This season, she delivered the same kind of sweet dresses that have permeated her last few lines. But instead of delivering the same pieces over and over again, Franchetti has found a way to do what she does best (sexy dresses with a streetwear element), while still always bringing something new.
View some of our favorite looks from backstage at the PRISCAvera S/S '19 presentation, below.
Firstly, what is the meaning behind the collection title "The Chronicles"?
The title The Chronicles was chosen because this wearable art collection unites characters born across different timelines of the Abodi Transylvania universe — newly created beings, recurring figures, and even very early characters from the first stories I ever imagined.
In many ways, this collection functions as the opening volume of the Transylvania Chronicles — a grand introduction to a saga that will naturally continue. Literature and character-building have always fascinated me, and I approach fashion as a form of storytelling and artistic creation. Whether it is a highly sophisticated, sculptural artefact that I define as wearable art, or something as seemingly simple as a blouse, trousers, or even socks — I obsessively search for ways to elevate each piece.
My goal is always the same: to transform everyday objects into something exceptional in form, quality, and aesthetic value — something that carries artistic presence. This philosophy flows through everything I create.
The campaign has a very surrealist style, what were the artistic inspirations behind it?
Interestingly, there was no direct reference to a specific painter or artistic movement. The set design was primarily inspired by my own paintings, which the set designer translated into physical space and illustrations. In that sense, the campaign emerged organically from my visual universe rather than external art history.
The only clear reference point was the iconic shadow of Count Orlok from the 1922 film Nosferatu. That haunting silhouette — one of the earliest expressions of cinematic noir and expressionism — has become a legendary visual symbol. We transformed and reinterpreted this shadow within the set.
Beyond that, I would say my own multidisciplinary practice shaped everything. I illustrate, paint, create ceramics — I don’t only design clothing. I see myself as a renaissance kind of creator, someone who moves freely between mediums. So if the campaign feels surrealist, I think that simply means surrealism lives somewhere within the Abodi Transylvania world — along with symbolism, mysticism, and a love for the uncanny.
Were there any other cinematic influences in addition to Nosferatu?
I am deeply in love with cinema and watch an absurd amount of films — but for this particular campaign, direct references were quite limited. Aside from the original 1922 Nosferatu, there is of course the original Dracula film starring Béla Lugosi from 1931, the Hungarian Transylvanian actor who essentially defined the visual language of Dracula for Western culture. That black-and-white, film noir atmosphere has permanently shaped how we imagine vampires. One artefact in the collection — a black coat with an asymmetric cape embraced by a vampiric figure — subtly references this legacy. The ceramic mask I created for it loosely echoes Lugosi’s features, though in a very abstract, reinterpreted way.
There are vampire films I adore — Interview with the Vampire, Blade, and even the recent series Dracula with Claes Bang — though they influenced me more philosophically than visually. And then there’s What We Do in the Shadows, which I find brilliant in its humor. What fascinates me there is the idea of ancient creatures navigating the modern world. This concept resonates deeply with my own work — not just regarding vampires, but all historical myths and traditions.
What is the process of balancing art and wearability for creating wearable art?
For me, wearable art exists precisely because it is free from rigid systems. Traditional couture, while extraordinary, functions within strict institutional rules — seasonal schedules, syndicates, elite clientele, and commercial structures. It is beautiful, but also constrained. Wearable art, on the other hand, offers radical creative freedom. An artist once explained it perfectly: fashion — though a form of applied art — is forced to constantly reinvent itself seasonally. But in fine art, a painting, sculpture, or novel can exist timelessly. This endless seasonality in fashion often devalues creativity.
I wanted to create a space within Abodi Transylvania where I could produce without pressure — without deadlines, trends, commercial expectations, or fear of reception. Some ideas need time. Some creations need irrational freedom. Of course, we still design commercial pieces — but wearable art is where imagination can breathe fully. It is where magic happens.
The vampiric side of Transylvanian heritage is familiar to us all but what other elements of this Eastern European culture are influences for the brand?
Eastern European culture — especially within the Carpathian Basin — is incredibly rich and deeply interconnected. The similarities between its peoples often outweigh the differences. Transylvania is particularly special. It carries a strange, almost spiritual atmosphere — a kind of energetic heart chakra of the region. Many people feel this the moment they arrive. It is also a land of extraordinary diversity: Hungarians, Romanians, Saxons, Armenians, Slavic groups, Jewish communities — all contributing to a vast folklore treasury.
Beyond vampires, there are endless mythical figures: forest women, fairy queens, celestial heroes, water spirits, magical creatures, enchanted animals. This mythology is a limitless source of inspiration.
How did the concept of mythology inform this collection and campaign?
I approach Transylvanian legends freely — not as a historian, but as a storyteller. Having left Transylvania as a child and grown up as a global citizen, I exist both inside and outside this culture. It is deeply part of my identity, yet I also view it from a distance.
This allows me to extract the essence — the emotional truths and timeless themes — rather than being bound to strict national narratives. Over time, this evolved into my own personal mythology, where recurring characters reappear, new ones emerge, and stories continue across collections. It is the most authentic creative language I know — and the one I feel entitled to expand, reshape, and reinterpret.
What do you think makes the iconic figure of Dracula so pervasive in Western Cultures?
When Bram Stoker wrote Dracula, he was essentially translating Victorian fears into fiction. At the time, Eastern European immigrants were arriving in the British Empire, and society feared the “unknown outsiders” — their diseases, their customs, their supposed criminality, their competition for jobs.
Dracula became the seductive yet dangerous foreigner. But beyond social fear, he also embodies humanity’s greatest desire: eternal life and youth. Yet immortality comes at a terrifying cost — watching loved ones die, losing moral boundaries, living as a predator in isolation. Nothing is free. Dracula pays the ultimate price for eternity. And still — he remains irresistible.
Danger, seduction, power, transgression — people are drawn to him because he represents both the fantasy of limitless existence and the horror of its consequences.
How do the non-fashion products such as art and sculpture fit within the world of ABODI TRANSYLVANIA?
I don’t believe sculpture and art are separate from fashion at all. Fashion is inherently sculptural and architectural — it shapes the human body. A beautifully constructed coat or skirt is already a form of moving sculpture. What fast fashion has done is devalue craftsmanship, patience, and artistry.
Wearable art exists to remind us that textiles, embroidery, construction, and material manipulation are artistic practices. One perfect example is the Vampire Castle Headpiece. I originally created it freely for a photoshoot — with absolutely no limitations. Later, when Jaden Smith wore it to the Grammys and it went viral, the idea evolved into the Vampire Castle Bag — now one of our most successful pieces. It all began with unrestricted imagination.
That’s why I don’t even like calling Abodi Transylvania a “brand.” It’s more like a boundless imaginary republic — where strange creatures rule, mythology thrives, and art leads. Perhaps one day I’ll officially declare the Republic of Abodi Transylvania — governed by unicorns, straw men, vampires, and mythological beings. Honestly, it might be a better world than the one run by greed.
