- Design and manufacture of evening dresses, fancy dresses, masquerades, special costumes for stage performances.
- Design and manufacture of character-focused wedding dresses
- Colour and style consulting
- Development of personal wardrobe
- Stylist projects
Telephone: +36 70 603 9344
Facebook: Fekete Kriszta Design https://www.facebook.com/pages/Fekete-Kriszta-Design/162515150580144?fref=ts firstname.lastname@example.org
I was born under the sign of Gemini that is accompanied by a tremendous and discursive sense of imagination. This zodiac characteristics of mine is however regulated by my Capricorn ascendant that makes me an obsessed and perfectionist in my work.
The Garment Trade School Kulich Gyula has marked my path and was a perfect school to learn the craft of garment making. This professional know-how lets me carry out my design ideas without making any compromises. That is an absolute necessity for a designer who is always searching for the limits of feasible forms.
I continued my studies in the Rose Mari Fashion School where I was selected via a competition. This was the school that launched me in the world of design.
I am less attracted by the graphic side of fashion design. Right after the birth of drawings my mind is already occupied with the process of realization. Cutting is the base of every garment, thus it is elemental for me to participate in this process. Whenever possible I prepare my special haute couture dresses myself. It takes long to vivify my garments. Every piece has an own personality.
After schooling I was eager to test myself on as many fields as possible and to learn something from everywhere.
One of the determining periods of my career is related to the world of theater. Clothes perform here as means of expression. As a contractor I could discover this world in depth, I could witness the birth of these miraculous costumes. I had my introduction to historical cutting practices and I experienced special matching of materials. I could work with outstanding costume designers, such as ? the world class - Erzsi Ratkai, who was a real master of mine both of the profession and the approach of the metier. The years spent in the theatre helped me a lot in the evolution of my own style. In my designs I reflect consciously the similar richness of details that features theatre clothes. A garment with the beauty and finesse as an object itself and its high standards is important for me. I like the garment to have a spirit, however it is not its job to dominate its wearer. I prefer handicraft, close-to-human decoration techniques (such as spinning, embroidery, etc.). If possible, I apply noble materials (such as silk, leather, fur, etc.), since these materials given by their character help to create special and exciting surfaces.
Some of my theatre projects:
I worked as contractor in the pieces of the Madach Theatre, such as Stendhal: Red and Black,
Shakespeare: As you like it, Molnár-Kocsák: Moulin Rouge, Anouilh: Beckett, Sorkin: Matter of honour, Ray Cooney: Impair pair, Müller-Tolcsvay: God's money and in the piece Szörényi-Bródy: The fulminated, performed during the Open-air Plays of Szeged.
Further on the Castle Games of Visegrád, Hollókő, Nagyvázsony.
I worked as costume designer in the Jókai Theatre of Békéscsaba in the musical Usztics: Roses and loves. I prepared costumes, crests and costumes for child plays in costume atelier.
As stylist for advertisements, video clips and magazines I gained experience about optical tricks and the power of colours. As stylist for advertisements I worked with film director Nimród Antal in advertisements and campaigns of OTP Bank, Coca-Cola, Sprite, Amstel, Holsten, Karaván Coffee, Always sanitary pads, Pannon GSM etc. (Some of these you can see it in Multimedia menu).
I designed the stage dresses for the Örömvölgy tourney of the group Nox. I designed and manufactured the garments of their track Nem lesz több tánc (pictures and videos in Collections and Multimedia menu), and the dresses of their singer Szilvi for the track Időn túl (pictures and videos in Collections and Multimedia menu).
I had the chance to work along with world-famous stars in Hungarian and international film productions as a dresser. Thanks to them I had mostly psychological lessons on discipline and devotion. Among others I could work in An American Rhapsody (1999) with Nastassja Kinski, Scarlett Johansson, Tony Goldwyn, in Kevin Connor's In The Beginning (2000) with
Martin Landau, Bill Campbell, Art Malik, Eddie Cibrian, Alan Bates, Christopher Lee. I was personal dresser of Geraldine Chaplin and Jacqueline Bisset. In Giles Foster's The Prince and the Pauper (2001) I was personal dresser of Aidan Quinn and Jonathan Hyde.
In Andrei Konchalovsky's The Lion in Winter (2003) I was personal dresser of Glenn Close, Patrick Stewart and Jonathan Rhys Meyers. I worked in the Dinotopia mini-series (2004) and Steven Spielberg's Munich (2005) as the dresser of protagonist Erick Bana and Daniel Craig.
I designed textiles for Eszes Textil.
I worked out decoration techniques for fur on behalf of Kopenhagen Fur, the biggest fur-qualification organization in Europe (pictures in Collection menu).
I participate regularly on exhibitions, trade shows, fashion shows and other events with my own collection. As exhibitor: 2007. VAM Design-LUXUS BRAND, 2006. Milan-MIFUR International Fur Fair, 2005. STYL -KABO International Fashion Fair, MODATEX, FISE, TEXTIVAL events, etc.
Fashion shows: on Primateria events, fashion days, Textival-alternative fashion show, Air France fashion show, Pesti Est, Toronto Intercontinental, Divatolimpia (first rank), Budapest Fashion Week and other events, alternative hair shows (some of my designs can be seen in Multimedia menu).
I always prepare my clothes for a body and a personality. I always pay attention to the given characteristics of its wearer. Our dress is a mirror of ourselves. Clothing is not only a necessity, it is a tool of self-expression, a part of communication. I believe that both the inborn beauty of everybody and the external characteristics that might need to be adjusted have to be faced and accepted. For this reason the primary task of clothes is to provide the most advantageous image of its wearer. In my designs I am constantly on the research of the acceptable limits, however never at the expense of harmony.
It is not necessary to chase fashion, it shows you only the directions about current trends. It is recommended to everybody to discover and know its own characteristics, this makes easier to call for the most advantageous colour and form trends of current fashion. A person in harmony with her/himself and aware of its own style provides a lot more attractive and balanced look than a person chasing fashion but not knowing her/himself.
My job is to provide help for this.