បទសម្ភាសន៍ជាមួយ Nikola Eftimov

At the beginning of 2024, after a few years of break, I returned to one of my inspirations: Glagolitic script. This time I started working on a street wear collection with prints based on the characters of this ancient scripture. While working on this collection, at the same time, I began design tests to apply the same design concept to different types of clothing. Being fascinated by the combination of traditional illustration approaches and the use of new technologies, I created a series of illustrations with a more elevated look.

The main focus was to create a series of images with pronounced clarity of visual expression, simple design, obvious placement of inspiration, fascinating design play with modernity and tradition, etc.

This digital artwork has already been placed in the home section of my personal website. The winning design also served as a catalyst for further design research in digital art and digital illustration, resulting in a new illustration series.

From the first attempts to more stable results, it took me a few months to develop this concept. This process was accelerated by implementing my experiences in conventional visual art techniques, digital photography, fashion design and AI-based technology.

I was just following my inspiration, but also wanted to create images for my personal design presentation.

At the moment I have no plans to sell this particular design. As I mentioned earlier, it was created as part of my own design project.

My fascination with the oldest Slavic script and its possible application to contemporary design pieces was a starting point for the creation of this work.

No, this design is actually completely self-referential.

While I was working on the larger series called Glagolitic Stories, I posted some of the designs on social media and my website. I was impressed that this concept fascinated a large and diverse population from different age groups and cultural and social backgrounds. When I started the project I was primarily thinking about younger people, but I realized that it is of interest to a wider audience.

First and foremost it is the specific inspiration, but also the personal interpretation and combination of traditional art, fashion and technology.

Buky (English: letters) is the second character in the Glagolitic script. I love its timeless, even contemporary-looking design.

I started digitally sketching out initial ideas in Pixlr and later continued the work in Photoleap. After final selection of images, I completed editing in Adobe Photoshop.

Its effortless look, based on several decades of experience in visual arts and fashion design.

I was the only one involved in the design process of this project.

Buky Illustration is a digital artwork, based on the use of editing software and AI-based applications.

In addition to historical and stylistic research for inspiration, I spent several months tracking public reactions on my social media platforms to similar designs I had previously created. The encouraging results gave me the confidence to further develop this concept.

Most of the challenges arose during the phases in which I used AI technology. I had to go through many stages of image creation until the results were optimal.

I submitted my design to the competition at the suggestion of the president of the National Association of Artists

The entire process was an enriching experience in terms of building design concept, working with different media, time management, making quick decisions, using design as a communication tool, etc.

I am grateful for this experience, it was challenging, humbling and rewarding at the same time, a kind of mental gymnastics that ensures you stay fit and don't fall asleep.

My educational background is based in fine art and fashion design. I graduated from the Faculty of Fine Arts, Ss. Cyril and Methodius University in Skopje (Graphic Art and Fashion Design, 1993) and completed a master's degree at the Accademia Italiana in Florence (Fashion as Art, 1988). Throughout my career I have been involved in fashion and costume design projects as well as traditional and digital art practices.

The use of visual language(s) to communicate was one of the driving forces in my decision to choose the combination of fashion design and fine art as my future career.

From a young age, I knew I wanted to express myself through visual means. Becoming a designer was not a random decision. As I grew older, this passion only crystallized in the specific areas of fashion design and fine art.

For most of my career I have focused on fashion design, creating both unique, tailored and ready-to-wear clothing. From time to time I have also undertaken costume design projects. The love of art led me to explore the world of illustration and graphic design.

Each of us is a unique person. If I had to advise young designers, it would be to constantly educate, learn and work hard. The main struggle should be overcoming personal limitations and prejudices and constantly expanding horizons.

The first design solution is rarely optimal. Designing is a process that includes acquired knowledge, experience and passion for the profession. Design results depend on many factors, but a great designer never stops at mediocre solutions and always explores all possibilities.

There are numerous criteria for evaluating good design, and some of them are: uniqueness, communication aspects, combination of aesthetic and functional characteristics, context, etc.

Good design is something that defines the identity of a product or service.

One of my old passions is costume and fashion history. Working on the visual aspect of a book about the general history of fashion in the West, including illustrations, even the reconstruction of individual historical costumes, can be a challenging but beautiful design adventure.

A designer is and should be a dreamer. Dressing a guest for a MET Gala event is something a fashion designer can only dream of.

Being honest with yourself, listening to intuition and again hard work are some of the main ingredients in the realization of a successful design.

There are many designers in different fields of design who have inspired my work: Paul Poiret, Mariano Fortuny, Vivienne Westwood and others in fashion design, René Gruau in fashion illustration, Andrea Truglio in interior design, etc.

The Delphos gown by Henrietta Negrin and her husband Mariano Fortuny revolutionized the development of fashion design in many ways. I like its timeless simplicity, femininity and elegance.

The works of Georges Lepape and Paul Iribe changed the perception of fashion illustration. Thayaht (Ernesto Michahelles) left an eternal mark in fashion with his TuTa. There are many other examples.

It's hard to pick one favorite design, however, I really like my recent Buky illustration. It combines tradition and modernity well. The winning design of an outfit inspired by Coca-Cola Light in 2005, in the competition to introduce this drink to the domestic market, also still resonates as a good design solution that is playful, but with references to inspiration.

In addition to constant hard work and constant learning, important factors include openness to constructive criticism and good information about the current zeitgeist.hch

It's hard to imagine my life without design. Perhaps I would have become a fashion or art historian, a Latin linguist, a biologist, or even a pharmacist as part of my family tradition.

In my opinion, design is a process that gives products, services, etc. their visual uniqueness and functionality. It brings many human activities to another level of existence.

My first supporters were members of my immediate family. Later in life, all of my tutors and mentors in the fields of fine art, fashion and graphic design contributed to my development as a designer.

Discipline, hard work, love for the profession and constant hunger for learning helped me develop as a designer.

Personal growth also depends on the context in which the designer grows and develops. Since design is a relatively new discipline in my country, additional effort was required to explain its nature, personal choices, personal design signature, etc.

The presentation depends on the particular area of ​​design, but it should always be presented with dignity and as professionally as possible. In this way, the designer shows respect for his work, his profession, his audience, his customers, etc.

Currently, in addition to regular teaching and fashion design engagements, I am arranging several possible international fashion presentations.

I learned the lesson that the process is more important than the end goal. I am on my own human and design journey, where it will take me, only the future will show.

People expect at least consistent quality, if not improvement, but also some novelty and a bit of surprise.

The communicative aspect of design provides powerful tools for spreading messages that can help build a better, more tolerant and more humane society.

I am currently involved in designing and executing unique outfits for distinguished women from the cultural sector.

In addition to participating in prestigious design competitions and working directly with clients, I always enjoy working on projects with a social component, such as fashion design auctions that help economically disadvantaged sections of society.

I would like to see even greater growth in environmental awareness, elimination of harmful practices and an ethical approach in the business sector.

Design itself, but also humanity as a whole, is at a crossroads, so to speak. Future developments will depend on the choices we make and the path we take as humanity on this planet.

In my opinion, we should use the new technology in combination with some traditional, sustainable practices that communicate with the current zeitgeist

Everything depends on the type of design project, its scope, technical requirements, etc.

Usually it takes at least two months to half a year to design and execute some design projects.

A solid brief is a good starting point. This is usually followed by design research and initial design ideas.

Based on my design signature, my motto is Between Modernity and Tradition. As a person and author, By Skill Not Force.

Again, the answer to this question is not easy; It depends on many factors, such as: the type of design and the specific industry, the position of the designer, etc. Some of the trends are caused by social developments, certain events, other creative industries, etc., which are later translated by the designer in different design solutions that could give rise to certain design trends.

The role of technology is very important when I work on the presentation, but also in some earlier stages of the design process.

For the presentation stage, working on illustrations, creating fabric patterns, etc. I use Adobe Photoshop and Adobe Illustrator almost regularly. I have also heartwarmingly chosen AI for the visual aspect of my work, which is why I use various AI-based applications.

Even if I am focused on a certain type of design, I always want to see, at least imagine the bigger picture and the context in which the designed object would live.

in this sense, colors, textures, materials, etc. are very important. Sometimes I even start an entire design journey based on a particular color or material.

I would like to talk about various aspects of my design work, not just superficial things. The design process and solutions are often multi-layered stories, I would like to share some of them.

When I witness a great new design and product, I am amazed, I think about human ingenuity.

As a person who believes in individuality, a good starting point for teamwork or having a design partner could be tolerance, mutual respect, but also a good conversation and defining obligations.

Some of my design lecturers who have extensive design and artistic experience have left a lasting mark on my development as a designer. Also, the costume history and fashion history lecturers from my master's studies in Italy further enriched my passion for these disciplines.

Whether it's a poetry book, a novel, a history book, designe books, etc., all the books I've read have had an immense impact on me as a person and designer.

The Book of the Courtier (Italian: Il Cortegiano) by Baldassare Castiglione, Against the Grain (French: À rebours) by Joris-Karl Huysmans and The Picture of Dorian Gray by Oscar Wilde marked my early youth. Meditations by Marcus Aurelius and Dailly Meditations with Saint Augustine (Compiled and edited by Rev. John E. Rotelle, O.S.A.) have helped me in my personal growth. Manual of history of costume and fashion (Italian: Manuale di storia del costume e della moda) by Cristina Giorgetti and 20,000 Years of Fashion: The History of Costume and Personal Adornment by Francois Boucher and Yvonne Deslandres gave me a solid foundation in costume and fashion history.

Although the word sacrifice is not very popular in today's culture, in order to achieve a certain level of mastery in my profession I had to give up many things. Again, hard work, curiosity and discipline are the keys to the successful development of a designer.

In case of time travel, I would like to enjoy afternoon tea or a nice dinner with Elsa Schiaparelli, Salvador Dalí and Leonardo da Vinci.

Receiving the award was a joyful and humbling experience. The award came at the perfect time for me, it marked a new beginning for many things related to my personal and professional life. On the other hand, it obliged me to work even harder.

Green and purple are among my favorite colors. There are many dear places, countries, cities in the world, Florence in Italy with its history, cultural heritage and people is one of the cities where I feel at home. Thai and Italian cuisine are definitely my favorites. I love all seasons, but I feel best in spring, autumn and during Christmas. I like gardening, beautiful porcelain and glass objects and listening to Early and Baroque music. I love the Thai fashion brand Greyhound.

Once, while trying on a wedding dress, the bride came with her mother. I told her that all the finishing touches would be done by hand. She asked me if my sewing machine was broken.

I always try to spend the whole day doing a lot of activities. Caring for my plants is part of my daily routine. I recently started learning Spanish so I spent at least an hour on this activity. Then it's work, regardless of whether it's a design or teaching assignment. Music, a nice cup of tea or a glass of wine with one of my friends are ways to relax.

According to the people around me, yes. I just wanted to follow my dreams.

I hope that humanity will survive and grow in conscience. If so, I can see a humane and empathic race communicating with the wider universe.

For now, what I have already said is quite enough. I might just add: Let's make the world a better place together.

It may sound like a cliché, but from a young age I preferred to express myself through visual means. I was lucky to have parents who encouraged my love of art, drawing, creative games, etc., protected my safe space for personal expression, and gave me drawing and painting materials and art history books. Before studying the Faculty of Fine Arts in Skopje (graphic art and fashion design), I graduated from a cultural studies high school (a variant of the classical school) with subjects related to humanities, classical languages, art and culture. I graduated from university in 1993, worked for a few years in the fields of fashion and graphic design and in 1997 I enrolled at the Accademia Italiana in Florence to complete a master's degree in fashion design (fashion as art).

Over the course of my decades-long career, I have worked both as a freelance designer and as a representative and manager of my own design studios and companies. Although my teaching experience began early, almost at the same time as my design work, as my involvement in the education progressed, I felt the need for freedom and decided to go freelance again.

There are many angles and perspectives on how one can perceive design, from a beautiful, poetic and somewhat childish approach - to make the world a better and more beautiful place, to an essential part of all industries, a means of communication, something that shapes and gives character to companies, products and services etc.

As a designer with art and design training and practice, I wanted to explore, whenever possible, the areas where they meet and coexist.

On the other hand, as an author with a great fondness for exploring various topics related to the history of costume and fashion, I found myself drawn to problems related to the contexts in which certain types of clothing and accessories appeared, the communicative aspects of the fashion and the idea of ​​design, not just fashion design, as a reflection of the society in which it is born and consumed.

Most of my design career is characterized by working in the field of fashion design, working on collections that belong to different categories, but also on custom-made clothing and accessories. I also really enjoy working on fashion illustrations, especially when I combine some traditional approaches with the benefits of new technologies.

In my design portfolio there are some costume designs for plays that allowed me to do design research and translate that into clothing and looks for completely different purposes. I like some design solutions with a postmodern touch that allow me to play with different eras.

It is very difficult to name a favorite design, but if I had to choose, perhaps it would be the winning design of the competition organized for the launch of Coca-Cola Light (The Silver Temptation) in the local market. There were now restrictions on the designer's behalf that allowed me to play freely with the inspiration. The award enabled me to present my design in Florence, Italy, but also to teach at the Chanapatana International Design Institute in Bangkok.

The list of my favourite designs also includes those that have been donated to charity and helped economically disadvantaged people.

I gained my first work experience in the early 1990s at Saatchi and Saatchi Advertising Balkans, where I was involved in the project to create a visual identity for a local brand.

Later, after I returned from my master's studies in Italy, I was hired by the clothing company in Skopje to design collections for the local market

As for fashion, when I'm not limited by clients and the nature of certain designs, I like to reuse materials and old garments, play with experimental techniques of fabric manipulation, etc. I've always placed great emphasis on sustainable fashion.

When it comes to art, I like to combine all the traditional techniques with the new technology. Adobe Photoshop and Adobe Illustrator are my favorite programs. I have great experience with Photoleap, Pixlr, Photoroom, Facetune and other applications.

When I was young, I preferred working at night and in solitude. After years of experience, I have taught myself to work in different circumstances. It's interesting that sometimes the most difficult periods of my life have produced great design solutions.

Although I am a visual person, I always want to combine functionality with the aesthetically pleasing aspects of the design.

At the beginning of every design project there is a lot of excitement. Sometimes the birth of a new product, a new design solution, etc. is also associated with great suffering.

I have decades of experience, but I always approach every new project with the enthusiasm of a beginner. Of course the experience helps a lot, but there is always a big responsibility.

Most of the time it is a great happiness and fulfillment, but sometimes it is accompanied by the feeling of a deflated balloon, especially if it was a very long and tiring process.

If the designed object (or the design solution in general) has a life of its own and is accepted by users, then we can speak of a successful design.

I always start with the general spirit of the time, whether the design communicates with the contemporary context, then I continue to analyze its different aspects.

A designer has many responsibilities, some of them are in the field of conveying messages for building more humane societies, overcoming prejudices, creating inclusivity, etc. As a designer who is passionate about issues related to the environment, I think, that this should be of great importance. Not only the design process itself, but also the production technology, as well as respect for the planet and all life forms, should be taken into account.

In a sense, all of humanity is at a crossroads, the design field is trying to adapt to constant changes. Many specific design areas already feel that they cannot hold on to the old stories. Designers have the power to communicate progressive ideas and anticipate future evolution. The responsible use of new technologies can bring great progress in future developments, but can also be beneficial for the design ecology. Not everything should become a materialized product.

My last public presentation was at the charity fashion auction in November 2023 at Intermezzo Music Bar in Skopje, organized by Konekt and USAID.

At the end of June I will take part in a fashion show and exhibition of the International Fashion Institute Izet Curi, where I currently teach.

At the moment I am negotiating a fashion presentation in Brussels, Belgium, planned to celebrate my country's Independence Day.

Throughout my life I have been inspired by visual art, music, literature, history and culture in general. I also drew inspiration from my personal life, my interactions, my events, the people around me, interpersonal relationships, etc.

Plants, daily walks, meditation, a nice piece of early music, a meeting with a friend, a cup of tea and so on are things that nourish my soul and open channels for inspiration.

Eclectic would be the first word that comes to mind. I've gone through maximalist and minimalist phases, changed expressions, the constant that has remained is the idea of ​​being honest with myself.

I am fascinated by the concept of time and explore categories such as past, present and future, hence my motto: Between Modernity and Tradition.

I currently live in Skopje, my hometown. In my opinion, the designer always chooses things from his or her heritage, consciously or unconsciously. It can be very obvious, but it can also be more subtle, in the mood, in the atmosphere. Living in a country with a rich cultural heritage is a true blessing, but it can also be a challenge. Sometimes verifications of certain designs come from abroad first, and then they are accepted and praised locally.

I collaborate with companies as an independent designer.

Those who choose designers to collaborate with should be familiar with the entire process, from idea to execution and placement or distribution. Each step is very important, nothing should be omitted, forced or accelerated.

The balance of talent, knowledge and experience is crucial in selecting a good designer.

I start with a brief, trying to get as much information as possible about the design, the client or the company. Then I do my research, sometimes mental mood boards, I live with the inspiration, I do tests etc, until it clicks. Then the process of realization begins.

Him Chair designed by Fabio Novembre, vintage plates by Enoch Wedgwood (Tunstall) Ltd that belonged to my parents, anonimus Art Deco glass bowl, pieces of Byzantine coinage, blue and white Delft apothecary vases, pieces of clothing with traditional Hill Tribe embroidery from northern Thailand etc.

I taught myself to wake up early and start the day with a good cup of coffee. At this point I check emails, sometimes produce a few digital images and if I'm happy with the result, I edit them. I recently lost my senior rescued dog. During his lifetime I would continue with the first walk. If I'm teaching that day, I would go to the institute after the shower, otherwise I would focus on my current design projects. Sometimes in complete silence, sometimes with music. Many hours later, when I don't have meetings, I can visit a friend to relax a bit. Gardening is also part of my everyday life.

At a certain stage of life, you are sure that designer will be your profession. Once you understand this, despite possible discouragements, never give up and try to learn as much as possible. It doesn't matter if it's formal or informal education, just learn. And, be curious. Try to overcome yourself, push your personal boundaries. It's not always the most pleasant experience, but you already know that you were born to be a designer and live an honest life. Not becoming famous, just being who you are, thus becoming an even bigger star than you can imagine.

I believe that every personal choice and decision has consequences, some pleasant, some not. But one shouldn't be disappointed.

The designer must overcome his or her ego, listen and observe, be cooperative, use the best of his or her knowledge, experience, talent, personal baggage, etc., to produce a good design.

Theoretical and practical skills are equally important.

When I'm designing clothes, I use a piece of paper and a pencil. Sometimes I do digital sketches using some of my favorite applications. When I'm involved in the making of a garment, it's usually my hands, a needle and thread, rather than a sawing machine.

I consider myself a well-organized and disciplined person, I generally don't have problems with managing my time. Once again, discipline is crucial.

It all depends on the specific type of design I'm working on. Some results can be achieved more quickly, other times I'm talking about months of work.

Depending on the client, some ask about price first, others are more curious about the creative process, how the inspiration is implemented, and other finer aspects of the work.

There are different important jobs, from being involved in the design and look of my country's former first lady at important international events, to running my own store and teaching talented international students who have become realized designers.

Over the decades, I have collaborated with people from different walks of life, singers, actors, politicians, so-called ordinary people, companies, etc.

I really enjoy working on experimental fashion design pieces, illustrations, sometimes even paintings as it gives me more freedom of expression.

Besides my teaching obligations and my work on custom clothing, there are some indications and project proposals that would result in greater international visibility of my work, but I am not authorized to share further details at this time.

I usually develop my designs myself, but when certain projects require something different, I like to work with the team.

I think I've already covered most of the projects I'm currently working on.

People can contact me through my website: www.nikolaeftimov.com

I would like to thank the esteemed jury members of A' Design Award & Competition for the great honor - the prize in the digital art category and would like to encourage designers to participate in this prestigious competition.

The concept of incorporating Glagolitic script, the oldest Slavic alphabet, into my designs is not new. Years ago, I created textile patterns and prints inspired by Glagolitic characters. However, at the beginning of 2024, I decided to develop a sportswear collection featuring prints based on these unique letters. While working on the designs, I began sharing proposals for both men's and women's clothing on social media to gauge the response. The designs garnered significant attention, reinforcing that I was on the right track with my creative process. Throughout this journey, I found myself connecting with the past—particularly the rich Slavic culture and its literacy—while also embracing contemporary shapes and pieces that fall within the international sportswear category.The second letter of the historical alphabet, Buky, represents the sound /b/ and signifies letters. This fact added a new layer to my creative process.

When the idea for a new collection came to me, I immediately began considering which fashion category would resonate with a wide audience across various traditions and diverse social, economic, and cultural contexts. I initially decided to focus on sportswear, as it has the potential to attract a broad target group. To effectively convey my concept and provide a clear background for the prints inspired by Glagolitic characters, I chose simple yet striking clothing shapes. After designing several looks, I aimed to elevate these designs further by transforming basic items like hoodies, blouses, jackets, and pants into more refined pieces that transcend the typical boundaries of sportswear. I introduced ideas for more stylized forms, utilized higher-quality materials, refined the overall look, and incorporated accessories, all while placing the illustrated model against a clean, white background. This approach led to the creation of the Buky illustration.

I have a strong background in both visual arts and fashion design, which has given me a solid understanding of the technical and aesthetic aspects of various visual disciplines. Since the early days of home computers and the development of personal technology, I have also been fascinated by technological advancements. The emergence of AI technology and the possibilities it offers quickly captured my interest. When I began the project "Glagolitic Stories," I started by creating rough sketches using Pixlr. I explored various poses, experimented with different types of clothing, and suggested colors, shapes, and details. In the next stage of the project, I generated multiple image iterations based on specific prompts derived from my initial sketches. After selecting the best images, I analyzed them in Adobe Photoshop to better understand their potential, identify areas for improvement, and ultimately carry out the final editing.

My historical research has deepened my understanding of the origins, uses, geographical distribution, and variations of the Glagolitic script. During high school, I had the opportunity to learn Old Slavonic (also known as Church Slavonic), which is the first Slavic literary language. However, we used the Cyrillic script in our lessons. This research has given me a fresh perspective on the language and its rich literary tradition, as well as a stronger connection to my family roots. I am captivated by the beauty and timeless elegance of Glagolitic characters, some of which resemble contemporary designs in terms of aesthetics. I also find the tradition of illuminating Glagolitic texts and the decorative elements involved to be fascinating. As I mentioned earlier, the character Buky signifies letters, so the entire creative process, beyond its excitement, touches on themes of communication and literacy on a symbolic level.

The design work on the Glacolitic Stories project offered an opportunity to explore various ways to incorporate this ancient script into contemporary clothing while experimenting with different fashion categories. Additionally, it aimed to revive the old tradition and create the possibility of teaching the meaning of these characters to a broader audience. I was pleased to discover that the design solutions resonated with people of non-Slavic descent who, unburdened by the specific meaning of the characters, appreciated the visual appeal of the designs.

Receiving the A' Design Award was a very humbling experience. If I take an objective look at my work, I would suggest that it fosters greater communication between the past and tradition, the spirit of the moment, and various projections of the future. This intertwining of elements from different eras can enhance the depth of design and create an identity that is much more profound than a superficial treatment of various design disciplines.

One of the challenges I faced while working with AI algorithms to create the Buky illustration was learning the visual language of various applications. I had to understand the logic behind certain options and find the right prompts that aligned with my aesthetic. Once I identified the applications suitable for my design work and discovered the appropriate textual inputs for the AI algorithms, the process transformed into a joyful exploration of different possibilities.

My experiences in fashion design and theatrical costume have enabled me to create visually appealing images that attract attention while remaining simple, clear, and free of unnecessary complications. This approach, combined with the color accents on the accessories and the transformation of the hoodie, provides a solid "background" for the Buky letter. I also aimed to ensure that the image is legible in various sizes.

In addition to drawing inspiration from tradition, a significant aspect of my design work focuses on utilizing fashion design as a means of communication. Fashion has the ability to convey various messages in diverse ways—sometimes directly, and other times more subtly. My work emphasizes important issues such as tolerance, cultural diversity, human relations, and environmental preservation. However, I always prioritize the preservation of cultural heritage through my designs, actions, and public statements.

Whenever I blend traditional elements from the past, such as historical scripts, with contemporary fashion aesthetics, the response on social media is overwhelmingly positive and encouraging. We live in a visually saturated world and face challenging times. I’ve noticed that a successful formula for creating an appealing and intriguing image involves striking a balance between familiar, comforting elements and those that are surprising and intriguing, all wrapped in a visually pleasing package.