Our starting point is the shirt as an object of study.
We use deadstock recovered local factories — fabrics left unused in production for European fashion houses.
Our work is guided by a few ideas:
“Critical Regionalism” – a concept borrowed from architecture, through which we approach our endevour in the fashion industry; and “New-Not-New” – a made-up term we use to describe the intersection between a newly produced garmet and an archival piece.
Alongside runs a scene from Meandre (1966), by Mircea Săucan.
from the abstract
The choice to work with deadstock is closely tied to improvisation — an attitude deeply rooted here, applied in manufacturing, artistic production, architectural language, and, all in all, everyday life — meaning working with what exists, adapting available resources to create something coherent and functional.
to the pragmatic
The garmet factories we work with, the fabric archives, and our studio are all located within a 10 km radius in Bucharest. This physical proximity allows us to maintain a direct link between environment, method, and result.
in design
Our patterns derive from the visual language of fashion history and cinema. We explore how the shirt has been imagined across decades—from volume and silhouette to detail—and recompose these ready-mades into a contemporary object.
in production
Working with materials left from past collections dictates our fabric choices and availbility, more specific it introduces a kind of a visual anachronism and limits the number of shirts we can produce, a desynchronization from the industry’s rhythm.