Fitting Room

"Fitting Room" marks the debut of a fashion collective whose practice has grown through ten years of friendship, collaboration, and shared work across styling, photography, and design. Drawing from their roles within the fashion and image-making industry, the artists use the exhibition space to develop a response outside the usual circuits of briefs, clients, and commissioned work.

"Fitting Room" refers to an enclosed, private interval—the moment in which the body exists before being dressed for the world. Here, this interval becomes both subject and method. Each artist responds directly to the space, translating elements of their usual practice into unfamiliar forms: installation, collage, and prints on semi-transparent textile.

Alina Sonia Niculescu (b. 2001) is a visual artist working between photography and styling. She graduated in 2026 from the Royal Academy of Arts, The Hague, in 2026, and her practice explores femininity, softness, and the ways in which they are constructed through images, memory, clothing, and gestures. Her work draws from the language of fashion imagery while focusing on the creation of intimate worlds and atmospheres. The exhibited works are part of her graduation project, girls – i like to eat cherries in my bed and press one against my cheeks to make them pink. Drawing from memories, personal stories, and ideas of girlhood, the photographs explore small gestures, rituals, and the relationship between clothing and the body. Printed on semi-transparent textile, the images move between photograph and textile object, bringing the work closer to the body while retaining a sense of fragility.

Ana Carina Georgescu (b. 2002) is a multidisciplinary artist working across mixed media, installation, and contemporary jewelry. Her practice explores the relationship between the body, memory, and social structures, with a particular interest in unconventional materials and forms of containment. Her background in Fashion Design informs her approach to textile, incorporating couture sewing and draping techniques into her work. For the exhibition, Georgescu works with doilies inherited from her grandmother, combining their delicate textile structure with the rigidity and rawness of metal. Displaced from their domestic context, the doilies become structures that suggest restriction and limitation, reflecting on invisible forms of control and the undervalued labor traditionally associated with women. Georgescu graduated in 2025 from the Royal Academy of Arts, The Hague, with a degree in fashion.

Matei Ibănescu (b. 2001) is a visual artist working primarily with photography, collage and visual direction. Ibănescu’s editorial-fashion-influenced photography creates constructed environments that respond directly to his subjects. Largely monochromatic and melancholic, his works use negative space to keep the subjects in stasis; holding a quality of permanence. He takes a minimalistic approach and searches for environments that don’t belong to a specific temporal or regional identity. This sensibility takes shape in dormant buildings or forgotten places—or in their absence altogether, the background removed to hold onto that timelessness. Within his photographic work, he proposes a shared imaginary with each collaborator—drawn from their practice and how they perceive themselves. The collages, made from found materials from his home or discovered in antique shops, act as a physical counterpoint to this sense of “direction,” while responding to the theme of the exhibition. Ibănescu graduated in 2026 from the National University of Theater and Film, Bucharest, Romania, studying photography.