Horváth Anna Annchi

horvath_anna-1-274x412“To Anna, to be hopeful” – these words for me were written to his catalogue by János Fajó, when we met first at his exhibition. I was eight at that time. A few years later I became his disciple at the Szerencs Art Camp, turning into painter there. He often said: “believe me, you know something what the others do not”. That time I did not understand what he meant. The geometry was easy to me, I am expert in this craft even now, and now I know that what I create is coming from my inside clearly.


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According to the fundamentals of the Free School, we works with scissors, cutting, folding, translating the forms. We make small-scale models of everything. Among the elements of the geometry, I am mainly interesting in the transpenetration, as the colours affect each other.  I spent a whole summer experimenting, just mixing colours. I feel free to use the colours.


My paintings are represented in famous contemporary collections, I have taken part in international exhibitions for 15 years. My original portfolio of colour screens was printed in 2008, of course, focused to the transpenetrations. Working as an intern in London at a famous designer, I gave her a copy as a birthday present. I thought she put it away to her archives. To my surprise, she put all to her wall, framed. She loves them!

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I wanted to have a practical profession, one whose every movement can be performed by me. Painting is a part of me, but I graduated as fashion designer. I learned it all, from the beginning to the end: cutting and sewing, digital design. I have a professional exam in textile technology.


I was 24 when I signed up to the London College of Fashion. It turned out that I got exemption from the preparatory term, because of my grounding in textiles and painting. I learnt fashion design, tailoring, and movie theory. I had a master-disciple relation with the teachers. They, as professionals, acting designers, fitters of great expertise, happily gave constructive criticism on our works. They left to reveal our individual talent in design.


We have worked in a supportive atmosphere. Among us it was matter-of course not debunking the work of others! There was no rivalry. We helped the other as we could. We had to work hard. Sometimes we were given a task, what nobody opened after. We needed to learn the craft just for ourself!


Half of the students were English; the others were Asian, European and American. In this international ambience, it was interesting to see how the Asians were working assiduously. Knowingly, an own factory at home waited many of them. They had a mission, and I liked it. I returned home with a mission as well: to accomplish my childhood dream, to initiate my brand, the ANNCHI.

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As a designer, I transform the approach of the painting into the dressing. While a painting is complete in itself, a dress reaches its integrality with its wearer. Designing for an individual, I am eager first to know the personality of my client. I must find what is the most beautiful in her figure, and what need to hide to feel good. It is important to me that she would be delicate wearing my dress, but not weak.


The ANNCHI collections based on each other, having a system. Their typical feature is the geometry, the clean lines, the versatility, and the layering. These are not separate pieces of wardrobe, but elements, inserted simply to the existing set. For example, the shirts. They are simple but easily combinable pieces, yet full of exciting details. Any woman should have at least one perfect white shirt.

20/10/2013 Budapest


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