Rewrite
West University of Timișoara
The 18th edition of Feeric Fashion Week closed after five days that turned Sibiu into a live dialogue between heritage, education, and contemporary design. Across immersive museums, industrial storage halls, rooftop car parks and restored village courtyards, the festival once again proved that fashion in Sibiu is inseparable from place. Every space becomes part of the story a collection is telling. This year’s showcases, drawn from designers and universities across eighteen countries, moved between themes of memory, transformation, and circularity, closing with the traditional Feeric Gala in Huet Square.
The festival opened with educational activities, hosting masterclasses and panels on commercial photography, media production, and creative direction, including a session with Giovanni Ottonello, Art Director of Istituto Europeo di Design, on the relationship between academia and industry in shaping the next generation of designers.
The runway itself opened at the Immersive Museum Sibiu with Cardinalia Models x Dharug, a presentation built around authenticity rather than age. Cardinalia Models, an agency celebrating women over 35, walked in pieces from Dharug, the platform dedicated to vintage archives and emerging design talent, a pairing united by a shared respect for things, and people, that hold their value over time.
Cardinalia Models x Dharug
Cardinalia Models x Dharug
Nearby, in Huet Square, Humana People to People Romania and Feeric unveiled The World We Wear, an installation built from hundreds of donated garments alongside the launch of a concept window display, both framed as a meditation on reuse, circularity, and what happens to clothing once we’re done with it.
Across several days, Feeric Venue Cinegold became the festival’s academic core, hosting a rotating line-up of university and independent presentations. Alexander College Cyprus presented upcycled, architecture-inspired silhouettes from four second-year students, followed by emerging designer Thalia Kosta’s Memories, a poetic study of Cypriot heritage. The Ukrainian Fashion Education Group showed Homo Deus, a group collection asking who the “divine human” of the twenty-first century might be as technology reshapes identity. Four designers from the National Academy of Art, Bulgaria presented Traveling, a collaborative meditation on journeying as transformation, while Galala University, Egypt brought a collection drawing on the country’s architecture and regional textile traditions.
left. Alexander College Cyprus, right. The Ukrainian Fashion Education Group
left. National Academy of Art, Bulgaria, right. Galala University, Egypt
The venue also turned toward more experimental territory. LUMINAL, by designer Dori Haskovcova, presented Harmony of Future Consciousness, a collection built entirely from deadstock materials, including hand-applied liquid latex, imagining a future where technology, humanity, and nature exist in balance. Designers of “Aurel Vlaicu” University of Arad brought three distinct, personal explorations of identity and transformation together on one runway. Newgiza University, Egypt presented a sculptural, structure-versus-fluidity study from its fashion design students, while Donja Gorica University of Montenegro showed Metamorphosis, an exploration of natural transformation told through cotton, linen, and draping.
left. LUMINAL, right. Aurel Vlaicu University, Arad
left. Newgiza University, Egypt, right. Donja Gorica University of Montenegro
The Technical University of Moldova presented Evolving Joy, an exploration of transformation as continuous personal evolution, alongside VIAMODA Poland, showing three collections spanning the beauty and danger of excess, a brutalist study in new garment construction, and a reclaiming of traditional female craft techniques.
Technical University of Moldova
VIAMODA Poland
promenada sibiu | parking lots as runways
True to its reputation for unconventional staging, Feeric transformed both the indoor and rooftop parking structures of Promenada Sibiu into runways. Indoors, Synergia by Promenada, by designer Raluca Elena Cînean, explored desert landscapes and the poetry of travel through prints and fluid silhouette, while the University of Oradea‘s Faculty of Arts presented three collections spanning boho reinterpretation, Baroque-meets-sportswear, and a contemporary take on Romanian traditional costume, united by a shared commitment to slow fashion and recycled material.
Synergia by Promenada
University of Oradea
On the rooftop, the University of Art and Design, Cluj-Napoca presented a graduation-project collection built through hand embroidery, textile collage, and perforation, evoking haute couture through transparency and duality. The West University of Timișoara followed with three distinct visions: Ana Maria’s tech-body hybrid Conosci Me!, Lavinia Toader’s Sea of Imperfections, on the beauty of aging, and Ella Cernescu’s crystal-inspired Born Unique.
University of Art and Design, Cluj-Napoca
sigemo storage + highway construction site
At Sigemo, a working industrial storage facility, the National University of Arts Bucharest presented a collective selection of graduation projects, a manifesto for a new generation finding its voice. They were followed by three emerging designers from Kaunas University of Applied Sciences, Lithuania: Ugnė Černaukaitė’s utility-driven Swallow, Gertrūda Sokaitė’s legend-inspired Jūratė, and Tėja Macijauskaitė’s Perfokorta, built around the punch-card technology of the Jacquard loom as a metaphor for memory.
National University of Arts Bucharest
Kaunas University of Applied Sciences, Lithuania
The following evening, the Highway’s Construction Site hosted one of the week’s standout moments: Hooldra. Visible Transformation, the sixth edition of the Feeric Hub upcycling initiative. Twenty students from eight universities across Romania, Moldova, and Poland worked with garments donated by Humana, deconstructing and rebuilding them into new silhouettes under the coordination of Daiana Stăncioiu. True to its “see now, buy now” model, every piece was made purchasable in real time via Dharug.
Hooldra
Hooldra
The same evening brought Ines Baric‘s memory-driven collection inspired by her grandmother’s life; Chanel Younes‘s Femme Serpent, a Lebanese collection tracing a journey from fragility to empowerment through lace, leather, and Swarovski serpent embroidery; and Pia Cherfan‘s Cathedral of Bloodlines, a Gothic-architecture-inspired study of heritage and belonging.
left. Chanel Younes, right. Pia Cherfan
porumbacu de sus | heritage in dialogue
The festival’s most distinctive cultural moment unfolded in Porumbacu de Sus, at the restored cultural space A lu’ Escana, where Artisanal Jopoi (Paraguay) and Haide (Romania) presented Artisanal Jopoi, Haide! Two craft traditions from opposite sides of the world discovering they share the same gestures, motifs, and reverence for hands that make things by hand.
Nearby, at Oberwood, designers Irina Silaghi and Cornel Crișan presented Lepedeul Between Tradition and Modernity, built from textiles handwoven more than six decades ago by Crișan’s grandmother, Ileana Jurj, traditional Romanian lepedeie and wall hangings upcycled into contemporary silhouettes.
left. Irina Silaghi and Cornel Crișan, right. Artisanal Jopoi
At Fabrica Boromir, the International Balkan University presented The Art of Contrast, weaving Art Nouveau aesthetics and Islamic ornamentation into a modern visual narrative, while designer Martyna Agnieszka showed The Third World of Women, eight silhouettes built from raw fabric edges, natural human hair, and men’s buttons, each one a portrait of a woman who shaped her own identity.
International Balkan University
Martyna Agnieszka
feeric gala | one last runway
The 18th edition reached its final night in Huet Square. Before the collections, Istituto Europeo di Design awarded a Firenze scholarship and two mentoring places to young designers of this year’s edition, presented by Art Director Giovanni Ottonello alongside Feeric President Mitichi Preda.
The runway opened with Daiana Stăncioiu‘s Untouchable, a study in turning flat textile surfaces into three-dimensional botanical forms through embroidery, crochet, and 3D printing. Mild Power, by Milda Grikšaitė, followed with Unwrapped, a collection built on the rituals of gift-giving, rose jacquard, tweed, and envelope-inspired detailing standing in for vulnerability and intimacy.
Yulu Xia brought a four-look collection rooted in the cultural identity of China’s Yunnan province, combining hand-dyed cotton made using the traditional Bai tie-dye technique with mycelium-based biomaterials and aged wood, accompanied by a live performance from Sibiu Dance Academy dancers. MMAX, by Uzbek designer Muslima Makhkamova, presented a collection reimagining traditional motifs through hand-painted suzani, shown in this form for the first time in Uzbekistan. Built into the structure of each garment rather than layered on top, the motifs give the collection its dynamism, staying rooted in tradition without turning it into a museum piece.
MB11, by Mădălina Bucur, presented Thread of Fate, ten looks built around the ancient symbol of the red thread of destiny, its tangled visible threads standing in for the unexpected connections that shape a life. The designers from the Faculty of Applied Arts, Serbia presented four distinct visions spanning vulnerability, sustainability, Umberto Eco, and Frida Kahlo.
The “George Enescu” National University of Arts, Iași closed with a five-part collection moving from Kafka-inspired symbolism to Día de los Muertos, while the International Design Academy, India presented a couture collection built on paisley motifs, mirrored tribal textiles, and the aesthetics of nomadic caravan cultures. The “Ion Creangă” State Pedagogical University, Moldova followed with three graduation collections in velvet, chiffon, and organza, exploring architecture and poetry as sources for transformable design.
Raffiné by Rita Sarkis brought a capsule collection built on versatile silhouettes and signature smocking techniques to the gala. A Lebanese designer’s message that true elegance is born of resilience and adaptability, not perfection.
left. Mild Power, right. Yulu Xia
left. Faculty of Applied Arts, Serbia, right. International Design Academy, India
Across five days and more than a dozen locations, Feeric Fashion Week’s 18th edition reaffirmed what has made it a fixture on the international fashion education calendar since 2018: a festival less interested in trends than in what fashion can say about memory, place, and material, giving a stage, quite literally, to the people who will shape what comes next.
photography. courtesy of Cornel Petrus + Adina Stoica
words. Landiana Cerciu
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
West University of Timișoara
The 18th edition of Feeric Fashion Week closed after five days that turned Sibiu into a live dialogue between heritage, education, and contemporary design. Across immersive museums, industrial storage halls, rooftop car parks and restored village courtyards, the festival once again proved that fashion in Sibiu is inseparable from place. Every space becomes part of the story a collection is telling. This year’s showcases, drawn from designers and universities across eighteen countries, moved between themes of memory, transformation, and circularity, closing with the traditional Feeric Gala in Huet Square.
The festival opened with educational activities, hosting masterclasses and panels on commercial photography, media production, and creative direction, including a session with Giovanni Ottonello, Art Director of Istituto Europeo di Design, on the relationship between academia and industry in shaping the next generation of designers.
The runway itself opened at the Immersive Museum Sibiu with Cardinalia Models x Dharug, a presentation built around authenticity rather than age. Cardinalia Models, an agency celebrating women over 35, walked in pieces from Dharug, the platform dedicated to vintage archives and emerging design talent, a pairing united by a shared respect for things, and people, that hold their value over time.
Cardinalia Models x Dharug
Cardinalia Models x Dharug
Nearby, in Huet Square, Humana People to People Romania and Feeric unveiled The World We Wear, an installation built from hundreds of donated garments alongside the launch of a concept window display, both framed as a meditation on reuse, circularity, and what happens to clothing once we’re done with it.
Across several days, Feeric Venue Cinegold became the festival’s academic core, hosting a rotating line-up of university and independent presentations. Alexander College Cyprus presented upcycled, architecture-inspired silhouettes from four second-year students, followed by emerging designer Thalia Kosta’s Memories, a poetic study of Cypriot heritage. The Ukrainian Fashion Education Group showed Homo Deus, a group collection asking who the “divine human” of the twenty-first century might be as technology reshapes identity. Four designers from the National Academy of Art, Bulgaria presented Traveling, a collaborative meditation on journeying as transformation, while Galala University, Egypt brought a collection drawing on the country’s architecture and regional textile traditions.
left. Alexander College Cyprus, right. The Ukrainian Fashion Education Group
left. National Academy of Art, Bulgaria, right. Galala University, Egypt
The venue also turned toward more experimental territory. LUMINAL, by designer Dori Haskovcova, presented Harmony of Future Consciousness, a collection built entirely from deadstock materials, including hand-applied liquid latex, imagining a future where technology, humanity, and nature exist in balance. Designers of “Aurel Vlaicu” University of Arad brought three distinct, personal explorations of identity and transformation together on one runway. Newgiza University, Egypt presented a sculptural, structure-versus-fluidity study from its fashion design students, while Donja Gorica University of Montenegro showed Metamorphosis, an exploration of natural transformation told through cotton, linen, and draping.
left. LUMINAL, right. Aurel Vlaicu University, Arad
left. Newgiza University, Egypt, right. Donja Gorica University of Montenegro
The Technical University of Moldova presented Evolving Joy, an exploration of transformation as continuous personal evolution, alongside VIAMODA Poland, showing three collections spanning the beauty and danger of excess, a brutalist study in new garment construction, and a reclaiming of traditional female craft techniques.
Technical University of Moldova
VIAMODA Poland
promenada sibiu | parking lots as runways
True to its reputation for unconventional staging, Feeric transformed both the indoor and rooftop parking structures of Promenada Sibiu into runways. Indoors, Synergia by Promenada, by designer Raluca Elena Cînean, explored desert landscapes and the poetry of travel through prints and fluid silhouette, while the University of Oradea‘s Faculty of Arts presented three collections spanning boho reinterpretation, Baroque-meets-sportswear, and a contemporary take on Romanian traditional costume, united by a shared commitment to slow fashion and recycled material.
Synergia by Promenada
University of Oradea
On the rooftop, the University of Art and Design, Cluj-Napoca presented a graduation-project collection built through hand embroidery, textile collage, and perforation, evoking haute couture through transparency and duality. The West University of Timișoara followed with three distinct visions: Ana Maria’s tech-body hybrid Conosci Me!, Lavinia Toader’s Sea of Imperfections, on the beauty of aging, and Ella Cernescu’s crystal-inspired Born Unique.
University of Art and Design, Cluj-Napoca
sigemo storage + highway construction site
At Sigemo, a working industrial storage facility, the National University of Arts Bucharest presented a collective selection of graduation projects, a manifesto for a new generation finding its voice. They were followed by three emerging designers from Kaunas University of Applied Sciences, Lithuania: Ugnė Černaukaitė’s utility-driven Swallow, Gertrūda Sokaitė’s legend-inspired Jūratė, and Tėja Macijauskaitė’s Perfokorta, built around the punch-card technology of the Jacquard loom as a metaphor for memory.
National University of Arts Bucharest
Kaunas University of Applied Sciences, Lithuania
The following evening, the Highway’s Construction Site hosted one of the week’s standout moments: Hooldra. Visible Transformation, the sixth edition of the Feeric Hub upcycling initiative. Twenty students from eight universities across Romania, Moldova, and Poland worked with garments donated by Humana, deconstructing and rebuilding them into new silhouettes under the coordination of Daiana Stăncioiu. True to its “see now, buy now” model, every piece was made purchasable in real time via Dharug.
Hooldra
Hooldra
The same evening brought Ines Baric‘s memory-driven collection inspired by her grandmother’s life; Chanel Younes‘s Femme Serpent, a Lebanese collection tracing a journey from fragility to empowerment through lace, leather, and Swarovski serpent embroidery; and Pia Cherfan‘s Cathedral of Bloodlines, a Gothic-architecture-inspired study of heritage and belonging.
left. Chanel Younes, right. Pia Cherfan
porumbacu de sus | heritage in dialogue
The festival’s most distinctive cultural moment unfolded in Porumbacu de Sus, at the restored cultural space A lu’ Escana, where Artisanal Jopoi (Paraguay) and Haide (Romania) presented Artisanal Jopoi, Haide! Two craft traditions from opposite sides of the world discovering they share the same gestures, motifs, and reverence for hands that make things by hand.
Nearby, at Oberwood, designers Irina Silaghi and Cornel Crișan presented Lepedeul Between Tradition and Modernity, built from textiles handwoven more than six decades ago by Crișan’s grandmother, Ileana Jurj, traditional Romanian lepedeie and wall hangings upcycled into contemporary silhouettes.
left. Irina Silaghi and Cornel Crișan, right. Artisanal Jopoi
At Fabrica Boromir, the International Balkan University presented The Art of Contrast, weaving Art Nouveau aesthetics and Islamic ornamentation into a modern visual narrative, while designer Martyna Agnieszka showed The Third World of Women, eight silhouettes built from raw fabric edges, natural human hair, and men’s buttons, each one a portrait of a woman who shaped her own identity.
International Balkan University
Martyna Agnieszka
feeric gala | one last runway
The 18th edition reached its final night in Huet Square. Before the collections, Istituto Europeo di Design awarded a Firenze scholarship and two mentoring places to young designers of this year’s edition, presented by Art Director Giovanni Ottonello alongside Feeric President Mitichi Preda.
The runway opened with Daiana Stăncioiu‘s Untouchable, a study in turning flat textile surfaces into three-dimensional botanical forms through embroidery, crochet, and 3D printing. Mild Power, by Milda Grikšaitė, followed with Unwrapped, a collection built on the rituals of gift-giving, rose jacquard, tweed, and envelope-inspired detailing standing in for vulnerability and intimacy.
Yulu Xia brought a four-look collection rooted in the cultural identity of China’s Yunnan province, combining hand-dyed cotton made using the traditional Bai tie-dye technique with mycelium-based biomaterials and aged wood, accompanied by a live performance from Sibiu Dance Academy dancers. MMAX, by Uzbek designer Muslima Makhkamova, presented a collection reimagining traditional motifs through hand-painted suzani, shown in this form for the first time in Uzbekistan. Built into the structure of each garment rather than layered on top, the motifs give the collection its dynamism, staying rooted in tradition without turning it into a museum piece.
MB11, by Mădălina Bucur, presented Thread of Fate, ten looks built around the ancient symbol of the red thread of destiny, its tangled visible threads standing in for the unexpected connections that shape a life. The designers from the Faculty of Applied Arts, Serbia presented four distinct visions spanning vulnerability, sustainability, Umberto Eco, and Frida Kahlo.
The “George Enescu” National University of Arts, Iași closed with a five-part collection moving from Kafka-inspired symbolism to Día de los Muertos, while the International Design Academy, India presented a couture collection built on paisley motifs, mirrored tribal textiles, and the aesthetics of nomadic caravan cultures. The “Ion Creangă” State Pedagogical University, Moldova followed with three graduation collections in velvet, chiffon, and organza, exploring architecture and poetry as sources for transformable design.
Raffiné by Rita Sarkis brought a capsule collection built on versatile silhouettes and signature smocking techniques to the gala. A Lebanese designer’s message that true elegance is born of resilience and adaptability, not perfection.
left. Mild Power, right. Yulu Xia
left. Faculty of Applied Arts, Serbia, right. International Design Academy, India
Across five days and more than a dozen locations, Feeric Fashion Week’s 18th edition reaffirmed what has made it a fixture on the international fashion education calendar since 2018: a festival less interested in trends than in what fashion can say about memory, place, and material, giving a stage, quite literally, to the people who will shape what comes next.
photography. courtesy of Cornel Petrus + Adina Stoica
words. Landiana Cerciu
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
