Tihana Miksa ᱨᱮᱱᱟᱜ Past at Last ᱴᱷᱤᱠᱟᱹᱣ ᱯᱷᱮᱥᱚᱱ ᱫᱚ ᱯᱷᱮᱥᱚᱱ, ᱞᱤᱡᱟᱹ ᱟᱨ ᱵᱟᱥᱚᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2021 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱨᱩᱯᱟᱯᱷᱮᱥᱚᱱ· 2021
Past at Last ᱴᱷᱤᱠᱟᱹᱣ ᱯᱷᱮᱥᱚᱱ
Tihana Miksa ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: Tihana Mikša
ᱯᱷᱮᱥᱚᱱ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#113802 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Past at Last ᱴᱷᱤᱠᱟᱹᱣ ᱯᱷᱮᱥᱚᱱ ᱵᱟᱵᱚᱛ ᱛᱮ
ᱞᱩᱜᱟᱹ ᱵᱮᱱᱟᱣ ᱨᱮ ᱫᱷᱚᱱᱤ, ᱠᱷᱮᱞᱚᱸᱰ ᱵᱩᱱᱚᱛ ᱟᱨ ᱵᱟᱝ ᱵᱟᱨᱟᱵᱟᱹᱨᱤ ᱨᱚᱝ ᱪᱮᱛᱟᱱ ᱨᱮ ᱡᱚᱨ ᱮᱢ ᱟᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱠᱷᱟᱹᱛᱤᱨ, ᱞᱩᱜᱟᱹ ᱠᱚ ᱫᱚ ᱥᱚᱢᱢᱤᱛ, ᱥᱟᱫᱷᱟᱨᱚᱱ ᱟᱨ ᱵᱚᱸᱫᱽ ᱨᱩᱯ ᱨᱮ ᱢᱮᱱᱟᱜ-ᱟ, ᱚᱠᱟᱨᱮ ᱵᱚᱱᱚᱴ ᱨᱮ ᱪᱮᱫ ᱠᱚᱸᱭᱮᱸᱫᱽ ᱦᱚᱥᱛᱚᱠᱷᱮᱯ ᱵᱟᱹᱱᱩᱜ-ᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱚᱵᱡᱮᱠᱴ ᱫᱚ ᱧᱮᱞ ᱯᱟᱦᱴᱟ, ᱥᱟᱹᱦᱤᱡ ᱜᱩᱱ, ᱥᱟᱢᱜᱨᱤᱯᱚᱱ, ᱡᱤᱭᱚᱱ ᱪᱟᱞᱟᱣ ᱟᱨ ᱠᱟᱯᱲᱟ ᱨᱮᱭᱟᱜ ᱥᱴᱷᱟᱯᱚᱛᱭᱚ ᱥᱟᱬᱮᱥ ᱠᱚ ᱡᱟᱸᱪ ᱮᱫᱟ᱾ ᱨᱚᱝ ᱠᱚ ᱫᱚ ᱠᱚᱢ ᱛᱤᱵᱽᱨᱚᱛᱟ ᱟᱨ ᱨᱚᱝᱦᱤᱱ ᱢᱮᱱᱟᱜ-ᱟ, ᱠᱷᱟᱹᱞᱤ ᱟᱨᱟᱜ ᱵᱟᱫᱽ ᱠᱟᱛᱮ ᱡᱟᱦᱟᱸ ᱱᱚᱶᱟ ᱯᱷᱤᱠᱟᱹ ᱥᱯᱮᱠᱴᱨᱚᱢ ᱵᱷᱤᱛᱨᱤ ᱨᱮ ᱫᱷᱩᱠᱩᱠ ᱫᱷᱩᱠᱩᱠ ᱮᱫᱟ᱾
ᱢᱟᱱᱟᱱ
A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Past at Last ᱴᱷᱤᱠᱟᱹᱣ ᱯᱷᱮᱥᱚᱱ ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Past at Last ᱴᱷᱤᱠᱟᱹᱣ ᱯᱷᱮᱥᱚᱱ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- The emphasis in the clothing compositions is on rich, playful textures and uneven coloration. As a consequence, the garments themselves are symmetrical, simple and closed forms without any demanding interventions to the structure. These objects examine the visual aspect, tactility, materiality, living motion and the architectonics of textiles.
The colours are low in intensity and achromatic, except reds that pulsate within this pale spectrum. - ᱴᱮᱜ ᱠᱚ
- basketry,wool,mould,seamless,textile,handpainted,handmade, handpleating, sashiko, nuno felting,aperture, finishes
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- The textile is structured through various pleating techniques, improper and proper stitching, hand tinting to achieve noble tones, treatment with acids, wax, burning, patching, sandpapering, drilling, basket-making and finishes.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- Perhaps this no longer matters, but we still care about values, about something that goes beyond our mere existence in the here and now, even when it comes to dressing. What we use to shroud our body, how we seem and appear in front of others, and what we communicate and convey in this manner, this will continue to matter about as long as we share this world with others.
Tihana Mikša Perković is aware of this, and in her quest for clothing worthy of man she intervenes in history as well as in modernity, in the continuity of life finding the only real source of inspiration. Her inspiration are folk costumes from Croatian regions which she interprets in a contemporary key, by applying contemporary textile processing techniques. - ᱯᱨᱮᱨᱚᱱᱟ
- The man of tradition is closely linked to the rural way of life, as can be seen from the regional diversity that result from geographical location and the set of natural givens.
It was my intention to follow in the footsteps of our ancestors and to commit myself in a contemplative and repetitive, as well as time-consuming manner to the overall creation of each costume. In actual fact, my intention was to slow down, to be part of the process, and not just a consumer of finished impersonal and alienated clothing. - ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- 10.03.-26.03.2016., Zagreb, Ulupuh Gallery
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- Photo Vanja Šolin
Hairdress and make up Dalibor Šakić
Model Hana F.M.
ᱥᱯᱚᱱᱥᱚᱨᱰ
Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ
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ᱟᱨᱦᱚᱸ ᱠᱷᱚᱡ ᱢᱮ
ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾
