nd on the seventeenth day of the seventh month the ark came to A rest on the mountains of Ararat.

Genesis 8:4

This catalogue is published in conjunction with kaddem, Tusho Barseghyan, Damian Hovhan- the exhibition ‘‘Offsprings of Noah’’, on view at nisyan, Vahan Stepanyan, Laurent Lavergne, the Aram Khachatryan house-museum, , Gagik Petrosyan, Arnos Martirosyan, Karen June 1-4, 2018 organized by the Fashion & De- Petrosyan, Andre Wolff, Adam Katz Sinding, sign Chamber in the framework of Fashion Fo- Gioconda & August, Dima Honcharov. rum Yerevan 2018. Pages 8, 9 photos by Lusine Ayanian Page 10 photo by Anna Mkrtchyan The exhibition was made possible by the “Sup- Page 11 photos by Anna Mkrtchyan port to SME development in ” (EU-SME- Cover art: Detail from a jeweled, enameled, and DA) under EU4Business initiative of the Euro- gilt-silver repoussé cover for a gospel produced pean Union. in the late seventeenth-century silversmith workshop of by Astuatsatur Shahamir. ©Met Museum Inner cover: “Descent of Noah from Ararat” 1889 - Ivan Ayvazovski. ©National Gallery of Armenia Design: Ani Manukyan Catalogue photography by Armen Aghayan. Index texts: Victoria Pisarenko Other photographers: Maxim Getman, Gagik Printed by Harutyunyan, Lusine Griogoryan, Tarek Mou-

offsprings of noah FROM OUR PARTNER

“Support to SME Development in Armenia (EU-SMEDA)’’ project is co-funded by the European Union and the Federal Ministry for Economic Cooperation and Development (BMZ) and imple- mented by German Development Cooperation GIZ through the Private Sector Development in South Caucasus Programme.

SMEDA is part of the EU4Business and EU4Innovation initiatives of the European Union.

This publication was produced with the financial support of the European Union. Its contents are the sole responsibility of the FDC and do not necessarily reflect the views of the European Union.

5 VAHAN KHACHATRYAN President of Fashion & Design Chamber

Armenians always look for the “yan/ian” ending in lastnames, be it in movie titles, books or maga- zines to discover fellow they can be proud of. It must be a characteristic of a small nation spread around the world, trying to keep its identity and not to blend-in and disappear. There are many talented Armenians working in the fashion world, with or without the “yan/ian” ending in their names, that have contributed to the fashion culture with their brilliant careers, like Patricia Field (designer and stylist of the popular TV series “”, “”, the movie “The Devil Wears Prada”, etc.), Véronique Nichanian (art director at Hermès Men since 1988), Francis Kurkdjian (perfumer, creator of such bestsellers as Jean-Paul Gaultier “Le Mâle”, Narziso Rodrigues “For Him” and “For Her”, Guerlain “Bois d’Armenie”, Christian Dior “Eau Noire”, etc.), Yousuf Karsh (photog- rapher, author of portraits of Marylin Monroe, Audrey Hepburn, Elizabeth Taylor, Grace Kelly and many others), to name a few. And yet, you will hardy hear of Armenia as a fashion destination itself. It is far from the fashion capitals of the world, has had a hard time after the collapse of the Soviet Union going though wars, poverty, corruption, blockades, revolutions and finally has been reborn only recently as a truly democratic country with a bright new generation taking over the wheel. If someone told me two years ago that there is going to be an exhibition dedicated to Armenian fash- ion designers at that time I would probably think it was something impossible. The fashion scene was almost invisible with only a few individual designers under the spotlight. After long months of preparatory work of a dedicated team of professionals and volunteers, people who believed in the project and supported it, today we have an exhibition that unites more than 50 designers, all of Armenian decent based in different parts of the world, just like the children of Noah that spread around the world after the arc landed on Mount Ararat. This is where the name for the exhibition comes from - “Offsprings of Noah”. This is the first attempt to showcase the creations of so many talented people under one roof, who represent the fashion creativity of Armenia. There are internationally renowned names like Krikor Jabotian, Alexander Arutyunov and Vahan Khachatryan as well as many locally successful design- ers. And of course we couldn’t forget about the emerging talents, that is why we have included the works of TUMO Studios students and other university graduates in the exhibition. Hosted in the beautiful spaces of the Aram Khachaturian house-museum In Yerevan, the exhibition has a logical line starting with the traditional costume (Taraz) inspired clothing looking into our past followed by more avant-garde and innovative pieces further followed by dresses inspired by differ- ent cultures from around the world. The culmination of the exhibition is the hall of white evening gowns symbolizing the dove of peace, purity and a bright future for Armenian fashion.

offsprings of noah Lucine Ayanian Curator and stylist

That was an amazing experience to collect and showcase the best fashion pieces by Armenian designers worldwide. For the first time, emerging designers as well as well-known brands were presented to Yerevan audience in a very curated exhibition at a beautiful venue hall of “House-Mu- seum of Aram Khachaturian”. I’m extremely happy to know that this event caused a big interest, and many designers sent their portfolios and works to be featured in the showcase. From the very beginning, we set a high standard level, and picked those pieces where the quality and design met our requirements. I’m sure this will motivate others to put all their effort to work on quality and design, rather on a quantity. I’m thankful to our team of true professionals, who’s been passionate and devoted to bring Arme- nian fashion to the high level.

Elen Manukyan Co-founder of Fashion and Design Chamber

The first fashion exhibition of emerging and well-known Armenian designers was presented at the House-Museum of Aram Khachaturian in the center of Yerevan. It featured over 90 pieces, exclu- sively crafted by contemporary designers. It was a fantastic opportunity to discover the atmosphere of the Armenian fashion scene. With the distinctive mission of presenting each designer’s signa- ture, the exhibition gave its exclusive vision of the Armenian fashion creativity. During the whole organizational process our team believed, that dedication and passion would lead to success. I am very happy to be a part of this great initiative and hope that this is just the beginning of the journey towards global recognition. Let’s help boost Armenian fashion together!

7 Fashion and Design Chamber

Non-governmental organization

The Fashion and Design Chamber is a non-profit making association founded in 2017 (Armenia, Yerevan) by a group of Armenian designers with the main goal to contribute to the development of the fashion and design sectors in Armenia. It’s a coordinator between Armenian designers, fashion companies, foreign buyers, international markets and platforms for designers.

The missions of the chamber are:

To provide the members with a range of services that relate to legal, social, economic, technological, marketing and communication issues which are more generally relevant to the entire spectrum of business functions as a whole. To accompany the development of emerging brands by granting them financial and organizational support as well as overall expertise they need to structure and ease their development and expo- sure. To train in traditional and new skills in the fields of creation, management and know-how aiming to maintain, share, enhance their skills and knowledge. To promote Armenian fashion culture by combining traditional know how and contemporary tech- nology. To build a bridge between designers, artists, photographers, fashion and art experts, journalists, fashion and art personalities from around the world. To organize fashion events, exhibitions, fairs, pop-up stores, showrooms, presentations, etc.

The chamber serves as a perfect root for designers to collaborate on different projects, provides an excellent opportunity to exhibit designers, their interpretation of Armenian culture and creativity, and to network with the wider creative community and beyond. We see this platform exposure as a great first step to not only create strong networks but also to encourage the formation of a strong cluster of Armenian creative sector that carries their work internationally. With a selection of highly dedicated and inspiring founders’ team the chamber shares a glimpse at the creative potential of Armenia and looks forward into a bright and colourful creative future.

From January 2018 Fashion and Design Chamber NGO and Business Club for Impact NGO have started the “Business Club for Fashion and Design” project implemented in the framework of EU- 4Business “Support to SME Development in Armenia” (SMEDA) project and co-funded by the Euro- pean Union and the German Federal Ministry for Economic Cooperation and Development (BMZ) by GIZ’s Private Sector Development in South Caucasus Programme. The main objective of the project is to create a joint platform for creative industry, specifically fashion and design cluster in order to contribute to the development and enhance competitiveness of the sector.

offsprings of noah H.E. Mr. Piotr Antoni switalski Ambassador of the European Union Delegation to the Republic of Armenia

The Fashion & Design Chamber of Armenia (FDC) was founded in February 2018 with initial sup- port from SMEDA - a project co-funded by the European Union and the German Federal Ministry of Economic Cooperation and Development - on strengthening small and medium sized enterpris- es in Armenia. And FDC truly left its mark, becoming one of SMEDA’s most dynamic, most inspir- ing and most dedicated partners in the realm of the Cultural & Creative Industries (CCI) in Armenia.

Indeed, ranging from advertising, music, gaming, movies/TV, to the performing arts and fashion, CCI daily touches on everyone’s lives while being one of the most dynamically growing industries, creating income and employment for millions of people worldwide.

And with its many creative, innovative, and bright minds, the European Union sees a significant po- tential for Armenia, too. Indeed, SMEDA aims to enable the sector to become a notable source of income and employment for many, while adding some spark to Armenia’s economy along the way. As a young business association, the Fashion & Design Chamber of Armenia truly lives up to its mission, offering just the perfect mix of support for the sector, with exclusive high-level trainings, networking on a national and international scale, and much needed lobbying power for the sector.

At the European Union and our partners from the SMEDA project, we are very happy that we were able to support FDC in its infant stages through our EU4Business initiative. Personally, I much compliment all of FDC’s dedicated members and its determined management on your achieve- ments for making the FDC such a striving and impactful organisation in such a short period of time. And I forward my sincere gratitude my best wishes for a bright and successful future: let’s make the association even stronger! May the sector of Cultural & Creative Industries in Armenia prosper! Let’s make the creative potential in Armenia shine!

9 INTRODUCTION

Traditional Armenian costume has a long sto- Silver belts were also among most important ry of development and reflects a rich cultural components of such traditional attire, and were tradition. Earliest costumes are dated back to used in different historical eras both by wom- the era. Since then it has changed a lot. en and men. Amazingly diverse women’s jew- Armenian miniature painters of XI-XIII centu- elry also played an important role in the artistic ries had represented Armenian queens wearing structure of the national costume. richly decorated robes with medallions and an- Armenian women in their traditional costumes imal imagery. served as sources of inspiration for many paint- In XIX century traditional costumes already had ers who also made portraits of rich Armenian numerous design varieties, each specific mainly ladies who were wearing elegant garments. It to a different geographical region. They all are is due to such paintings and available historical very colorful and diverse; made from different descriptions that today we are able to repro- fabrics including silk, satin, brocade and most duce and visualize Armenian traditional attire. of them are decorated with gold or silver em- Among such painters are Hakob Hovnatanyan, broidery. Vardges Surenyants, Arshak Fetvadjian and oth- While in many cultures lace and embroidery ers. were the attributes of high society, in Armenia In 2018 the offsprings of Noah - 50 Armenian they were part of a dress decoration for every designers who were spread all over the world girl. In everyday life and for holidays, Armenian had gathered in their historical homeland to women wore a headdress that were often dec- represent their creations, and vision of modern orated with golden coins. Armenian costume. They had represented dif-

offsprings of noah ferent styles from traditional to futuristic, from as inspiration for many others to give their de- streetwear to eveningwear, and experimented signs a contemporary touch. with various materials and techniques, each Another group of designers created elegant and designer offering a unique style and vision. beautiful evening gowns using beadwork and Many foreign designers have been fascinated decorated their works with embellishments and by the wonders of art, have even incorporated embroidery. Amazingly rich was the use of met- famous artworks in their designs or given them alwork, beautiful garments with crystals, lace a contemporary twist. Meanwhile, most of the dresses with unusual shapes and cuts. participating Armenian designers had turned to A separate group of interesting designs is the for inspiration by reusing the orna- one which focuses on white gowns symbolizing ments of traditional Armenian costume, beauti- the dove of peace, love and purity. ful carpets, architectural structures, sculptures, At the end it is obvious that the inspiration miniature paintings (letters decorated in a shape came from different sources, but all of them of birds or animals), silver covers of medieval were united to show the richness of the palette books decorated with precious stones and en- of Armenian culture and the harmony between gravings, liturgical clothing with rich embroidery contemporary and traditional, resulting in this and of course contemporary artwork. Portraits exhibition to become a unique fusion of old & of famous personalities such as Armenian king new styles. Tigran the Great or poet Eghishe Charents also were among the themes for some of the pre- sented looks, while nature and urban art acted Prof., Dr. Satenik Chookaszian

11 offsprings of noah TUMO STUDIOs

Learning to invent the future of Armenian design

TUMO Studios is a non-profit educational program for university-age students and young profes- sionals. The focus is on the creation of analog products — beautiful things you can touch, wear, taste and smell; things you can cherish and use in your daily life; tangible things that add quality to the everyday. Aspiring designers, accomplished design professionals and local craftspeople come together in a hands-on workshop setting. Each workshop aims to create innovative, contemporary products that are both globally competitive and grounded in local knowhow, materials and culture. By working closely with local craftspeople and connecting their work with contemporary design trends, TUMO Studios aims to both help revive traditional craftsmanship and perpetuate the knowledge passed down through generations of artisans. Young designers learn by working with craftspeople and then integrate their materials and techniques into new products. This will in turn raise the quality of locally designed and produced items, making them more attractive in the con- temporary global setting. Since its inception in 2017, TUMO Studios has brought over 45 design professionals to Armenia to work with hundreds of students and local crafts professionals in workshop settings. Young professionals at TUMO Studios have already created a collection of products in fashion, jewelry, pottery, printmaking together with professionals from France, Denmark, Japan, the US, Lebanon, Corsica, Italy, Brazil, the UK, Russia, India and Spain. The selected items featured here are a few of the products recently developed at TUMO Studios through a collaboration with international designers. Presented at the exhibition the works of the following students (from left to right): Meri Minasyan, Sharmagh Der Avanesian, Martha Minashyan, Mariam Emeksizyan, Lyda Gevorgyan.

13 the past offsprings of noah 17 offsprings of noah verlay it with pure gold and make a gold molding around it. Also make around it a rim a handbreadth wide and put a O gold molding on the rim.

Exodus 25:24-25

19 offsprings of noah 21 offsprings of noah veryone who had blue, purple or scarlet yarn or fine linen, or goat hair, ram skins dyed red or the other durable leather E brought them.

Exodus 35:23

23 offsprings of noah 25 offsprings of noah 27 offsprings of noah fter forty days Noah opened the window he had made in the ark and sent out a raven. It kept flying back and forth until the waters had A dried up from the earth.

Genesis 8:6-7

29 offsprings of noah 31 offsprings of noah 33 offsprings of noah 35 offsprings of noah f not, what did you go out to see? A man dressed in fine clothes? No, I those who wear fine clothes are in kings’ palaces.

Matthew 11:8

37 offsprings of noah 39 offsprings of noah 41 offsprings of noah 43 hey took palm branches and went out to meet him, shouting, T “Hosanna!” “Blessed is he who comes in the name of the Lord!”

John 12:13

offsprings of noah 45 the future offsprings of noah 49 offsprings of noah 51 offsprings of noah 53 offsprings of noah 55 offsprings of noah 57 offsprings of noah 59 offsprings of noah 61 offsprings of noah 63 offsprings of noah 65 offsprings of noah 67 offsprings of noah hey will perish, but you remain; they will all wear out like a garment. T Like clothing you will change them and they will be discarded.

Psalm 102:26

69 offsprings of noah 71 offsprings of noah 73 timeless offsprings of noah 77 offsprings of noah 79 offsprings of noah 81 offsprings of noah 83 offsprings of noah 85 offsprings of noah 87 offsprings of noah 89 offsprings of noah 91 offsprings of noah 93 offsprings of noah 95 offsprings of noah hough your sins are like scarlet, they shall be as white as snow; though T they are red as crimson, they shall be like wool.

Isaiah 1:18

97 offsprings of noah 99 offsprings of noah 101 offsprings of noah 103 offsprings of noah ashion a breastpiece for making decisions-the work of skilled hands. Make it like the ephod: of gold, and of blue, purple and scarlet yarn, F and of finely twisted linen.

Exodus 28:15

105 offsprings of noah F or where your treasure is, there your heart will be also.

Matthew 6:21

107

The doves of peace offsprings of noah 111 offsprings of noah 113 offsprings of noah 115 offsprings of noah 117 offsprings of noah 119 offsprings of noah In his great power God becomes like clothing to me; he binds me like the I neck of my garment.

Job 30:18

121 offsprings of noah 123 offsprings of noah 125 offsprings of noah 127 offsprings of noah nd he has filled him with the Spirit of God, with wisdom, with under- standing, with knowledge and with all kinds of skills — to make artis- tic designs for work in gold, silver and bronze, to cut and set stones, A to work in wood and to engage in all kinds of artistic crafts.

Exodus 35:31-33

129 offsprings of noah 131 offsprings of noah 133 offsprings of noah ll who were willing, men and women alike, came and brought gold jewelry of all kinds: brooches, earrings, rings and ornaments. They all A presented their gold as a wave offering to the Lord.

Exodus 35:22

135 offsprings of noah 137 offsprings of noah 139 offsprings of noah 141 offsprings of noah 143 offsprings of noah 145 offsprings of noah fter this I looked, and there before me was a great multitude that no one could count, from every nation, tribe, people and language, A standing before the throne and before the Lamb. They were wear- ing white robes and were holding palm branches in their hands. And they cried out in a loud voice:

“Salvation belongs to our God, who sits on the throne, and to the Lamb.”

Revelation 7:9

147 offsprings of noah 149 INdex

16, 17 LILIT MARGARYAN 18 TERYAN CULTURAL CENTER 20, 21 TERYAN CULTURAL CENTER 22 LOOM WEAVING A modernized traditional Armenian Another interpretation of a tradition- The gown recreates traditional Ar- Exclusive design of cardigan high- wedding gown made with a little de- al Armenian dress is made in cream menian women apparel-“taraz”. The lights ethnic style elements, fantas- signer twist. The hand-made embroi- color with hand-embroidered gold dominating color is pomegranate tic colour combinations, patchwork dery on the breast is a prayer in Ar- thread trimmings. From TCC archive. red-the truest “Armenian color”. The knitting technique and completely menian. From the designer’s archive. breastpiece and the apron are hand hand-embroidery. The elegant red embroidered with traditional carpet dress is made of a complex jacquard ornaments. From TCC archive. pattern using mixture of lurex and viscose yarn. From the designer’s ar- Photographer: Maxim Getman chive. Model: Anastasiia Hetman

24, 25 TVINIS 26, 27 ARAM NIKOLYAN 28 ARAM NIKOLYAN 30, 31 MARGONIE The pieces were fully hand made. Dress from “Urfa” collection. The Another piece from the “Urfa” collec- The designer used silk chiffon and The skirt is the most special item flowers are embroidered with a typ- tion. The cloak is hand applied with fringe as the main textiles. The acces- since a group of old Armenian crafts- ical technique from ancient Armenian thousands of feathers. It replicates sories were made of glass beads and men made pleats on a sheepskin. The city of Urfa. Gold and silver threads the silhouette of traditional shep- crystals. Half of the pieces were hand breastpiece is hand-embroidered in are used in this embroidery. From the herd’s outwear. From the designer’s made. The inspiration behind each traditional cross-stitch technique. designer’s archive. archive. item is the Armenian carpet with its From the designer’s archive. colorful ornaments. From the design- Photographer: Gagik Harutyunyan er’s archive. Model: Anna Grigoryan

offsprings of noah 32, 33 MARGONIE 34 SINOIAN 36 FAINA 38 SHABEEG The nude palette in combination with The sleeves of the jacket are deco- The modest grey suite styled with a The look was inspired by traditional fringe and beads was also inspired rated with ethnic floral elements. The simple t-shirt. The man depicted on Armenian apparel. The artist used by the beauty of Armenian carpets. bodycon dress features an ornamen- the t-shirt is the greatest Armenian old Armenian way of styling. As you From the designer’s archive. tal design and Armenian letters. From emperor - Tigran Mets. From the de- can see the clothing resembles shep- the designer’s archive. (Germany) signer’s archive. herd’s look but in a more feminine Photographer: Lusine Griogoryan way. From the designer’s archive. Model: Kristina Snegovskaya 35 HARMONY This piece is inspired by traditional 39 AVAGYAN ironsmith, the power of women, their The main message of the collection resistance and fighter spirit. It bears a was to show the power of Armenian sword ornament on the front. From language. Armenian sayings with pos- the designer’s archive. itive meanings are carefully placed on the shirts and blazers. From the de- signer’s archive.

40, 41 VAHAN KHACHATRYAN 42, 43 MISSAK HADJIAVEDIKIAN 44, 45 MISSAK HADJIAVEDIKIAN 48, 49 SEDA MANUKYAN From the “Treasures of Armenia” The print of the dress is hand-drawn, From the designer’s archive. With a special author sewing tech- FW2015-16 couture collection. The inspired by the legend about Arme- (Lebanon) nique the designer managed to coat is in neoprene, the dress is in nian king Ara. His beauty was so create a thicker and more complex micromodal with a silver manuscript bright that the Assyrian queen waged Photographer: Tarek Moukaddem material for the suite. The source of cover of a nativity scene. From a pri- a war against Armenia just to get him. Model: Taia Darieva designer’s inspiration was men brav- vate collection. ery and masculinity. From the design- The closeup is from a dress with an er’s archive. image of a silver manuscript cover from the Middle Ages hand-em- Photographer: Tusho Barseghyan broidered with gold thread and Model: Sekou embellished with silver jewelry and semi-precious stones. In Museo Del Traje, Madrid.

50, 51 SONCESS 52 NELLY SEROBYAN 54 SONCESS 56 NAGHASH Contemporary design meets classi- The black taffeta dress was made A provocative dress with mesh One more look from the Minas col- cal. Bomber jacket inspired by old Ar- especially for the exhibition. The in- detailing and prints with hand made lection. The print on the blouse is menian military uniform. The skirt is spiration is black magic. From the de- embroidery. From the designer’s one of Avetisyan’s masterpieces. made in patchwork technique mixing signer’s archive. archive. From the designer’s archive. different kinds of leather. From the designer’s archive. 53 SONCESS 55 NAGHASH 57 PLATON FF Black asymmetric silk blazer took its Minas Collection SS18. The collec- The key technique that was applied Photographer: Damian inspiration from the 70s. Instead of tion is dedicated to one of the most to this collection was joining the Hovhannisyan a simple belt the designer used the famous Armenian artists - Minas self-sticking material and the - sack Model: Diana Mkrtchyan sleeves of a tracksuit. Avetisyan. From the designer’s cloth. This trick aided the sackcloth in archive. keeping the needed form. This led to creating various architectural forms. Photographer: Maxim Getman Models: Anastasiia Hetman, Katrin Stratford

151 58, 59 NANE KOCHINYAN 60 SVETLANA MKRTCHYAN 62, 63 Z.G.EST 64, 65 PETOOR The main source of inspiration The inspiration for the collection A patchwork dress is featured with a A kimono with hand-made applica- came from Zaha Hadid’s works. The came from Frida Kahlo. The whole snow-white shirt and a flower crown tions is inspired by the rich Japanese smoothness of lines and intricate lining print came from her diaries, the to celebrate the beauty of mother na- culture. Tiny lines of red and the curves of the buildings constructed flower print is imitating a skiagram. ture. A light white dress-shirt with a rounded shape make the silhouette by Hadid made the designer create From the designer’s archive. corset that imitates branches has also extremely feminine. From the design- this dress and suite. From the design- derived its inspiration from the floral er’s archive. er’s archive. 61 SOGHOMONYAN FASHION world. From the designer’s archive. The main source of designer’s energy is the Sun. The print is made with a special steaming technique. From the designer’s archive.

66 PETOOR 68 LIGHT AFFECT 70, 71 DAJELI 72, 73 ASTRID SARKISSIAN The dress took its inspiration from On the back of the denim jacket you A long-lasting struggle between the The only material that was used is ancient Japanese military uniforms. It can see one of the most famous artsy and wearable designs lead to silk. The collection was inspired by also has hand made origami details. Armenian poets Yeghishe Charents creating a minimalistic piece with the the works of a famous Viennese ar- From the designer’s archive. whose poetry is filled with despair, classic color palette. From the de- chitect Adolf Loos. From the design- overflowing with apocalyptic fore- signer’s archive. er’s archive. (France) 67 SHUSHAN bodings. From the designer’s archive. The dress with lily petals Photographer: Vahan Stepanyan Photographer: Laurent Lavergne derived its inspiration from the de- Model: Anna Grigoryan Model: Elodie L de Kassiakoff signer’s name: Shushan in Armenian means lily. From the designer’s ar- chive. (Ukraine)

76 LILIT MARGARYAN 78 JHANGIRIAN 80, 81 HARMONY 82, 83 RUZANĒ The inspiration comes from old Hol- A one-piece transformer (from a The dusty-rose dress with contrast- A strong silhouette that portrays lywood glamour. All the crystals on dress to a blazer and vice versa) was ing details depicts a character of “perfect balance of romanticism and the dress are hand-sewn. From the made of chiffon, nylon and polyes- a strong and independent woman. modern femininity”. From the design- designer’s archive. ter. The collection is inspired by the From the designer’s archive. er’s archive. strength, power and independence 77 MAGGIE of a woman. Black color represents Photographer: Gagik Petrosyan The source of inspiration for the SS power and beige stands for feminini- Model: Katrin Sinanyan 2018 couture collection is flora. The ty. From the designer’s archive. dress is entirely handmade. From the designer’s archive. 79 SHADOYAN FASHION A long, loosely fitted gown with a full skirt and short sleeves. The lace mo- tifs are placed by hand flowing from the top making the strong feminine silhouette. From the designer’s- ar chive.

offsprings of noah 84, 85 RUZANĒ 86 ANAHIT SIMONYAN 88, 89 KIVERA NAYNOMIS 90, 91 GAREN DEMIRDJIAN The laconic dress was afflated by The long elegant black dress is made A dress from FW2018-19 “Luxu- The Garen Demirdjian woman is a powerful woman of the modern of velvet. The open shoulders are ry and Grace” collection. A creative a paradox; she is strong and edgy times. The designer tried to combine accentuated with crystallized straps. touch on an ordinary piece. From the yet romantic and independent. This the classical style with contemporary From the designer’s archive. designer’s archive. woman has grown hand in hand grunge. From the designer’s archive. with the brand, which explains how 87 KHANJYAN Photographer: Arnos Martirosyan the aesthetics of the house have Photographer: Gagik Petrosyan The entire dress is handmade via Model: Anna Martirosyan evolved. From the designer’s archive. Model: Katrin Sinanyan macramé technique. The inspiration (Lebanon) is credited to the focus on accentu- ating the female body, the delicate art of macramé itself and asymmetry, which is one of our brand’s trade- mark. From the designer’s archive.

92 THE MUSE 94, 95 HAGOP SHAHINIAN 96 ALEXANDER ARUTYUNOV 98, 99 VAHAN KHACHATRYAN The philosophy of the brand is “Cre- A black suit with gold embroidery A dress from FW2018-19 collection. The dress is from “Memento Mori” ate to inspire, be your own muse”. If was inspired by the Russian army’s From the designer’s archive. (Russia) SS2017 couture collection. It is made you are wearing MUSE then you are vestment. The suit is tailored with of silk velvet and printed satin and a muse. From the designer’s archive. black crêpe, embroidered with gold embellished with silver jewelry and threads and hand beaded with gold semi-precious stones. It is inspired by 93 LILIT MARGARYAN glass beads. From the designer’s ar- the saints of the Roman Catacombs Conventional Armenian gowns were chive. (Syria) and the papal ceremonial attire. From made of silk velvet. The designer is the designer’s archive. presenting a more up-to-date -inter Photographer: Karen Petrosyan pretation of the classical style. From the designer’s archive.

100, 101 MARIANNA HARUTUNIAN 102, 103 KRIKOR JABOTIAN 104 KRIKOR JABOTIAN 106, 107 VAHAN KHACHATRYAN The designer created this set using High waisted green ombré tulle skirt Photographer: Andre Wolff The ballgown is a made-to-measure brass filigree, plating it in antique with fabric manipulation paired with Model: Alex Kiyashchenko piece for a client. It is a remake of gold. Crystals are Swarovski Crystals a long sleeved fully embroidered a dress from the “Jardìn Rococo” in a champagne gold color. It is ad- crop top. From the designer’s archive. SS2015 collection. It is made of silk justable and can be used in multiple (Lebanon) satin with an antique Limoges porce- ways. From the designer’s archive. lain plate motif. From a private col- (U.S.A.) lection.

153 108, 109 LOOM WEAVING 110, 111 ALEXANDER ARUTYUNOV 112 MISSAK HADJIAVEDIKIAN 114, 115 ELSI FASHION Handmade knitwear dress is from “Every designer has his own wom- The silhouette of the dress is an The nude gown with long elaborated SS/2019 Embodiment collection an. I see my woman like this. She is homage to that of the 1930s. The sleeves tends to show the fragility of inspired by grandness of pastel col- sexy, but not vulgar. She can wear colour and fabrics used to showcase a woman. ors, numerous knitting techniques, mini and a t-shirt and still look zingy.” the magical and “freaky” environment A dress from the first couture collec- mixture of natural colors, various From the designer’s archive. (Russia) of the circus. From the designer’s ar- tion with hand-sewn shoulder pads textures and yarns in creating the chive. and fringe. From the designer’s ar- embodiment of chromatic harmony. Photographer: Adam Katz Sinding chive. From the designer’s archive. 113 ALEXANDER ARUTYUNOV A dress from FW2018-19 collection. Photographer: Maxim Getman From the designer’s archive. (Russia) Model: Anastasiia Hetman

116 FAINA 118 KIVERA NAYNOMIS 120, 121 LOOM WEAVING 122, 123 ARAM NIKOLYAN The elegant open shoulder gown in A baroque-inspired embroidered Handmade knitwear dress is from “Ayntap” collection. The creator was the milky-white color obtained its dress with small floral details that Rosé Line collection SS2018 in- inspired by old traditional embroider- inspiration from the Greek mytholo- make it more feminine. From the de- spired by The Pink City - Yerevan: ies. Considering that the techniques gy and culture. From the designer’s signer’s archive. its Soviet-era buildings and mon- were forgotten, he gave a second archive. uments of pink stone. Mother Ar- breath to the old techniques menia statue figure on the dress 117 NELLY SEROBYAN represents a female warrior holding While creating this white denim dress a sword and guarding the entire the designer was drawing inspiration city. From the designer’s archive. from the white doves of peace. From the designer’s archive. Photographer: Maxim Getman Model: Katrin Stratford

124, 125 ARAM NIKOLYAN 126 VAHAN KHACHATRYAN 128, 129 VAHAN KHACHATRYAN 130, 131 VAHAN KHACHATRYAN From collection “Ayntap”: the dress The dress is from the “Tudor Queens” The dress is from the “Tudor Queens” The cape-coat is from the “Tudor has a handmade embroidery which FW2013-14 couture collection. It is FW2013-14 couture collection. It Queens” FW2013-14 couture col- was made with a special traditional made of cotton jacquard fabric and has paddings on the hips to accentu- lection. It is made of an upcycled Armenian technique “Ayntap”. From hand embellished with pearls and ate the fashion of the era. It is hand antique piqué bedcover and is hand the designer’s archive. crystals. From the designer’s archive. embellished with hundreds of pearls embellished with hundreds of pearls and crystals. From a private collec- and crystals. From the designer’s ar- Photographer: Armen Aghayan tion. chive. Model: Arpine Davtyan Photographer: Gioconda & August Model: Lise Bjorgen

offsprings of noah 132 VAHAN KHACHATRYAN 134, 135 VAHAN KHACHATRYAN 136, 137 ELSI FASHION 138, 139 KIVERA NAYNOMIS Photographer: Gioconda & August The dress is from “Andalusia” SS2016 A simple but at the same time elab- Noble classic in the best old Arme- Model: Lise Bjorgen couture collection. It is inspired by orated piece is inspired by the Bible nian traditions where women were catholic symbolism and has an appli- theme. The underneath dress and not allowed to show off too much qué of the hands of Christ exposing the cape with golden beads repre- skin. From the designer’s archive. a crystal embellished burning heart. sent an angel with golden wings. From the designer’s archive. From the designer’s archive. Photographer: Artashes Martirosyan Models: Sona Simonyan Photographer: Dima Honcharov Models: Anastasiia Hetman, Artem Surov

140, 141 KIVERA NAYNOMIS 142, 143 GAREN DEMIRDJIAN 144 HARMONY 146, 147 KRIKOR JABOTIAN More coquettish instance of a wed- A dress representing the DNA of the The design of this important bridal Marquise neckline gown with a trum- ding dress with a flowing hem. In- brand with the signature romantic gown is fit for a royal wedding. The pet silhouette and three-dimensional spired by the baroque period. From fusion of French 19th century inspi- dress recalls the French style of Na- embroidery. From the designer’s ar- the designer’s archive. rations along with gothic and rock n poleon era. From the designer’s ar- chive. (Lebanon) roll decorations. From the designer’s chive. archive. (Lebanon) Photographer: Tarek Moukaddem Model: Neda Stojanovic

153

This publication was produced with the financial support of the European Union. Its contents are the sole responsibility of the FDC and do not nec- essarily reflect the views of the European Union.