Beta Weiand, a 32 years old fashion designer from Brazil, has developed an interesting project called Prêt-à-Template. Completing her studies in Fashion Design (2006/Brazil), Textile Engineering (MA 2008/Portugal) and Fashion Communication (2010/Milan-Italy), Beta Weiand currently works as a fashion teacher. She had the idea to develop a fashion drawing application and after 2 years of hard working, she and her team have launched the Prêt-à-Template App in April 2014.

What is it all about?

Prêt-à-Template is a Fashion Sketch App designed to help the fast induction of fashion drawings. Most of designers or fashion students really enjoy hand-drawing – that’s true. But there are situations when you have to develop ideas and collections very fast, and you have to decide about fabrics and cuts in a minute. I guess in those moments, a fashion drawing template could help a lot. The App we’re talking about reproduces on screen the design that would be held on paper. Using specific guidelines (TEMPLATES) fashion ideas are easy to develop so that anyone can transform his/her iPad into a fashion sketchbook and portable portfolio. There are many types of templates available: body templates for men, women, teenagers or babies, technical templates (men + women), plus sizes or maternity body templates, underwear and accessory templates (shoes and bags), and even templates for pets. There are also several tutorials displayed on the Prêt-à-Template website. The application is FREE and ready to download from App Store.

Talking about her project, Beta Weiand says: The first idea came up in one of my classes: the matter was fashion hand drawing and I had to display in a big board how to draw the different types of collar, lapels, sleeves, dresses, skirts in a size that everybody could see… the result was awful so I searched another way to present it: I found in the iPad my solution: with one of the many sketches apps I could connect the tablet into a projector!!! and then: the problem was solved and an idea of Prêt-à-Template was born”. 

The Goal of Prêt-à-Template is also to become a platform where the sketches could be transformed into real products. That’s why Prêt-à-template project seeks, in partnership with fashion companies, to promote and host fashion contests. For instance, if a company wants a new solutions for a particular product, the Prêt-à-Template team designs a customized template of this product.

pretatemplate3 pretatemplate4

I wanted to find out a few more things. So I’ve made a short interview with Beta Weiand, the brain behind the project:


You have said that the idea of developing the template App came up while you were teaching fashion drawing. But how the Prêt-à-Template actually did start to take shape as a project?

The moment I realized the opportunity to create the App I started to search about drawing applications (in general) and I began to think how the tools would assist in the development of fashion drawings: as the scissors tool for example:


Usually there is a lot of symmetry in clothing and with the help of this tool the user needs only draw half of the design. Or the sewing thread, a simple dashed line that makes all the difference when you need to represent the stitching…

I also conducted a thorough survey about fashion illustration and fashion templates: studying the position and proportions of guidelines in order to assist the quick reasoning of fashion drawing process. In 5 months, without understanding anything about programming, I designed the whole layout interface of the App, tools, templates, patterns, website…  and just after that (with the first version of the project in my hands) I started searching for partnership to make it happen.


Tell me a little about your creative team. Who are your partners?

By referral from a friend, I got to Belogik – a young programmers company in southern Brazil (Porto Alegre) that straightaway embraced the App idea! It took us more or less one year of programming and testing before launching the beta version of Prêt-à-Template App (in April 2014) . Today we are a team of 4 hardworking partners: Bruno Werberich and Carlos Pretto – programming, Guilherme Desimon – Web, and me – in charge of interface design. being also CEO.


Who are your (possible) customers?

We believe this App serves as a tool to the entire fashion creation chain: starting from students/teachers, practitioner’s designers, industry, even retailers and buyers… to anyone who is passionate about fashion.  Drawing is the first step of communicate a fashion idea –  What we did was making easy the process by the use of the mobile device itself, and thereby:

* Carry with you your own fashion sketchbook /portfolio;

* Not wasting paper;

* Finger touch (with no need to carry a variety of art supplies);

* Guidelines to help the rapid understanding of the body/goods proportions;

* Tools for applicability in fashion design;

* Easy to send/share and archive


You also provide coaching for the use of the App. Tell me about your workshops. Did you get a positive feedback?

The workshops are the most efficient and fast feedback: is the time where we can capture/realize the productive capacity of our tool! Working live we are able to understand the way people develop illustration, the difficulties/facilities coming on the way, and therefore we keep improving constantly… that’s why we hope expand the workshops internationally soon!

And YES we are having an incredible positive feedback! Not just mentioned as hereinbefore, as from users all over the world – through our website contact they write about what they love, what could be improved as well new ideas for future plans! (After almost a year from release there are Prêt-à-Template users in over 120 countries). This App evolves alongside to them.


Have you hosted any contest so far?

No, we haven`t yet, although hopefully soon we will announce the opening of the first one – we must say that we have high demand of users who subscribe every day on our website.


What’s next? How do you plan to extend the project?

Next step will be the launching of the iPhone version of Prêt-à-Template: celebrating one Year of our App on the Apple Store (April 2015). People have been asking about it since always, we are taking longer to launch because first we want to be sure to give the best arrangement of the tools and this way to make the user to have a pleasant experience in designing on such a small screen device…

About our plan to extend it:  We believe in the collaborative creative development of fashion drawing and therefore Prêt-à-Template will seek to expand our platform at this level.


Thank you, Beta. We wish you luck in all your projects which sound really exciting!

Lucian Rusu – Radical of Image


With a recent MA degree from University of Art and Design Cluj-Napoca, a graduation collection that has received many awards and appreciations, Lucian Rusu is definitely one of the promising new talents on Romanian fashion scene. Originally titled “Radical din chip” (which can be translated as ‘radical of image‘ or ‘square root of image‘), this strangely beautiful collection was inspired by bodily and mental fragmentation, a theme that allowed the creator to formulate his personal fashion aesthetic.

The designs stand out through the adventurous outline of the silhouettes, interesting fabrics and surprising details. Not to mention the spectacular handbags using fragments of bicycle wheels. Besides, Lucian Rusu is one of those designers who lean toward an intellectual approach to fashion. Therefore, I took him a short interview:


How do you feel as a fresh MA graduate?

I have gained more confidence in expressing myself through art. I am also more disciplined and self-consistent. 


Your collection has an intriguing title – ‘Radical of Image’. What’s the story behind it?

What happens to one’s beauty following a car accident? Everything began with this question in mind! I was not interested in „the aesthetic of ugliness” and neither in the concept of disability or dysmorphic effects perceived as a grotesque performance. I’d rather say that my intention was to create a personal approach towards a disfigured countenance. The real sources of inspiration were represented, on the one hand, by the collages of the Iranian artist Ashkan Honarvar and, on the other hand, by „Le théorème d’Almodóvar”, the novel of the renowned „invisible” writer Antoni Casas Ros. The organic connection between these means of artistic expression is materialized, in both cases, by bringing a series of physically disrupted faces to light. However, it was not the idea itself of alteration or loss of identity that mattered, but rather the restoration of this identity. The image of beauty never falls apart in this process, even when dislocation is implied. The title suggests a chemical and mathematical symbol, a group of atoms that remain unaltered within a chemical reaction and act in the manner of one single element. 


Which was the best part of your creative process?

The production of the accessories.


You introduced some new fabrics here. Can you tell me more about these experiments?

These fabrics constituted an important step during the whole process of creation. It was through the manufacturing methods that I managed to shape the effects meant to highlight the theme of this project. I used natural fabrics such as wool fibre or cashmere, but unconventional textiles, by which I mean synthetic fibres, were also constituent parts of the products. I used composite materials as well, due to their consistency and their adequacy to various purposes. These materials are often used in several designing areas in order to cover different surfaces and structures – such as automobile or yachting upholstery, but they are also found in fashion design or in the production of hi-tech accessories. 


In your opinion, which are the key ingredients to a genuine fashion product?

I strongly believe that authenticity arises from the sincerity of the story behind the product. 


Can you mention a turning point in your training as a fashion designer?

I can’t think of one precise moment; there have been several moments that helped me to discover and explore my own path. A different important aspect is represented by my encounters with people that have taught me so many things. Right now I am “writing” my personal history in relation to fashion design.


Which are your fashion concerns at this point?

I am interested in shaping a product that results from the connection with unconventional elements derived from uncommon frames of life. I also intend to create sustainable items – I don’t believe in fashion products designed solely as works of art.


What’s next?

Besides study, I wish to gain experience for a real job, to try an internship or whatever helps me grow as a fashion designer.









Lucian Rusu – Radical of Image collection / MA University of Art and Design Cluj-Napoca, coordinating professor: Elena Basso Stanescu/
Photo credit: Ionut Staicu/ Artistic direction & styling: Ina Borcea/ Hair: Claudiu Alex Sarghe/ Make-up: Alexandra Craescu/ Model: Maia Filip, MRA Agency

Below, you can find a selection of designer’s moodboards and sketches related to his graduation collection

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Vanessa Schindler

















Just when you thought you’re already tired of discussing fashion issues, emerging trends, early signals and impossible ideals, something special pops up to feed your enthusiasm.

Vanessa Schindler, a fresh graduate of fashion design caught my interest with her experimental menswear collection. Exploring basic pieces in men’s wardrobe (jackets, sweaters, shirts, shorts and shoes), she adores playing with unexpected fabrics and redesigning the silhouettes.

Peculiarly titled Oui c’est du renne du bord de la route, Vanessa Schindler’s  Bachelor Collection (from University of Art and Design HEAD Geneva, Switzerland) leads us in a different world, ruled by new forces, alternative shapes and amusing details.

Curious about her fashion inspiration, personal vision and future plans, I took Vanessa a short interview:


How it all started? 

It started a long time ago when I begun to collect different materials found in my hometown in Switzerland. Supermarket ropes and elastic threads, cow hide, reindeer fur, wood, lycra… This collection became a play between the man’s classical wardrobe and these materials.

The main accessory is a stick of wood painted in yellow. In each silhouette, it disturbs the regular shape of these garments. It runs through them, exaggerates them, lifts them up and stretches them.

To me it was a way to think about fashion. How our eyes get used to abstract ideas. Pushing the boundaries. Seeing how far I could go with the yellow stick. See how we are able, or not, to get use to new shapes on a body. This collection is more a reflection and amusement about menswear. Six masculine totems, masculine sculptures, a men’s collection.

 (Literal translation of the title: “Yes this reindeer was found by the side of the road”)


Why menswear?

 I chose menswear because I believe it is more liberated from social stigma, it allows more humor and constructivism around its form. And simply because I wanted to built these men figures.


What was your favorite part in the design process?

Maybe when you start visualizing the final result, when you begin to see what it will become, and if the result fits with the idea you had in mind. This moment when you just race to make it become real!


How do you feel as a fresh graduate? what’s next?

I feel well! I already did a few internships, one at Etudes Studio and another at Balenciaga. Today I’m an intern at Henrik Vibskov Studio in Copenhagen. Next? Probably a new personal project focusing more on accessories and installations.


I attached below some images selected from Vanessa’s research book, to get a glimpse of the complex documentation process and inspiration behind this fashion collection.

vanessa research

Photo Credits: Julien Chavaillaz and Philippe Fragnière


Barbara i Gongini

Nowadays, most fashion designers are trading pure image. Yet, there are some designers (the happy few) still focused on the creative process (the old art of making clothes). For them, fashion isn’t a space filled with polished solutions, but a medium which allows them to experiment with the fabrics, and further, allowing their customers to enjoy experimenting with the clothes. Barbara i Gongini is such a brand.

I’ve spotted the Danish label for the last seasons and I was impressed by their conceptual/artistic/ nihilistic but still gracious fashion approach. Their work (in progress) includes sustainable concerns and fruitful collaborations with creatives in music, photography and film.

I’ve decided to make an introduction on Fashion Salad, talking with Barbara, the fashion designer behind Barbara i Gongini. She was kind enough to answer to my questions:


I think your designs are really outstanding on the fashion scene. Where would you place your work between design, style and art?

My opinion about avant garde is that it is everything from art, design and style.  They are all linked and there is no separation.

How did Barbara i Gongini start? Could you mention a major catalyst?

In the Faroe Islands, where I am from, there was this fantastic woman that was always dressed for any occasion – very stylish.  I saw here one day in her high heels walking the steep hill with shopping bags… I decided at that point – I was about 6 – that creating clothes was my destiny.

You already developed your own dark poetry. Why black?

I work with principles and shape – black is a no color, hence it is a perfect forum for shapes.

Tell me about your creative process. How do you start a new collection? Where’s the big challenge?

I have been working with the square and circle shapes for a very long time.  I explore how to twist and twerk the traditional to the unconventional.  I do not sketch my designs, I drape on a mannequin and explore from there.

How important is the body?

My clothes are not close fitting, hence the body is where we hang our art:)

You really love to experiment with the fabrics. What are your favorites?

Wool, leather, technical silk, shirtings – awhh…. the list is endless.

Do you follow fashion trends?

No.  I follow development.

Where’s the boundary between a poor and a luxurious outfit?

Your own imagination.

Define your ideal customer

A person that gets happy by wearing my clothes, that finds their own personality in my pieces.

What do you think about emerging technologies and fashion?

I think that all developments in ecological and sustainable principles are fantastic and that we should all do our best to take care of the world.

How did the experience of running your own business challenge your designer profile?

There is a clear difference between design and business.  In our team we have managed both to maintain our design profile and to maintain a business strategy by dividing the brand into 3 labels: Barbara i Gongini, The Black Line, and Leather and Accessories.



Kobi Levi


… beautiful, crazy, unusual, strange, funny, particular. I don’t know, it’s difficult to  fit the work of Israeli footwear designer – Kobi Levi,  into a genre or a certain aesthetic category. And, I admit, I’m always intrigued by things that somehow manage to skip the traditional hierarchy.

Blurring the line between fashion, art, design, traditional craftsmanship and avant-garde, Kobi’s pieces are difficult to ignore.  His  “Double Boots” are already famous for being worn by Gaga in “Born this way”, but there are other, lots of  interesting, surprising stuff he needs to be appreciated for! Levi graduated from Bezalel Academy of Art & Design, Jerusalem, and works as a freelance designer, manufacturing  every pair of these spectacular shoes. He is currently based in Tel-Aviv – I would be really curious about his studio!

Anyway, I was delighted to ask him some questions about this fantastic body of work, and he was kind enough to talk to Fashion Salad about it:


You’re a talented fashion designer. Is there a certain reason for choosing shoes as a creative ground?

Shoes are my “design language”, my form of self-expression. Unlike other forms of art or design where the creation is placed on display and stays there, shoes can come to life when they are worn on the feet. With shoe-design it’s possible to create another organ which relates to the body. You can actually transform the appearance without changing the basic shape of the body. I think this is also the reason that people from all ages and places love shoes. They are easy to relate to.

What’s the most important feature of a well-made shoe?

A good construction, which supports the feet, is very important. Of course personally I prefer an interesting design as well.

Your pieces are entirely handmade. This sounds really eccentric nowadays. It’s similar with the concept of “couture”. Do you want to preserve this method or are you already searching for alternatives?

There are many advantages for hand-made products. Sure there is a lot of work involved and this makes the shoes more expensive. But, on the other hand, they are unique, tailor-made and you feel like they were created especially for you.
In the near future I will continue with producing hand-made pairs only. Maybe later on I will look for large-scale production solutions.

You already defined your way as a designer. I appreciate the concept, but mostly I’m amazed by the color, humor and the soul of your work. Your shoes are pretty “alive”- is this the core of your design?

Yes! It’s really important to me that the shoes communicate with the viewer/wearer. It’s great to see that they attract people from all ages and cultures. A while ago a friend told me about his 18 month old daughter, who recognized the Toucan style and laughed out loud. This gives me great satisfaction.

Do you care about fashion trends? I can see your inspiration comes from elsewhere, not from the world of shoe design…

My designs are not affected or inspired by trends. There are endless sources of inspiration in the world. Why should I limit myself in any way?

Do you have any favorite fashion designers? ( apart from the world of shoes?)

Vivienne Westwood, Alexander McQueen.

You define your shoes both as objects/sculptures and wearables. How important is the Body?

Of course it’s important. We all have it, right?
As I explained before, a shoe can become a designed extension of the body, but it can’t replace it or cover it.

Who wears you shoes? Or who would you like to wear them?

My costumers are people who appreciate the unique design and have a good sense of humor. You can’t be too serious if you wear banana-shaped slippers….
Honestly I would like to sell the designs at retails shops everywhere. But at this time the cost is high and that is not possible.

How do you see your projects in a world ruled by fast-fashion and mass-serialization? What do you think about the emerging technologies? Are you interested in rapid-prototyping?

Mass production has great benefits. However, when you see the same mega-chain stores everywhere you go, some people become bored and look for something fresh and new. In this respect there are great advantages for production on small scale.
Technology can serve the production process and simplify it and that is great. As I said, it would be nice to bring fun designs to every household. But we are a long way from that point. Shoe making is a complicated process and many things still have to be made by hand.

How do you see the future of fashion?

Fashion is all about re-inventing trends. In this respect it is not very eco-friendly, because you always have to throw away the old to make room for the new. I prefer to value things due to their originality and quality and not due to the logo on them. For me creation is more interesting then fashion.

find more images on Kobi’s blog.


Luxury Hackers

Danilo Venturi is a global consultant for fashion and luxury companies. He’s also teaching brand management, art directing, strategic marketing and innovation management at Polimoda (International Institute of Fashion Design and Maketing based in Florence, Italy). His strong background in underwear (he worked a lot with La Perla) and concept stores, coupled with passion for music and cinema, a taste for exploration of inner and outer territories, his research on the relationship between man and technology, show an interdisciplinary, creative and visionary approach to the fashion world. Danilo Venturi’s book,Luxury Hackers, was recently published in Italian, and we hope that soon will be available in English, too. I think the book is much more intriguing as it is written by a fashion insider, a real “practitioner”.

I’ve interviewed Mr.Venturi, in order to get a glimpse of his particular vision on contemporary fashion design:


With “Luxury Hackers” you have coined a new fashion term. The metaphor refers to a genuine creative passion. How does it challenge the world of luxury design?

I think that for too much time luxury has meant to update a heritage, the legacy of a name, the shapes of the past, which means commonly going forward looking back. Final outcome: lack of inventiveness, repetition and massification, dilution and saturation. The time has come for going back looking forward, which means, instead, finding the primitive sense of creativity and recontextualizing it in the current spirit of the time. It’s not about going back to the dead origins but to bring originality back in life. We don’t need re-edited fossils but to edit the archeology of the future, we have to think to new patterns but also to new patterns for thinking at them, we don’t need mass zombies but massless ghosts, not solid branded products but ideas, concepts and dreams becoming real and authentic, subjects more than objects.

Can you name any “luxury hacker” of our time?

Being a luxury hacker is not nominal, it’s an attitude made of competence, consciousness passion and critical sense. I think to some journalists like Suzy Menkes and Kathy Horyn, who are describing luxury without complaisance, just showing it for what it is in its ganglions and wondering how luxury could still break boundaries in a world without any. I think also to good researchers based in some fashion institutes. Then, I add the impertinence of some big names like Lagerfeld and Armani who are not mincing their words when necessary. I think to the many works of deconstruction and reconstruction by the avant-garde designers. Above all I think to the new generations of designers, global digital natives, having a new sense of time and space, and putting out primitive products with advanced meanings. Andrea Incontri’s bags are not made for bringing cumbers to a final destination, but for enjoying the waiting moments during the journey. It’s outer stationarity. Giulio Parigi’s design is redefining the cartography of luxury, it’s a trip mixing Afghan costumes and tartan fabrics, a journey taking place only in his mind. It’s inner mobility. It’s about minimal revolutions or maximal evolutions that make the difference, conceptually, practically and commercially.

You also have a strong subtitle: “dal fordismo al tomfordismo e oltre”- it’s an exciting pun! Is Tom Ford a landmark in your book? Is he an emblematic figure for some reason?

Yes, Tom Ford is a central figure for the contemporary luxury for different reasons. First, because he had the courage after the experience in a major brand to re-introduce himself with his own name and face, without logos, just connecting brain and hands, being the archetype of his own customer, like the fathers of luxury used to do. Second, because he escaped from the idea of linear production and distribution, from the industrial patterns of massive seriality, but also from the taboo of the “made in”, which in the global era is “sold in”, and for him “sold only in”, without compromising the quality. Third, because he introduced in the static world of luxury a certain dynamism typical of fashion, e.g. when he used metrosexual models wearing übersexual dresses, or when he understood before many others that in a world where avant-garde is becoming the new mainstream, being conservative in the dress code can be innovative. After that, the subtitle of the book is “From Fordism to Tomfordism and beyond”, because if for him luxury is the best money can buy, for somebody else it can be the best money can’t buy. So, beyond Tom Ford we open a world of possibilities to be seriously considered.

You proposed the “power of the aesthetics” instead of the “aesthetics of the power” in order to redefine the contemporary luxury. Do you think it’s too much branding and less creativity?

My considerations are based on a change in the spirit of the time. The same people attending fashion luxury are attending today also the mass merchandisers. They define their dress codes according their own taste, mixing and matching, making dichotomies such as precious and cheap, rich and poor, dressed and undressed, new and old, branded and unbranded, become syncretic. The metaphor of the pyramid has crashed with the political and commercial ideologies of the Berlin Wall and with the financial ones of Wall Street. Individuals are now “multividuals”, they can play with their costumes and roles, the pre-ordered total look is disappearing and the status based dressing system is leaving its space to style, to single style choices.

How do you see the migration of the luxury market to the East? Is this a sign of cultural decline, a crisis of the western values?

Yes it is. When a country is getting the economic power, sooner or later it will have also the economical one. It happened to Spain and Portugal when colonizing the New World, to England in the Nineteenth century, to the US in the Twentieth, now it’s China’s turn, we like it or not. What is to be regretted is we gave them all our know-how while going there for producing all the cheap objects filling our markets. Ok, now we sell them fashion luxury in abundance, but like every market in its evolution, they will become aware, then mature, then saturated. Before the last step, they will start to export, and like we had Japanese brands in the Eighties, we will have Chinese ones in the next decades, before simply as a new trend, then as a kind of cultural colonization. It’s going to be a faster process as we can imagine. It’s already visible from very simple signals, e.g. while Sushi is the new take away in our cities, Chinese restaurants are starting to go luxury, while our boutiques are empty, American ladies are taking flights to China and attend ateliers there, while our companies are failing, they are investing in Africa for developing a new territory of future consumption under their influence, while our middle class is disappearing, their middle class is increasing. On one side we need China to sell, on the other we are passing them our scepter. We all will die wearing a Chinese mask, I don’t know if for attracting or pushing the ghosts away.

What about the designer’s role? Do you think contemporary fashion is still made by designers, or are there other forces at work?

At the moment is not considered central but it has to be for the future. I mean, fashion without designers is not fashion. Design means to give a meaning. We can keep on making replicas for a while, but the day will come there won’t be anything more to be replicated. So, fashion is related to the figure of the designer historically, ideologically, conceptually, but also strategically, also referring to the previous question: we can survive only relying on creativity, not certainly working on quantities.

Do you believe in technological innovation, as a future fashion tool?

Fashion and technology have always been linked, the fact that we connect the idea of technology to the future time is coming by the fact that technology has always increased its potentials along time. And for a period, also fashion with it. Now, technology is still going on, while fashion has stopped. But pay attention, technological evolution doesn’t mean anything if there’s not a parallel evolution also in the values of the society, because every technological evolution applied to a product is changing its use and occasion of purchase, to also the identity of the final client, who is a human, at the end. Fashion and technology are similar, think to a computer, it has an hardware and a software, and think to a garment, it has the fabric and the meaning, the “hardwear” and the “softwear”. In fact, today we wear our iPods.

What about the niche design, the underground fashion, the anti-fashion, the unofficial textile experiments?

In fashion the ugliness of today has always been the beauty of tomorrow, the mainstream has always started as unaccepted, the amatorial has always brought new vital lymph to the corporate, the anti to the pro, the unofficial to the official. So, welcome.

Nowadays, we are witnessing the democratization of fashion: mass production, mass consumption, mass intelligence, mass creativity – too much talking & blogging about fashion. What do you think about it?

I go back to the representation of Kate Moss by Alexander McQueen, it was pure concept, spirit and emotion. That avatar was massless, but also mass-less, that means not for the masses. I think to Martin Margiela’s style, unfinished, so giving the sense of not being finished and because of this, escaping from the programmed obsolescence, being unfinished in the sense of infinite. The problem are not the bloggers, I welcome them, they raise the critical level, also with their mistakes and imprecisions, they push every system of production, fashion included, to be more active. Bloggers are not a mass, but many more single aware participative individuals. It’s not about democracy but about freedom. On the other side I see from some producers to the hypocrisy of selling products as “democratic”. Do you really think they care of the rights of the common people to wear fashion? Fashion is a personal choice, not a right. The “democratic” products are mass merchandising, the opposite of fashion. This is what I think.

Europe Future Fashion

Europe Future Fashion sounds like an interesting fashion event in South Eastern Europe. EFF takes place between 6-1o July 2011, in the wonderful town of Split, Croatia. Precisely, within Diocletian’s Palace  – that’s a place you should visit anyway! There will be fashion shows, and many workshops and exhibitions. Being really curious about it, I asked Alen Kekic, the project director of EFF, some questions:


Fashion Salad: European Future Fashion is an important event in South Eastern Europe (now, at its second edition, right?). How did everything start?

Alen Kekic: European Future Fashion manifestation offers designers a comprehensive program, complete with choices of state-of-the-art venues and an experienced production team dedicated to ensuring individual visions are carried out. It shows package offers maximum ease and efficiency, provides the highest production value and ensures optimum exposure through a wide variety of marketing benefits and advertising opportunities, including daily print and television media coverage.

Everything started 2 years ago, when we came to idea to bring fashion forces together, to help young designers to fight poverty with microcredits.  To help new designers enter the European market, blending with bigger industry names and to simply bring Europe closer to world.

FS: Why Croatia, why Split?

AK: Croatia is a good place to be at this moment, many investors are coming to Croatia and it’s the first door to Europe Union, a very nice place to be and to present new models in the heart of history.

FS: What’s the main criteria for choosing the participant designers?

AK: The main criteria to choose designers is to help designers who don’t have the chance to go to big fashion weeks and to push them to go ahead, of course they need to prove us their creativity.

FS: You have some special guests this year… tell me about the workshops.

AK: This year featured designer is Jatin Varma, David Priol, Blerina Rugova and many others, all our designers are special guest and we try to treat them with five star comfort.

FS: How do you see the future of fashion?

AK: The future of fashion is in our hands.  Globalization already took over production in the most of the industry, including fashion, but with our policy of fairtrade we want to keep small designers on the stage and running.  Fashion will come back to a more classical approach, the so called glamour look, versus last year’s gothic based style.


Thanks Mr. Kekic for all these details.  And here’s the designer list:

Alen K. France (designer and director)
David Priol France
Fadila Edor France
Rosy Garbo Italy
Anemarie O Croatia
Kafrinne Bijoux France
Omnia Mei Sweden
Jatin Varma India
Andreea Tincu Romania
Mihaela Cirlugea Romania
Maria Hera Romania
Flutura Dedinja Kosovo
Blerina Rugova Kosovo


For more info, please visit