The 16th edition of Budapest Central European Fashion Week, held from 1 to 7 September, strengthened its position as a strategic hub on the European fashion map, with the support of the camera Nazional Della Moda Italiana (CNMI) and the Hungarian Fashion & Design Agency (HFDA).
For a week, designers from Hungary, Serbia, the Czech Republic, Slovenia, Slovakia and Ukraine presented their collections. The program combined catwalk shows with more than 50 side activities, including lectures, exhibitions and network meetings for the local public. In the context of an agreement with the Mercedes-Benz Bucharest Fashion Week, the Romanian designer Medeaa represented her country during the event.
With a view to strengthening the international appearance, Hungarian universities were also involved in the edition for the first time. This marks a new step in the direction of Budapest’s consolidation as an important player in the fashion industry of Central and Eastern Europe.
Rising talent dominates the edition
“The strong presence of young talents made this season particularly exciting. Nearly 60 percent of the designers were emerging names,” said Zsófia Jakab, CEO of BCEFW and HFDA.
“An important part of our strategy is entering into bilateral partnerships with organizations such as the Czech Fashion Council, Mercedes-Benz Bucharest Fashion Week, Ljubljana Fashion Week, Slovak Fashion Council, Belgrade Fashion Week and Ukrainian Fashion Week.”
From the start, the camera Nazionale Della Moda Italiana has been a strategic partner. These collaborations “not only enrich the program in Budapest, but also enable Hungarian designers to present their collections abroad – from Milan to Ljubljana – in an exchange system that significantly enlarged their international visibility. For the future, we are planning to further expand this network and develop new partnerships in Asia and the Middle Eastes.
The Budapest Fashion Week wants to profile itself as an important fashion floor in the region by supporting young talent through the continuous participation of universities and international opportunities for emerging designers, and by integrating sustainable and circular practices.
Established brands and new generations
The event acted as a strategic window that reflected the width of the regional creative ecosystem. From brands in the development phase that seek visibility to encourage their growth to established brands with clear objectives to expand their partner network and gain access to new markets, or markets that were already explored before the pandemic and where they can now return to.
Nanushka is the clearest example that it is possible from Budapest to build a global brand. Their commercially oriented approach, combined with a focus on sustainability and experiments with innovative materials, has resulted in an international presence with flagship stores in important cities such as London, New York and Shanghai.
The duo behind Kata Szegedi represents a generation of designers who, from an independent project started in 2009, has evolved into a more conscious approach. The use of vintage materials and the integration of slow fashion practices, with the support of mentor programs from HFDA and CNMI, guide the designers to international expansion.
At Nubu Studio, the essential and flowing aesthetics of Judit Garam, which seemed designed to embrace the movements of the dancers on the catwalk. The silhouettes were translated into versatile and commercial items that add a minimalist refinement to daily life. This approach has already aroused the interest of markets such as the United States, Japan and Hong Kong.
The showroom in re-see format was one of the strategic pillars of the event. It offered a direct dialogue between designers, press and buyers. The use of the organization to attract Asian professionals reflected the confidence that the market in Hungary will find a distinctive offer, while the presence of European countries such as Greece confirmed that the international interest is also expanding within the continent.
The role of the academy
Established brands give the Budapest Central European Fashion Week a solid foundation, but it is the new generations of designers who make the future of the region fresh and interesting. For the first time, presentations from the Metropolitan University Budapest (Metu) and the Moholy-Nagy University of Art and Design (Mome) were included in the official program.
Hat designer Markus Hannah explained to FashionUnited that the daily style in Hungary is often modest and even conservative. Yet she defended the idea that young designers ‘think big’ and dare to reinterpret the folkloric tradition. This reflection is in line with the striking visual language of her presentation. She admits her biggest challenge, stands out in a saturated market: “A good idea is not enough; you have to present it, be new, fresh and unique.”
Noémi Winkler emphasizes the importance of craftsmanship as a distinctive element of Hungarian fashion: “What distinguishes us is our deep connection with handicrafts and cultural heritage.”
Winkler, fascinated by weaving and technical experimentation, focuses her international career in Asia with a master in Shanghai. She is convinced that local talent can get worldwide visibility with a strong and authentic story.
Petra Nagy offers a different perspective, focused on shoes and the do-it-yourself culture. According to her, Hungarian fashion is influenced by economic factors: “Luxury is not accessible to most, but my generation finds creativity in second -hand clothing and self -expression.”
Her academic experience has led her to experiment with unexpected materials, such as aluminum. Her goal is to launch her own shoe brand after gaining experience at a large company.
Within the international group of young talents, the work of the Slovenian textile designer Lan Krebs, who recently graduated with a master at the Swedish School of Textiles. His work, presented together with two other Slovenian designers, brought knit techniques to an interesting level. The material was converted into sculptural structures that seemed to respond to the movement of the body. The result was visually striking pieces, between futuristic and organic, which gave him a prominent place in the program.
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