Rozálie Zervanová a journey through Fashion, Art Direction and Theatrical Costume Design.
In today’s conversation, we have the pleasure of speaking with a talented and multifaceted fashion designer and art director Rozálie Zervanová, whose creative journey has led her to explore various aspects of the fashion industry. Her work spans fashion design, event curation and costume creation for theater and film, each project adding a unique dimension to her growing portfolio. Join us as we explore her experiences, challenges, and inspirations in the world of fashion design. Currently, she is preparing for the upcoming Fashion Event Dotek, where her artistic direction will play a central role in shaping the event’s vision.
What led you to study fashion design at UTB in Zlín? How would you describe your creative style and what inspires you the most?
In high school, I had a vision of becoming a fashion designer. Until I was accepted to university, I pursued this field only in my free time and taught myself how to sew at home. Going to study in Zlín was a clear choice for me at the time. Although I was born and raised in Prague, I felt that Zlín had much more to offer me: education, general insight, new friendships, contacts, and paradoxically, I was drawn by the idea of being as far away from the busy city of Prague as possible, which I find somewhat overrated. Zlín simply met all my decision-making criteria.
During my studies, I discovered that my strengths lie more in organizing, artistic direction of fashion events, and costume design for film rather than fashion design itself. That’s why I began to focus more on those areas. Our studio is full of talented emerging designers who will certainly make waves in the fashion world, and I’d be happy to create tailored fashion shows for them. But I’m not giving anything up yet—I’m still involved in fashion design and waiting to see where life takes me next.
As for my creative style, I enjoy using the silhouette of a men's blazer, which I’m also incorporating into my current bachelor’s project. I have multiple sources of inspiration. I mainly draw from architecture, which I love photographing, interior design, the costume environment of the National Theatre, and generally from the small joys of everyday life.
What are the biggest challenges when studying fashion design and creating your own collections?
For me, it's definitely a fight against time. I’m one of those people who can’t sit still and always need to be creating something. That’s why I usually have several projects going on at once, and the challenge is then to fit everything together time-wise, whether it's school-related or outside projects.
Thanks to my work ethic, I’ve had the opportunity to try out many roles in the field and gain valuable experience essential for my career growth.
Fashion design studies are time-consuming. It's not like in other fields where you just sit through lectures; it’s about hands-on creation and being part of the entire garment development process. Many people don’t realize that we sacrifice all our free time to this work.
How did you become the art director for the Fashion Event Dotek?
In 2023, I collaborated on organizing an exhibition and pop-up at the G18 Gallery in Zlín. The exhibition was part of Fashion Revolution Week and showcased sustainable fashion collections by UTB fashion design students.
My goal was mainly to present the garments in a unique way—integrating them into the gallery space with interactive elements aimed at visitors to make the topic of sustainability in fashion more accessible.
The exhibition caught the attention of the then-managers of Fashion Event Dotek, and I was offered the opportunity to collaborate.
What does preparing such an event involve, and what is the art director responsible for?
Preparation for the new edition starts almost immediately after the March fashion show. The team of managers from all sections meets to brainstorm a new theme. Based on the theme, I create proposals on how to approach the upcoming year aesthetically.
The most important thing is to think holistically from the start, to have a unified vision and stick to it throughout the year.
Simply put, I’m responsible for the entire visual presentation and countless approval processes—from choosing the right font, through graphic elements, photo shoots for posters and social media posts, video shoots, to installations for the actual fashion show.
My role is quite extensive and covers a wide range of tasks.
In the summer, I assemble my artistic and technical team, with whom I then tackle everything from making and sourcing props to styling and more. I also oversee audiovisual components and partially the photography team.
I try to give my team space for their own opinions and creativity. They are very talented people I can rely on, and they always come up with great ideas to improve and optimize things. Being an art director is very much about teamwork and proper role delegation.
What makes Fashion Event Dotek different from other fashion events?
One very important aspect is that it’s a nonprofit event with a charitable dimension. We support awareness and prevention of breast cancer in cooperation with the organization Aliance žen s rakovinou prsu, o.p.s.
We offer workshops with fashion industry professionals and give fashion students the opportunity to present their collections to the public and gain broader exposure. At the end of the evening, we hold a charity auction, with the proceeds going to the aforementioned organization.
Another important and perhaps surprising aspect is that it’s a university event, organized solely by students. No one else can participate in the organization (unless it's a specific external service).
This leads to a constantly changing team and, with it, new visions. Students must give up their roles upon graduating, leaving space for newcomers. This is what makes each year completely unique.
What do you see as the main differences between the Czech and foreign fashion scenes?
I think we have many talented designers in the Czech Republic, but lately, I see the biggest issue in poor management. We are not naturally taught by society or school how to build brands and promote them effectively.
The system often puts obstacles in our way, not to mention the financial side of starting out. The motivation to start new projects is often overshadowed by growing disadvantages and barriers. This causes many dreams and visions to fall apart.
Abroad, I see much more support in this regard. The emphasis starts early—even at school. Fashion students often graduate with already established, functioning brands.
Visually, we are still held back by societal expectations—we're afraid to experiment and express our personal inclinations. We cling to prescribed trends and end up limiting both ourselves and the already-spoiled customer.
What is it like working as a dresser at the National Theatre? How does this job influence your own creative work?
As someone who designs clothing, I have my “bad habits” like touching all kinds of textiles, turning garments inside out to see how they’re made.
Working as a dresser is undoubtedly very inspiring, as I have access to all costumes and can learn a lot from them.
Even as a child, I was immersed in cultural life and exposed to art. We often visited galleries, theatres, and especially the National Theatre, which I developed an emotional connection to.
When the opportunity came to work with costumes there, I didn’t hesitate for a second. Working in a beautiful theatrical environment among great people is an honor, and I completely believe in the legend of the Phantom of the Opera—sometimes I wish I could be him too, wandering the corridors unnoticed and soaking in the magic of the historic building.
What are the most interesting projects you’ve worked on in this area?
Since the theatre has daily performances—drama, opera, and ballet—I work with costumes from all productions.
Primarily, I’m in the men’s solo section. One production I consider very successful is Oresteia, which premiered on February 6 and 7, 2025. It’s a free adaptation of Aeschylus’s ancient trilogy set in the modern world.
Although the work is complex in both dialogue and theme, visually it plays with elements that contrast with the storyline. The set and costumes are appealing to the audience, and I consider the use of lighting effects and modern technologies to be a big plus.
What projects are you currently working on, and where can we see your work next?
Since last year, I’ve been actively collaborating with the Audiovisual Arts studio at UTB in Zlín. I work as a costume designer on their student film shoots and am currently building my own costume fundus.
In addition to being the art director for Fashion Event Dotek, I also help backstage at Vision Prague, and since 2023 I’ve been managing the Exist fashion show, where UTB fashion design students present their bachelor’s and master’s collections.
In June 2025, you can look forward to the next edition of the show—this time I’ll be presenting my own bachelor’s collection there as well.
