roza
Trajnostna ženska kolekcija oblačil iz starih zalog materialov / Avtorica: Neža Simčič / Mentorica: doc. Petja Zorec / Modela: Lenčka, Dragica / Foto: Lovro Lukić / Make-up: Neža Knific / 2022
ROSA A sustainable womenswear collection made from deadstock materials / Author: Neža Simčič / Mentor: Asst. Prof. Petja Zorec / Models: Lenčka, Dragica / Photo: Lovro Lukić / Make-up: Neža Knific / 2022
Specifika diplomskega dela Neže Simčič se prične v sami izkušnji življenja na obmejnem območju Nove Gorice in Gorice, katera se je v času pandemije močno spremenila. Ob prihodu avtorice v domač kraj, jo je do sosednjega omejevala fizična pregrada v obliki betonskih blokov in kovinske ograje, ki so ji onemogočali običajno svobodno gibanje. Čustveni odziv jo je spodbudil k opazovanju razlik, ki nastanejo v estetiki okolja in kulture ob prestopu navidezne črte – meje. Glavno izhodišče za razvoj in oblikovanje trajnostne kolekcije Rosa/Roza je predstavljal kontrast med skromnimi, preprostimi vrednotami slovenskih žensk ter prefinjenostjo uglajenih italijanskih starejših dam.
The specificity of Neža Simčič’s thesis originates from her experience living in the border area between Nova Gorica and Gorizia, and this experience has changed significantly during the pandemic. Upon the author’s visit to her hometown, a physical barrier in the form of concrete blocks and metal fences restricted her normal freedom of movement to the neighbouring area. The emotional response prompted her to observe the differences in the aesthetics of the environment and culture when crossing an apparent line - a border. The primary source of inspiration for the development and design of the sustainable collection Rosa/Roza is the contrast between the humble, simple values of Slovene women and the sophistication of glamourous older Italian ladies.
Raziskovanje se je pričelo s preučevanjem zgodovine omenjenega območja in vplivom meje na oba naroda. Italijanske dame so Nežo s svojo prezenco, eleganco, stasom, odete v oblak parfuma fascinirale že od otroštva, zato je veliko pozornost posvetila definiranju modne identitete oz. značilnih oblačilnih elementov obeh kultur. Zaradi nejasne identitete slovenskih dam se je osredotočila na ročne tehnike, ki so jih uporabljale za nastanek tekstilnih produktov uporabljale ter italijanski krzneni plašč – pelicio.
The research began with the study of the region’s history and the impact of the border on both nations. Italian ladies, with their presence, elegance, stature and dressed in a cloud of perfume, have fascinated Neža since childhood. Therefore, she devoted much attention to defining the fashion identity or characteristic clothing elements of both cultures. Due to the unclear identity of Slovenian women, she focused on handcraft techniques used to create textile products and the Italian fur coat – pelliccia.
Neža v svojem delu izpostavlja mnogotere problematike, ki jih povzroča modna industrija; neetično pridobivanje krzna in izdelovanje krzneninh izdelkov, ignoranca demografske raznolikosti v predstavitvah in oglaševanju, pozabo zamudnih ročnih tehnik, ki so jih nadomestili izdelki hitre mode, prekomerno potrošnjo, kratek življenjski cikel oblačil idr.
In her work, Neža highlights numerous issues caused by the fashion industry, including unethical fur sourcing and fur product manufacturing, the ignorance of demographic diversity in presentations and advertising, the neglect of time-consuming handcraft techniques replaced by fast fashion products, excessive consumption, short life cycles of clothing, etc.
V procesu nastanka kolekcije je z različnimi pristopi uspela odpraviti nepravilnosti in izpostaviti pozitivne učinke, ki jih lahko ima izdelovanje oblačil, kot tudi vpliv mode na vse generacije. Za izvedbo oblačil je uporabila trajnostne principe, kot so uporaba starih starih ali mrtvih zalog tekstila, ostankov propadlih proizvodenj, kvačkanje iz odpadlih najlonk, združevanje polizdelkov v izdelek, uporaba odpadnih prej, ki so služile nastanku »krznenih« kvačkanin.
In the process of creating the collection, with different approaches, she managed to eliminate irregularities, expose the positive effects of the production of clothes and highlight the impact of fashion on all generations. She applied sustainable principles to the production of clothes. She used old or deadstock textiles and leftovers from bankrupted textile companies. She crocheted items from stockings, connected intermediate products into a final product and used deadstock yarns in a new manner.
Dodatno inspiracijo so ji predstavljala krznena oblačila modne hiše Fendi iz 70. in 80. let 20. stoletja, Instagram profil Sciuroglam, ki dokumentira in časti modno ozaveščene starejše Italijanke ter lastna nona v svojem bivalnem okolju.
Additional inspiration came from the fur clothing of the fashion house Fendi from the 1970s and 1980s, the Instagram profile Sciuroglam, which documents and honours fashion-conscious older Italian women and her grandmother in her living environment.
Končni rezultat je avtorska kolekcija, ki opogumlja tudi starejšo generacijo k izražanju skozi vizualno identiteto in izbrana oblačila. Kolekcija je dokumentirana skozi sodobni modni editorial, v katerem kot modela nastopata zreli ženski, ki uživata svoj vsakdan v mestu.
The result is a capsule collection targeted towards older women who still desire to express themselves with clothing despite their age. The collection is documented in a contemporary fashion editorial, featuring mature women as models enjoying their everyday lives in the city.
