Blouse, £920, skirt, £1,415, both by Akris. Photography and fashion: Aylin Bayhan

‘I was fascinated by the light in her eyes. She embodied the spirit and life force of a young person,’ explains Akris’ creative director Albert Kriemler, of his first meeting with nonagenarian multimedia artist Geta Brătescu. After discovering Brătescu’s work at Athens’ Documenta 14 fair in 2017, Kriemler visited the Romanian artist in her notebook-stacked, artwork-lined Bucharest studio in February 2018, to discuss the possibility of working together on a fashion collaboration.

我被她眼睛里的光迷住了。“她体现了一个年轻人的精神和生命力，”阿克里斯的创意总监阿尔伯特·克里姆勒(AlbertKriemler)解释说，这是他第一次与非年龄层的多媒体艺术家geta Brătescu会面。2017年，克里姆勒在雅典的Documenta14博览会上发现了BrăTescu的作品后，2018年2月，克里姆勒在她的笔记本里拜访了这位罗马尼亚艺术家-她的笔记本上堆满了艺术品，布加勒斯特工作室里堆满了艺术品，讨论着共同合作的可能性。

Kriemler is renowned for his art-fuelled take on fashion. For Akris’ A/W 2018 collection, shimmering gold accents nodded to the work of Gustav Klimt, while the colourful figurative prints in the brand’s S/S 2018 offering evoked the wooden doll designs of Alexander Girard. Kriemler’s S/S 2019 collection for the Swiss house is an ode to Brătescu’s playful and experimental aesthetic, and features references to a variety of her artworks, spanning photomontage and abstract portraiture. Sadly, Brătescu was never able to see the collaboration fully realised on the catwalk. She passed away at the age of 92, two weeks before the Akris S/S 2019 show at Paris Fashion Week.

Kristemler以其艺术为动力，以时尚闻名。对于Akris“A/W2018采集”，闪亮的金色口音向GustavKlimt的作品点点头，而品牌“S/S2018”中的彩色形象化印花引发了亚历山大·吉拉德(AlexanderGirard)的木制玩偶设计。Kriemler的S/S2019系列的瑞士众议院是布鲁特·特鲁斯(BrinTeSCU)的有趣和实验性美学的颂歌，其特征是对她的各种艺术品、跨越照片蒙太奇和抽象肖像的引用。遗憾的是，布兰特·泰鲁斯从来没有看到在时装秀上完全意识到的协作。她在92岁的时候去世了，两周前，在巴黎时装周举行的AkrisS/S2019时装秀上。

‘The spirit of joyfulness and humour pervades Brătescu’s oeuvre,’ says Kriemler. ‘I also wanted to imbue my collection with this joie de vivre.’ Fluid shapes abound in the collection, from long pleated skirts to gauzy jackets, transparent kaftans to relaxed tailoring, in tan, icy blues, sherbet pink and black. A series of greyscale prints nod to Brătescu’s 1974 photomontage series ‘Magnets in the City’, which saw horseshoe magnets collaged onto images of public spaces around Bucharest. Silver magnets also act as sculptural closures on tailored jackets. ‘Brătescu’s work acts as a metaphor for how humans are attracted to each other – or not!’ Kriemler says. ‘It’s also a symbol of willpower and determination.’

克里姆勒说：“快乐和幽默的精神弥漫在BRătescu的作品中。”“我还想让我的收藏品充满活力。”从长长的褶皱裙子到薄纱夹克，透明的kaftans到放松的裁缝，在棕色，冰蓝色，雪糕粉和黑色的系列中，流质的形状比比皆是。一系列灰阶印刷品与BRăTescu 1974年的摄影系列“城市中的磁铁”相呼应，其中马蹄铁磁铁被拼贴在布加勒斯特周围公共空间的图像上。银磁铁也用作定制夹克上的雕塑封口。“BRătescu的作品比喻了人类是如何相互吸引的-或者不是！”克里姆勒说。“这也是意志力和决心的象征。”

Elsewhere, thick graphic lines and bold colour blocking nod to Brătescu’s captivation with line and shape, while a series of abstract figurative prints, emblazoned across ponchos, cross-body bags and polo shirts, reflect her playful experimentations with self-portraiture. ‘Brătescu’s way of seeing line as the backbone of her art relates very much to a designer’s work’, Kriemler adds. ‘Fashion begins with this. It is always the line that defines the silhouette.’ §

在其他地方，厚厚的图形线条和大胆的色彩遮挡点点了BRătescu对线条和形状的迷恋，而一系列抽象的具象图案则印在斗篷、交叉身体袋和马球衫上，反映了她对自画像的嬉戏体验。“BRătescu认为线条是她艺术的支柱，这在很大程度上与设计师的作品有关”，克里姆勒补充道。时尚从这个开始。定义轮廓的始终是线条。

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