Wanda Rutowicz in her studio, photo by Małgorzata Brus
“Roma women are disadvantaged. Hundreds of designers create collections for Polish women, but no one thinks about women living in Poland but belonging to a different culture. Yet, Roma women have their own desires. They want to dress fashionably while preserving their culture, with all its rules and customs. That’s why I decided to create collections for the Roma community, including formal, everyday, and stage outfits.”
Wanda Rutowicz
Małgorzata Brus: When I search for “Wanda Rutowicz” online, I see information stating that you are an internationally recognised designer of Romani costumes. Do you have Roma roots?
Wanda Rutowicz: Yes, but mostly in spirit. My father looked like a Roma man, so all our friends assumed I had Romani blood. My grandmother was a beautiful woman, and Romani caravans used to pass through, so who knows? I once wrote a fairy tale about the Romani people, inspired by the village where my grandparents came from. It makes me think it must have come from somewhere… From a young age, I loved traditional Roma culture, though at the time, I didn’t know I would one day be professionally involved in sewing Roma dresses. There’s definitely something within me, so perhaps I do indeed have Romani roots.
Romani Fashion Studio… How do you define “Romani fashion”?
To most people, “Romani fashion” is associated with stage costumes, which, let’s be honest, are designed to meet the audience’s expectations. People attending concerts or shows want to see something stunning, and television also dictates certain standards. Everything must look beautiful – ruffles, sequins, and vibrant colours are a must. During performances, people want to see something spectacular, a beautiful show – it’s not just about dancing around a fire in a wider skirt. Audiences come to admire the shimmering sequins, the gorgeous dresses, and the women who look like colourful birds or butterflies. It’s like a fairy tale.
Photo: Wanda Rutowicz
Where did your passion and interest in Romani stage costumes originate? Is it limited to stage costumes?
Not at all, it’s not just about stage costumes. Like many things in life, it all happened by chance. I had a tailoring workshop with 15 employees, making garments for export to the US, France, and Germany. One day – a Wednesday, I remember – a young Romani woman came in, crying, and asked me to sew her a dress. I thought, “Holy Mother of Częstochowa, everything’s already chaotic here, and now she wants a dress?” But I felt sorry for her. Her luggage had gone missing, she’d flown in from England and was attending a Roma wedding. Roma weddings aren’t only on Saturdays or Sundays, like Polish ones – they can take place during the week and last for several days. The poor girl had nothing to wear, so I agreed. She brought fabric that looked more suitable for curtains – chiffon with crumpled flowers. She was amusing and wanted a long dress with a matching ruffled coat and oversized ruffles on the sleeves. I said, “Alright”, and I sewed it. When my daughter, who wore the same size, came into work, I told her to try it on. She looked beautiful, though a bit like she was in a negligee. I thought, “Oh God, this girl is going to show up at the wedding like this?” But when the Romani woman came to pick it up and tried it on, it was pure magic! She knew how to wear it and make it shine. That’s how it all began. After that first dress, I started receiving a flood of orders from the Romani community. It’s not easy to obtain proper Romani attire due to their customs, and designers rarely consider this. Some women, for example, pin their skirts closed with safety pins because they’re not allowed to show their legs. Others sew random patches onto their outfits to cover their shoulders. I love creating beautiful things, and Roma attire is one of the most beautiful in the world, so I took it seriously and began designing and sewing Romani costumes.
Photo: Wanda Rutowicz
Fashion is constantly evolving, with changes happening ever more rapidly. Is this also true for Roma attire? Are there significant changes influenced by customs or technology, or does tradition dominate and keep the costumes resistant to global trends?
For 25 years, I’ve worked hard to modernise Romani attire. Young women can’t dress as they did in the past, such as during the caravan days – that’s obvious. They want to look stylish. Roma women love dressing up, so their clothing must also evolve. However, many changes depend on family and community, as well as historical and cultural contexts. Regarding elements directly dictated by Romanipen (the Romani cultural code), I modernise the outfits while preserving cultural values. For instance, I don’t reveal too much or emphasise their figures excessively, yet I ensure the garments are contemporary. I once showcased my designs in Płock, and I’m proud to say that Romani elders came backstage to congratulate me on my work. They thanked me for promoting Romani culture and for not trying to change it forcibly. It was a great honour for me.
You own the “Romani Fashion Studio”, the only one in Europe and renowned worldwide. Do you design all the outfits yourself, or do you have a team assisting you in the creative process?
Photo: Wanda Rutowicz in her studio, photo by Małgorzata Brus
There’s no set method. I used to employ people to help me, but it’s hard to find skilled individuals for this work. Contrary to appearances, sewing a traditional Romani dress isn’t easy. Romani dances are incredibly dynamic, so the costumes must hold up. A single skirt can have a circumference of 8 metres and nearly 100 metres of ruffles at the hem! I used to outsource sequin and embellishment work, but when I asked seamstresses to reinforce the stitching by going over it three times, they often ignored this for the sake of speed. Then, during performances, dancers would spin, and sequins would fall off – completely unacceptable. Now, I do everything myself – designing and sewing. It takes longer, but I’m confident in the results.
I found a page on Facebook named “Wanda Rutowicz & Bruce Stradling”. Upon further research, I see that Bruce Stradling is an artist and designer of graphics and textiles. What is your collaboration like? What do you create together?
Bruce Stradling is my friend. He’s an artist, a graphic designer, and a textile designer. Thanks to our collaboration, we’ve created unique dresses, such as the “card deck dress” and the “rose dress”. We’re now working on a dress inspired by a piano keyboard.
Anna Popek in the card deck dress, photo by Wanda Rutowicz
Romani dresses, especially stage costumes, are known for their richness and diversity of fabrics and haberdashery accessories. On average, how much fabric and additional materials are needed to create a dress?
Every dress – at least mine – requires meticulous calculations to ensure it “dances” well. To avoid becoming a burden for the dancer, the fabric weights must harmonise. My dresses usually incorporate five or six types of fabric, carefully matched in terms of colour and weight. Only then does the dress come together. How much fabric? Four metres are needed for the skirt, while the bottom ruffle alone requires 70 to 100 metres. Additionally, there’s an underskirt underneath. The bodice can be as simple as a stretchy blouse. Some dancers love corsets with boning – they’re stiff and restrictive but look stunning. Others prefer dresses in one piece. The possibilities are endless. The key is for the dancer to feel comfortable and free in the outfit. I have clients who prefer their skirts to be ankle-length, while others want the hem to graze the floor because it makes dancing easier for them. I fulfil their dreams. I source haberdashery accessories from Italy, the Czech Republic, and Slovakia. I find them wherever I can. I buy additional items, like earrings and flowers for embellishments, from Indian shops. Sometimes, I sew gemstones by hand onto the dresses. We even make hair flowers ourselves because it’s nearly impossible to find the perfect ones for dancing. Over 25 years, I’ve never repeated the same dress. There’s no production line, every dress I make is unique and distinct.
Do you also sew outfits for men?
Rarely, but yes. For example, I sew stage shirts. I’ve made about four beautiful, jewel-encrusted coats for Bogdan Trojanek because he loves such things. I’ve also created several costumes for Don Vasyl and his band members.
Bogdan Trojanek, photo from the Romani Fashion Studio archives
Do clients come with their own designs and expectations? Is it usually custom tailoring? Or can people visit your studio and buy ready-made dresses?
I always try to keep a few ready-made dresses in stock, in sizes ranging roughly from 36 to 42. These typically include an elastic blouse and a skirt with a waistband, so they fit most women. Of course, there are also custom orders. If someone wants a specific dress, I sew it to measure.
Photo: Wanda Rutowicz
Do clients bring their own fabrics, or do they rely on your suggestions?
Absolutely not – I don’t encourage clients to bring their own fabrics. As I mentioned earlier, a dress comprises multiple types of fabric, carefully matched in colour and weight. It can’t be just any fabric. I’ve made two dresses from client-supplied materials, and honestly, it wasn’t a good decision. For stage costumes, it’s entirely out of the question. For formal or festive outfits, I’m more flexible. Some clients bring stunning fabrics from England or France and ask me to sew dresses from them.
Which well-known artists and ensembles wear your designs?
The question should be: who doesn’t? My designs are worn by the Rajfer sisters from Israel, Bogdan Trojanek, Rada Zivkovic, and Rada Bogusławska. I dress Anna Popek for all Roma festivals. Don Vasyl, Elwira Mejk from the band Mejk, and many more artists wear my creations.
Don Vasyl and Wanda Rutowicz, photo from the Romani Fashion Studio archives
Do “ordinary” people also order from you? Who are your clients, and for what occasions do they commission outfits?
A lot of so-called ordinary people order Roma dresses. The culture of Romani attire is no longer taboo – enthusiasts can finally fulfil their dreams. Recently, I made dresses and shirts for a young couple and their family because they wanted to celebrate their wedding after-party in Romani style. There are also New Year’s Eve parties, carnivals, and other dance events where such dresses always leave an impression.
How long does it take to sew a typical non-stage dress? And I must ask – how much does a Romani dress cost?
The time varies, from a month to several months, depending on the design. As for the cost, let’s not discuss exact numbers since every dress is a unique project with individual pricing. However, a mid-range dress typically costs between 3,000 and 3,500 złoty.
You create tremendous cultural value, a historical record in the form of Romani attire, showcasing the material culture of Roma people in Poland. Have you considered creating an exhibition to display your work and artistic achievements?
I have no idea if anyone would take interest, though there is a large Romani community here in the Łódź region. It might be worthwhile to think about a permanent exhibition dedicated to the history of Romani attire. This could include replicas of caravan-era costumes and later styles, showcasing the evolution of Romani fashion up to the present day. It would make sense and serve as excellent documentation of Polish Romani culture.
Thank you for the conversation.
— Małgorzata Brus
Realised stage costume designs from the Romani Fashion Studio
Photos courtesy of the Romani Fashion Studio archives
Funded by KPO funds. GRANTS 2024. A2.5.1: Programme for Supporting Activities of the Cultural and Creative Sectors to Stimulate Their Development.
