of Balcans’ (2016) Available at: http://m.urban.ro/muzica/albume/descarcagratuit-noul-album-subcarpati-satele-uniteale-balcanilor/ [Accessed: 30 October 2016] 5
The revival of folklore in the contemporary Romanian design 6
During the last five-six years, a new cultural trend emerged in the Romanian visual culture-a trend which captured the interest of many people and inspired numerous artists and designers to explore the thesaurus contained within the traditional Romanian culture by re-imagining a modern outlook of the folklore and emphasizing its visual heritage.
No.1 | Dec. 2016 It emerged in the context of globalization, through the mass-media’s dissemination of images and information-and the process of acculturation, which started as a result of it. During this import of external information, many cultures lost the contact with their roots so, in Romania, the new trend represents a counter-reaction to this aspect. Beyond the globalization and Americanization of the Romanian culture, there were also other internal factors, such as the economic crisis, the entrance into the U.E in 2007, along with the negative stereotypes associated with Romania. From a psychological perspective, there was a general search for new experiences, a need for profound, authentic values, as opposed to the materialist and consumerist ones promoted in the media, the exaggerated isolation and exaggerated individualism, along with a nostalgia for what was before the era of industrialization (Sandru, 2012). These factors created the necessary premises and social cohesion for the trend to be launched, a trend which has numerous expressions, the majority of them reflected through the visual medium, but the musical medium has a big impact as well, as we will see.
The folkloric trend became known at a national level starting in 2010- through both national and international success of Adrian Oianu’s designs (Sima, 2013). His reinterpretations of the traditional Romanian motifs promotes the re-connection to the cultural values and national heritage of his native country.
Cristian Crisbasan, Oianu makes Romanian Punk (2013),
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The Revival of Folklore in the Romanian Design
Reinterpreted symbols
Although his creations are considered innovative and unique, there are many other designers who put the Romanian traditions into the contemporary context. In the fashion industry – Lana Dumitru imprinted the traditional patterns on Puma jackets and used the paintings and symbols from the ‘Merry cemetery’ to print dresses, (Designist, 2014) while Valentina Vidrascu portrayed the Romanian spirit by redesigning ‘la blouse Roumaine’ known as ‘ia’-which was essential in the wardrobe of every peasant woman in the past . According to the theory of intertextuality, we can now see that every contemporary design is not at all original, as it refers to an anterior creation (Adorno, 1991). So we will demonstrate that every ‘anterior’ had a reference itself, by giving the example of the ancient ‘folkloric patterns’ used in the traditional clothing.
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No.1 | Dec. 2016
European similarities
Top: Valentina Vidrascu: ‘La Blouse Roumaine’ (2016), bottom: Lana Dumitru: Puma Jacket (2014) ,(left) Merry Cemetery (2016)
As the traditional folkloric clothing is one of the defining cultural items of a nation, the study of the traditional port led to many researches which reveal the stages of evolution in the genesis of the nation, its customs and relationship between its people. The pleasure for decorating clothes was discovered in all antique civilizations from the eastern and central European land, including the Balkan Peninsula and Russia, up to the Norwegian and Swedish areas-where the Dacian and Thracian northern borders used to be. This shows the common ground on which the national ‘port’ was made, as it can be remarked from the multiple similarities between the stems and sewing techniques, the proportions between the stark elements and the negative space, along with the use of bold colours, or even the recurrence of certain symbolsas the one of the sun, the swastika or the three of life, to which were attributed very similar interpretations. Consequently all the symbols, were inspired by objects in nature (Stahl, 1998).
Traditional Latvian textile motifs (2010)
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The Revival of Folklore in the Contemporary Romanian Design This proves Baudrillard’s theory that “Postmodernity is the simultaneity of the destruction of earlier values and their reconstruction. It is renovation within ruination”. So, not even the traditional clothing is completely original, as it shares many common elements with other nations, being a product of their time. The ideas of authorship and originality are then being challenged, because everything that is considered ‘new’ is in fact, referencing to what was before, it is all a distortion and reinterpretation of the old (Baudrillard 1994). The ‘ia’ which was considered obsolete ten years ago , seen in a dusty museum rather than on a person and associated with grandma’s nostalgia of her youth, is now being confidently worn by young women and associated with power, confidence, individualism (from a national perspective), creativity and originality. The stereotype of the blouse is transformed in a counter-type, as it is no longer associated with the traditional ‘patriarchal’ society and the traditional women’s roles.
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Balkan traditional patterns (2015) Romanian traditional patterns (2016)
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MA RA MI
The traditionalist fashion representations of Andra Clitan are enforcing this idea-of women making statements through their clothing, rather than being used solely for their function. As clothing is one of the main visual expressions of one’s identity, here it is used as a testament of history. Under the name MA RA MI, she preserved the traditional crafts hand weaved fabrics and different types of embroideries and developed an independent community which openly collaborates with designers across the borders, while keeping their creations intact. As the trend of environmentally products started to grow roots in the Romanian culture, the handmade sewing and crafting were not only applauded in everybody’s eyes, but were given almost mythical interpretations. It alluded to their ancestors’ love for their land, their effort to keep it intact, and their close relationship with nature-which provided everything they needed-from food to shelter. This is why nowadays many interior designers use the post-modernist technique of reinterpreting and reusing already existing materials to create new visual narratives.
MARA MI by Andra Clitan (2009) 11
The Revival of Folklore in the Contemporary Romanian Design The textile and interior designer Irina Neacsu, for example, re-purposed the materials from old chairs, creating colorful design pieces which go beyond the utilitarian purpose, branding her work under the name: The CraftLAB. As she stated in an interview, through her work, she saves the chairs which would’ve been left behind in a dusty corner just like the past, tradition and identity. Similarly, Ciprian Manda: architect and sculptor-creates innovative and ‘authentic’ furnishings from raw wood, as a counterbalance the excess of repetitive, rigid, ‘made in china’ like designs and use of cheap materials (Designist, 2014).
From Paris to Bucharest: The CraftLab Collection (2013)
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No.1 | Dec. 2016
Brancusi reinterpreted
Due to the lack of development of a written system, the oral traditions prevailed in the Romanian society at that time, and the knowledge, the history, culture and traditions were mainly transmitted by word of mouth, but also through art. The rustic aesthetic as a whole designates the material culture and the entire range of artistic creations (anonymous and collective) of the community. Thus, the drawings become a form of social memory and so, the symbols embedded in the intricate patterns serve as a way of transmitting the collective stories and beliefs in a visual way, further for the descendants to remember. (Balasz, 2003). Furthermore, the process of crafting the furniture by oneself revealed the magical connotations and significations that people gave it. An example would be the emotional connections created with the renowned sculptures made by Constantin Brancusi.
Lana Dumitru: Blue endless column dress (2015)
He is remembered for how he mirrored the way of thinking of the authentic Romanian peasant, and for his work which is deeply rooted in the traditions, myths and magical function of the national folkloric art.
Constantin Brâncuși-Artist and sculptor: Paris studio, 1920
Although he never was an exacerbated nationalist and tried to achieve something transcendent through his work, people made it an emblem of the Romanian culture and nation and an icon of the Romanian peasant.
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The Revival of Folklore in the Contemporary Romanian Design In the next few paragraphs we will decipher the meaning behind the intricate patterns from which the contemporary designers got their inspiration, by applying the theory of iconology and iconography. As in the Romanian landscape the mountains occupy a large part of its territory, the pines were predominant in many regions and represented an important resource to people-as a prevalent construction material at that time to build safe homes and shelters, but also fences against enemies, carriers, but also to make smaller items, like the tableware. This gave people stability, and it is now normal to understand why the pine was perceived and became a representative symbol of growth. The wheat was similarly essential for the Romanian nation at that time, as bread was made from it, and it was one of the essential sources of food (later, with the advent of Christianity, the dish is given more religious connotations). To summarize the meaning of this symbol, who had more wheat could eat more, sell more and live more prosperous, so it was associated with wealth and prosperity. 14
Inserted into the ethno-psychological and ethno-cultural context, the adornments express the collective hÂŹuman vision on the world, as well as its ideological compounds transformed in a coded language of colors and symbols. In the Romanian landscape, the ornamentation has multiple significations which are expressed through metaphors, signs, allegories and ancestral archetypes, overcoming the apparent aesthetic or naturalistic interpretation and even pointing towards a spiritual one . The sun, for example, is of the most prevalent symbols used by Dacians as it represented life and its eternal movement; having only positive connotations, it symbolized the victory of light over darkness. It was symbolized by many elements such as the rosette, the spiral, the, the circle, the dot, the hand mill and the romb [Fig.16]. Nowadays these symbols are ‘hidden’ in plain sight, because although they are often used by designers and illustrators their profound meaning has lost its power (Stahl, 1968).
Book illustration by Madalina Andronic and The awesome Project (2015)
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Nationalist propaganda in advertising
Unfortunately the appeal to Romanian people’s consciousness through nationalistic images didn’t lead only to the emergence of new trends in music or design. Some people used it as means of propaganda to advertise certain products. One of them is the advertising campaign conducted to promote the ROM chocolate bar. Although in the past it was the most loved national sweet, nowadays, it started to become irrelevant and obsolete, as it wasn’t the only chocolate the younger generations grew up with (the main target audience). In the context of the economic crisis, the direct competitor-Mars used offers such as 3+1 or 20% discount for the chocolate bars, becoming more accessible to the audience. As more than 80% of the Romanian youngsters were unsatisfied of the country and wanted to leave abroad, the ROM Company did not appeal to their (nonexistent) patriotism, but created a campaign based on the idea that losing a traditional Romanian sweet would show the failure and loss of the national identity. They appealed to their reactive patriotism. The mental directing of the masses was done by replacing the national flag, with the American one, using a series of smart slogans such as: Try the American dream, now in the Romanian chocolate’ or ‘The taste of coolness’. Try the new ROM’, determining a negative mass reaction in order to increase their sales. The teasing campaign lasted for just a week, enough to bring the product to the public’s attention, more than 67% of the country-and after that they returned to the Romanian package, and of course, thanking the people for their patriotic spirit. It can be very clearly seen how the power of words and images were used to manipulate the public opinion and persuade people into the over-consumption of a product (MRM and McCann, 2010).
Challenges and opportunities for online branding in a post-communist space (2013) Come back Romania (2014)
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The Revival of Folklore in the Contemporary Romanian Design
Nationalist propaganda in politics and mass-media
The folklore visual culture and Romanian traditions were also used in politics as a mean for nationalistic propaganda.
In the context of the 2014 Euro-parliamentarian campaigns, the traditional patterns and items are used for the first time at a national level by the PSD group. The choice for the traditional theme (for the elections) was carefully chosen after the group consulted a series of specialists in ethnology, folklore and popular traditions (Radu A., 2014). However, despite their ‘good’ intentions, the images created some controversies, as their truthfulness was brought into question. One of the examples reveals that more photos which were supposed to depict the Romanian fields were not at all made in Romania, but taken from iStock, and originally shot in Belarus and Poland, the photographers themselves confirming the authorship of the images and their sources (Cotidianul, 2014). 16
This example of political propaganda shows how the combination of specific graphic elements with certain images is used to achieve a certain response from the people, despite the fact that they are not representing the reality, or the truth (as they claim).
PSD: the first campaign with traditional motifs from Romania (2014)
PSD creates a campaign under the name ‘Proud of being Romanians’ with photos from Belarus and Poland (2014)
No.1 | Dec. 2016 50 years ago, during the period of the communist dictatorship, the leader of the country was using a similar tactic. The traditional heritage had a different status though, because there was a different ideology as well, stressing the god-like power and qualities of the leader of the country. In comparison to the earlier contemporary example, the communist leader usually used the folklore items and clothing not to reinforce a feeling of unity and strength among Romanians, but to attract the occidentals and the other countries with whom he wanted to strengthen his relationships. By showing to the foreigners not a grey, industrialized Romania, but an exotic one, full of fascinating customs, he persuade them to invest in the country and to admire it even more. This shows again the importance of image in the construct of identity, and the manipulation of image to obtain a desired outcome (Boia, 1998).
the main sources of information and the main disseminator of ‘truth’ and indicator of reality (Herjeu 2000).
Among all the instruments of massmedia, television had the biggest impact on Romanians. Since the revolution from 1989, the culture shifted from a written to a visual one, and the TV became one of
According to Baudrillard’s theory on the media’s influence in the postmodernist society, the reality is determined by its representation, and the signs substitute the real object (Baudrillard, 1994).
This is my ‘ia’ (2014)
In the Romanian mass-media, Andreea Esca is a news presenter and a trend settler at the same time, as by always showing an impeccable image of herself on the tv screens, she made people idealize and perceive her both as a reliable person and a role model, even though her appearance is the product of her stylists work. This reinforces the fact that images simulate reality, showing formed opinions and not the truth, while shaping people’s desires and self-image (Nelson R., Shiff R., 2003). As images have the power to make people seem otherwise than they actually are, by publicly wearing Ciprian Vrabie’s traditionalist designs, she not only approved this trend and made the viewers associate her with the idea of a true Romanian, but made people want to look and ultimately-be like her. By changing her outlook, she also changed how she is perceived. Denotation: just a t-shirt with a traditional floral print. Connotation: the t-shirt uses a symbol which reinforces the national conscience of the people, creating a feeling of familiarity and belonging. 17
The Revival of Folklore in the Contemporary Romanian Design
Folklore, myths and music
To show an example of how myths can be both reaffirmed and reinforced in a different time period, we will analyse one of the artistic movements that brought the Romanian history back to life . In the Romanian contemporary music industry, the folkloric trend was ‘unleashed’ in 2010 along with the début album of the now well-known band called ‘Subcarpati’. Subcarpati is not just a musical project, but a contemporary cultural manifest. Its success is not just a result of the unusual artistic performance, but also of the social and cultural context in which it developed in .This is a proof of the fact that our values determine what is or not accepted, and that our perspective on reality and events gives the shape of the society we live in. To understand how our minds are creating these new realities and perspectives, we also have to look at how the human behavior works. If we would compare the social and cultural context of the European 19th century (when the Bohemian style appeared), with the emergence of folkloric inspiration in the contemporary Romanian culture, we will notice similarities in people’s needs and desires. Both trends represent a revolt against societies’ over-industrialization tendencies and advocate creativity. 18
Art and culture: Subcarpati with Madalina Paval and Aforic (2014)
No.1 | Dec. 2016 The bohemian style, in particular, is synonymous with freedom, the lack of rules and with the adoption of a lifestyle with less material comfort, but very creative and closer to nature. In that period, the gypsies and ‘misunderstood’ French artists got the title of bohemians, and we still make that association nowadays. The trend manifested in more than just one period of time though, when people’s mind states reflected its spirit. We now mostly remember it as a depiction of the hippie culture in the 60’s, being a mix of vintage influences, gypsy, and folk with ethnic influences, which showed not only in their lifestyle, but most important-clothing (Parvu, 2016). So, as we just saw, most of these influences and characteristics are also present in the new Romanian trend, acting as a signifier of its beliefs and manifesting in all forms of arts, so not just through fashion and design, but music as well. Overall, we could say that similarly to how the people in the Era of industrialization of the 19th century have become fond of the bohemian, pre-Raphaelite art and naturalism, so are the Romanians reacting to the materialist and consumerist society-by turning to their roots and to the old times, when people were closer to life and nature and were more united. From a romanticized point of view, we could say that art functions as a mean of filling a void in people, creating a balance in the dichotomy between the internal needs, aspirations and the external environment (D’Alleva, 2005)
Subcarpati album cover of ‘The united vilages of Balcans’ (2016)
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The Revival of Folklore in the Contemporary Romanian Design So Subcarpati’s electric mix of hip-hop, folklore and traditional ballads feeds people’s need for social cohesion and the affirmation of the national values, while compensating the over-saturation of external influences as well as the need for originality . The band in our example has first and foremost created an identity through its name: Subcarpati-by referring to a Romanian mountain region. So, by just hearing the name, the listener has already created a mental image of what the band represents and promotes. ‘Sub’ translated as ‘under’ alludes to ‘the underground culture’ as opposed to the mainstream capitalist one. The countless symbols embedded within the songs work as a propagandist tool, inspiring people to rebel against the society by supporting the traditional and national heritage. Accordingly to this intention, they are targeting and appealing to the younger audience- the newer generations. Although all their lyrics are strongly encouraging these ideals, the line ‘The folklore is oxygen for an asthmatic nation’ best represents the manifesto on which they based their ideology. So, as people started identifying with it, they become more subjected to its influence. In music, the trend created a ‘collective euphoria’ in which the simulacrum starts to look like reality (Baudrillard, 1998). Paradoxically, all these visual associations (with the past) in fashion, interior design, visual arts, advertising, music, mass media and television created a dissociation between the traditional (patriarchal-like) roles, empowering the women, reinventing the richness and the beauty of the folklore by giving it a very appealing and modern outlook. The revival of folklore in the Romanian contemporary culture positively affected all the people: the Romanians – by reinforcing the feeling of being proud of their country and cultural heritage and rejuvenating the traditionalism, and the other nations-by becoming familiar with the Romanian folklore and by adding something different in the contemporary visual culture. 20
Subcarpati: The Romanian’s ballad (2012)
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The Revival of Folklore in the contemporary Romanian Design
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Veronica-Gabriela Popa Student no. 21282737 University of West London Ideas and Perspectives Module No. AD50178E