C R I S T I N A S A B A I D U C S / S 2 0 1 2
An interest in eastern mythology, particularly that of Tibet and Ancient China, influenced CRISTINA SABAIDUC’s Spring/Summer 2012 debut collection. The evolution of artwork from 2D to 3D also inspired the designer; throughout history, the work of 2D mystical cave paintings was often transformed into 3D figurines and statues. One work in particular sparked the collection: the Pehar Offering Thangka, from 18th century Tibet, displayed at London’s Rossi and Rossi Gallery. Pehar’s form is indicated in the centre of the painting, surrounded by drapes and folds of his massive robe, though the figure is not actually there. Instead, the viewer sees only space, thus the 2D image has a seemingly 3D presence. The collection took basic geometric concepts and with the use of magnets created versatile draped garments in silks, lightweight wools and sports nets.
In collaboration with artist Gintare Minelgaite, Cristina Sabaiduc also created her first digital print for this collection, produced using images of a moulding beetroot. The print pairs Cristina’s trademark natural references with the vibrant colours of the eastern artworks and the ageing pigments and tones of the Pehar Offering Thangka.
The visual transformation of 2D into 3D shaped the presentation of the collection, which took place at The Hospital Club during London Fashion Week. It evolved from a 2D gallery exhibition into a full catwalk show, highlighting the spatial element involved in creating the collection. Cristina styled the models in front of the live audience before sending them around a square runway. A short motion film by director Coban Beutelstetter also captures the collection’s texture, colour and versatility.
An interest in eastern mythology, particularly that of Tibet and Ancient China, influenced CRISTINA SABAIDUC’s Spring/Summer 2012 debut collection. The evolution of artwork from 2D to 3D also inspired the designer; throughout history, the work of 2D mystical cave paintings was often transformed into 3D figurines and statues. One work in particular sparked the collection: the Pehar Offering Thangka, from 18th century Tibet, displayed at London’s Rossi and Rossi Gallery. Pehar’s form is indicated in the centre of the painting, surrounded by drapes and folds of his massive robe, though the figure is not actually there. Instead, the viewer sees only space, thus the 2D image has a seemingly 3D presence. The collection took basic geometric concepts and with the use of magnets created versatile draped garments in silks, lightweight wools and sports nets.
In collaboration with artist Gintare Minelgaite, Cristina Sabaiduc also created her first digital print for this collection, produced using images of a moulding beetroot. The print pairs Cristina’s trademark natural references with the vibrant colours of the eastern artworks and the ageing pigments and tones of the Pehar Offering Thangka.
The visual transformation of 2D into 3D shaped the presentation of the collection, which took place at The Hospital Club during London Fashion Week. It evolved from a 2D gallery exhibition into a full catwalk show, highlighting the spatial element involved in creating the collection. Cristina styled the models in front of the live audience before sending them around a square runway. A short motion film by director Coban Beutelstetter also captures the collection’s texture, colour and versatility.
London Fashion Week S / S 12
