Altița was born out of a necessity, like her little sister, the gusset.

It is a square piece of fabric, placed on the shoulder, connecting the chest with the back side of the shirt, like a beautiful hinge. Women quickly realised its potential of carrier of colour and meaning, as it is defining the silhouette. This shirt is a great example of zero waste cutting pattern, bringing a plus of comfort, a one-size-fits-all, in the best spot for powerful personal branding. Using needle and thread, specific symbols, women encoded their wisdom in altița’s intricate embroidery. The signs sewn there are shared experiences, passed down from mother to daughter, with love. The altița is our fashion statement, it’s our textile DNA.

As a result, the Awards bring local, national and European visibility and recognition to the winners. And not just to the award-winning projects themselves but also to their countries and local communities!


This shirt brings forth a surprise, revealing echoes of Italian Renaissance along Danube shores.

 This ancient European cutting pattern could revive forgotten visual appeal: responsible fashion can be glam. We should explore this resourceful cutting pattern. We should also focus on the methods used to enrich the edges of the shirt, around the neckline and the wrists. These needlework techniques moved from Greece to Italy as “punto greco”, to transform into reticella and “punto in aria”. They went further west and developed into diverse forms of lace. Its function goes beyond beauty and despite its frail looks, this lace has a functional role as well. This needlework kept a distinct nature in Romania and we love to play with the needle. 

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This simple design is actually the predecessor to the T-shirts that we all know.


It’s a versatile style that can be adapted in many ways to fit body shape, gender, age, social status or occasion. It’s used worldwide and in Romania as well, where it goes by various names. One of these names, “old fashioned,” is misleading since it doesn’t mean it’s out of fashion, but rather, it has been around for ages. The lack of strict rules concerning embroidery allows for endless imagination.


The shirts with twisted sleeves are a reality, despite the myths surrounding them, and we continue to make them as a pleasant challenge.

The coiled sleeves are very long, placing them in a category of clothing items with exaggerated sizes. The surplus was, as usual, enjoyed by a select few. And those individuals typically had access to high-end products that originated from distant locations. Examples such as the Turkoman chyrpy, the Ottoman entari or kaftan serve as a few illustrations. To flaunt their high social status, wealthy people used to excessively adorn themselves with fabric. Wearing long sleeves and twisting them around the wrists was a way to earn respect and other advantages.


Beyond the forest hills, the climate and history shaped different types of shirts.

 More sturdy, they create imposing volumes, designed by strong characters. Hemp is the queen in Transylvania and it dictates how to be handled. Ample sleeves form volumes and the various smocking techniques offer a spectacle of creases. The paths of embroidery come to underline these volumes. Such a powerful statement as the late baroque found its local expression. Transylvania is a realm of excess. There is a lot to explore and there is a lesson to be learned for those seeking to stay out of the ordinary.

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