The return of Past Trends

Smeltere observes a distinct resurgence of styles from the 1960s and 70s in contemporary fashion, emphasizing the cyclical nature of trends. She notes that fashion frequently revisits and builds upon past aesthetics. “At this point,it might very well be said that those sixties,the seventies,have returned,very strongly returned,” Smeltere stated,highlighting this pattern. She further elaborated, “And we can still say that she plastered a circle like we said, the spiral. Steps by some step higher and returning again, touching the old values, with the new pros.”

This cyclical pattern suggests that designers and consumers are drawing inspiration from previous eras, adapting vintage styles to modern sensibilities.The wide-leg trousers popular among young people today serve as a prime exmaple of this trend, demonstrating how past styles are reinterpreted for a contemporary audience.

Youthful Style and Self-Expression

When asked about the style of young people in Riga, Smeltere believes that they are conscious of fashion, even if their choices appear effortless. “I think they all think, but in fashion is this style ‘as if I don’t think about fashion, as if I still have… oh, what will I wear,'” she explained. “This style is in fashion for the young. Well, as young, there are 16, 17 such, some have this period.But I think young people think in fashion.”

This suggests that young people are actively engaging with fashion as a form of self-expression, even when adopting a seemingly casual or nonchalant approach. Their choices reflect a desire to express individuality while navigating current trends.

Early Influences and the Allure of Ballet

smeltere’s earliest memories of clothing are intertwined with the post-war era and the world of ballet. She recalls wearing hand-me-down clothes from older relatives during a time of scarcity.However, her most vivid early impression of fashion came from her involvement with a ballet studio at the Riga Pioneer Castle.

“The very first memories of me are quite sad as it was post -war time and we wore big cousin clothes, and the cousin grew up, gave the youngest to worn,” she recalled.She continued, “But such a first impression could be very complex, and it would be a ballet studio and costumes on the stage… I remember Anitra’s dance. And that for the first time in my life, I put on such an anith. It was all very extraordinary.”

Her father’s work at the Opera Theater further immersed her in the world of costumes and theatrical performances, solidifying her early interest in fashion and design.”Well, ballet dress, ballet dress is my vision for the costume,” Smeltere stated, highlighting the profound impact of ballet on her understanding of clothing as a form of artistic expression. The theatricality and artistry of ballet costumes shaped her perspective on fashion’s potential for storytelling and visual impact.

Dreams of Modeling and the Realities of the Profession

In 1964,Smeltere expressed her aspiration to become a fashion demonstrator. While acknowledging the allure of the stage, she also recognized the hard work and dedication required to succeed in the modeling profession.”Well,every girl dreams,visions for her,and actresses want to be and ballet dancers,and everything related to beautiful feelings,” Smeltere said. “But the idea that it is so easy to be on stage and just go out and just smile does not really fit in. The truth is always much more challenging. There is so much to know, there is so much to feel. There is so much to understand.”

She emphasized that modeling, particularly at the Riga Model house, involved more than just showcasing clothes; it was about embodying the designer’s vision and conveying a narrative through performance. “Thes were small theatrical performances,” she explained, highlighting the artistic and expressive dimensions of modeling at the time. Models were expected to bring a sense of artistry and interpretation to their work, transforming fashion shows into engaging theatrical experiences.

The Current State of Riga Fashion

Despite acknowledging the ongoing creativity and activity within riga’s fashion scene, Smeltere expresses concern about the city’s diminished presence on the global fashion stage. “But what’s sad today in the fashion world as I already understand that everything is happening,the designers are working,the costumes are making… But that in fashion we have disappeared in Riga,which has always been firmly marked and known and seen,” she lamented.

She points to a lack of clear leadership and direction in the industry, leading to a sense of “chaos” and “imbalance” in the definition of Riga’s elegance. Smeltere contrasts this with other art forms in Latvia, such as cinema and theater, where recognized figures provide guidance and inspiration. The absence of a unifying vision and strong leadership, she suggests, has hindered Riga’s ability to maintain a distinct and recognizable presence in the international fashion community.

Timeless Style and Lasting fashion

Smeltere’s designs have proven to be remarkably enduring,with some garments remaining stylish and wearable decades after their creation. She recounted an anecdote about encountering a woman wearing one of her evening dresses at a recent event. “I suddenly see the ‘cabin a’ evening dress, a long evening dress for a girl. She sees that I see her,and after the dance she arrives,she says,’Just please don’t say how many years this outfit is!'” Smeltere recalled. “But the outfit was entirely fit today.”

This longevity speaks to the timeless quality of Smeltere’s designs and aligns with the growing emphasis on sustainable fashion. “Today is a fashion saying ‘Sustainability,'” she noted. “Well, he may have a different meaning because he reproduces the same fabric, but the costumes live a long life. My costumes. They… Sustainable life.” Her designs, created with quality and enduring style in mind, have naturally embraced the principles of sustainability long before it became a mainstream movement.

Interviewer (Senior Editor): Dr. Vītoliņa, welcome. Asnate Smeltere’s recent reflections highlight the cyclical nature of fashion trends and the unique evolution of Riga’s style. Could you elaborate on this cyclical pattern, providing examples of styles and aesthetics that have seen resurgences?

Dr. Vītoliņa: Absolutely. The cyclical nature of fashion, as observed by Ms. smeltere,is a pivotal concept. We see recurring themes in clothing, accessories, and overall aesthetics. Think about the enduring popularity of silhouettes like the A-line dress,which has resurfaced repeatedly throughout the 20th and 21st centuries,adapting to different fabric

Unraveling Riga’s Fashion Legacy: A Conversation with Dr. Elīna Vītoliņa

Is Riga’s fashion scene a hidden gem, poised for global recognition? Or is its unique identity at risk of fading?

Interviewer (Senior Editor): dr. Vītoliņa, welcome. Asnate smeltere’s recent reflections highlight the cyclical nature of fashion trends and the unique evolution of Riga’s style. Could you elaborate on this cyclical pattern, providing examples of styles and aesthetics that have seen resurgences?

Dr. Vītoliņa: Absolutely. The cyclical nature of fashion, as observed by ms. Smeltere, is a fundamental principle shaping its trajectory. We consistently see a recurrence of themes in clothing, accessories, and overall aesthetics. Consider the enduring popularity of silhouettes like the A-line dress, which has experienced repeated revivals throughout the 20th and 21st centuries, adapting to different fabrics, embellishments, and cultural contexts. Similarly, the return of 1960s and 70s styles, mentioned by Ms. Smeltere,reflects this cyclical pattern. Wide-leg trousers, bell bottoms, and even certain elements of bohemian style reappear consistently, demonstrating the enduring appeal of certain aesthetic principles. This cyclical nature is not merely a fashion whim; it reveals a deeper connection between past and present design sensibilities.

interviewer: Ms. Smeltere also touched on the apparent effortless style of Riga’s youth. How would you characterize the approach to fashion among younger generations in Riga? Does it represent a departure from previous generations,or a continuation of existing traditions,perhaps with a modern twist?

Dr. Vītoliņa: Young people in Riga’s fashion scene ofen exhibit a unique blend of conscious and seemingly casual styling. What might appear effortless is, in fact, a calculated approach to self-expression. They are acutely aware of trends, but they often reinterpret them in a highly individualistic way. This involves blending vintage or retro pieces with contemporary designer labels, showcasing a deft understanding of mixing styles and creating unique personal aesthetics.This approach represents both a continuation of Riga’s artistic and creative heritage and a modern rebellion against rigid stylistic norms. the nonchalant attitude, while apparent, actually reflects a deep engagement with fashion as a powerful tool for communicating identity.

Riga’s Fashion Identity: Challenges and opportunities

Interviewer: Ms. Smeltere expressed concern about Riga’s diminished global presence in the fashion world. What factors contribute to this reduced visibility, and what strategies could revitalize Riga’s fashion scene on the international stage?

Dr. Vītoliņa: Riga’s fashion scene, while rich in talent and history, faces a number of challenges that hinder its international prominence. A lack of cohesive branding and strategic marketing is a notable factor. The city has a unique cultural identity, but hasn’t effectively translated that into a strong and recognizable fashion brand globally. Moreover, limited access to international markets and funding for emerging designers hamper growth.To revitalize Riga’s global visibility, a multi-pronged approach is necessary. This involves strategic collaborations with international fashion houses, increased investment in young designers, participation in major international fashion events, and the development of a strong, unified brand identity for Riga as a fashion destination. A greater emphasis on storytelling and highlighting Riga’s unique cultural heritage within its fashion industry is crucial.

Interviewer: Asnate Smeltere’s designs demonstrate remarkable longevity.What contributes to the enduring appeal of classic and timeless styles in Riga’s fashion legacy? How can this focus on sustainability inform new design directions for Riga’s designers?

Dr. Vītoliņa: The enduring appeal of Ms. Smeltere’s designs underscores the importance of quality craftsmanship and timeless silhouettes. These designs, frequently enough characterized by exceptional materials and complex construction, transcend fleeting trends. This inherent sustainability, creating pieces intended to last and be re-worn, aligns perfectly with the contemporary emphasis on eco-conscious fashion. Riga’s designers should focus on producing high-quality, durable garments that are both stylish and sustainably made. This involves prioritizing ethical sourcing of materials, incorporating innovative and eco-friendly manufacturing processes, and promoting a culture of slower, more mindful fashion consumption.The city’s rich history of craftsmanship provides an vital foundation for this transition towards a more lasting fashion future.

Interviewer: What are some key takeaways for both aspiring designers and established professionals in Riga’s fashion industry who aim to achieve international recognition?

Dr. Vītoliņa: For aspiring and established designers in Riga, a focus on three core areas is essential for global success:

Develop a strong brand identity: Establish a unique voice and aesthetic that reflects Riga’s cultural heritage while appealing to an international audience.

Embrace sustainable practices: Prioritize ethical sourcing, quality materials, and enduring designs to align with current consumer demands and environmental obligation.

* network and collaborate: Actively connect with international fashion figures, utilize digital platforms effectively, and participate in global fashion events to increase visibility.

Interviewer: Dr. Vītoliņa, thank you for sharing your expertise.This conversation offers a truly insightful outlook on the fascinating evolution of Riga’s fashion landscape.

Dr. Vītoliņa: My pleasure. I hope this discussion will stimulate a wider conversation about the future of Riga’s fashion identity and inspire its talented designers to embrace the opportunities that lie ahead. I encourage both readers and professionals to engage constructively on the topics we have discussed. Do share your thoughts and comments–this is a conversation that is vital to the future of Riga’s fashion scene.