BR EXCLUSIVE | Alina Zara, MandraChic: “In an automated world, handcraft will gradually move from the realm of low culture to that of high culture”

BR EXCLUSIVE | Alina Zara, MandraChic: “In an automated world, handcraft will gradually move from the realm of low culture to that of high culture” – Business Review
Social Responsibility

BR EXCLUSIVE | Alina Zara, MandraChic: “In an automated world, handcraft will gradually move from the realm of low culture to that of high culture”

Oana Vasiliu17/07/2026 | 10:44

Romania’s cultural capital is built also through the people who keep traditional knowledge in circulation and give it a place in contemporary life. Crafts such as oya and hemstitching carry generations of technical intelligence, memory, and identity, yet their future increasingly depends on whether they can become part of sustainable local economies without losing their authenticity.

This is the space in which MandraChic operates. By bringing traditional techniques into dialogue with contemporary design, the brand treats heritage as a living resource rather than a static legacy. For founder Alina Zara, its value extends well beyond the economic: heritage creates trust, strengthens identity, connects communities, and ensures continuity. At the same time, working with handmade objects means resisting the speed and uniformity of mass production, preserving the natural imperfections of craft, and developing products whose value comes from their story and direct connection to the maker.

In this interview, Alina Zara discusses Romania’s contribution to the multinational UNESCO dossier dedicated to oya and hemstitch decoration, the growing place of handcraft in contemporary design and luxury, and the opportunities and risks that arise when culturally embedded products enter international markets. She also reflects on education, the transmission of traditional skills, and the public policies still needed to support creative entrepreneurs working at the intersection of culture, community, and the economy.

Romania’s contribution to the multinational UNESCO dossier on “Oya / Hemstitch decoration” highlights the value of shared cultural practices across regions. From your perspective, how does this recognition reshape the way we understand heritage as a form of capital?

Recognition through a joint UNESCO nomination subtly shifts the perspective: heritage is no longer just a local legacy ‘to be preserved’, but becomes a living asset, built from shared practices. For us, this confirms that the work we do at Mândra is not isolated, but forms part of a broader network of meanings and techniques. Capital is not only economic but also relational and cultural: trust, identity, continuity.

In recent years, we’ve seen a growing conversation around heritage as a re as hemstitching generate long-term economic value without compromising their authenticity?

Crafts can generate real economic value in small communities if they are not forced to conform to the logic of fast production. At MandraChic, we operate precisely within this balance: we maintain the pace and natural imperfection of handcraft, but we also strive to create products that are relevant for today. Value comes from the story, from authenticity and from a direct connection with the object, not from volume. In the long run, this creates a slower but more stable and honest economy. At least, that is our perspective. A different type of development, on a national and larger scale, would require much more infrastructure and education. And if nothing has been built in this direction so far, it takes a lot of effort to get started, but it’s not impossible.

Your work often bridges tradition and contemporary design. What role does materiality, the fabric, the stitch, the handmade gesture, play in preserving meaning in an increasingly digital and fast-paced world?

Materiality is essential. In a digital world, where everything is fast and reproducible, handcraft and the gesture of the hand become bearers of meaning. They tell a story that can only be condensed or simulated artificially, and this is becoming increasingly apparent. In our projects, the material is not just a medium; it is the content: each piece of fabric carries time, memory and a form of accumulated intelligence. We increasingly believe that, in an automated world, handcraft will gradually move from the realm of low culture to that of high culture and, when done truly well, even into the luxury sector.

Handcrafted techniques like hemstitching require time, skill, and tacit knowledge. How do you translate this “intelligence of the hand” into products that resonate with today’s consumers?

We translate ‘hand intelligence’ through objects that do not conceal the process, but rather reveal it. We don’t oversimplify, and we don’t ‘clean up’ the traces of handcraft, because that’s where the value lies. Today’s consumers are looking for precisely this authenticity – not industrial perfection, but objects with character that tell a real story. At the same time, we are also seeing the emergence of a form of solidarity, a desire to support and preserve everything that remains profoundly human / ‘human-like’ in this new world.

How do you navigate the balance between preserving traditional aesthetics and adapting them to contemporary tastes, especially for international audiences?

The balance between the traditional and the contemporary does not come from forced adaptations, but from a genuine dialogue within the community, at the grassroots level: with local people, craftspeople, collections, archives, the vibe of the place and the new generations. We don’t ‘modernise’ the craft; rather, we place it in new contexts: contemporary cuts, modern messages, unexpected combinations. For international audiences, paradoxically, authenticity is the most powerful draw, not something that needs to be watered down.

One of the key challenges of intangible heritage is transmission. What role do brands like yours play in educating younger generations about the value of traditional techniques?

Small brands like MandraChic can take on a role of mediation and education. Without claiming to be specialists, but also by calling on specialists and blending this with the native, original creativity that exists on the ground, in a real way and already adapted to the times, as it always has been. We don’t just sell products; we also try, in the way we know best, to tell stories responsibly and openly, to explain processes, and to bring people closer to the craft. Through workshops, residencies and community projects, we work directly with young people and try to turn curiosity into engagement. The truth is: it’s becoming increasingly challenging.

As Romanian heritage gains more international visibility, what are the risks and opportunities of entering global markets with culturally embedded products?

International visibility brings opportunities, but also risks. The greatest risk is simplification or exoticisation (turning heritage into a decorative product without its authentic depth). The opportunity is to establish a clear, honest positioning, where we do not adapt to the point of losing our identity, but instead educate the public about the true value of this heritage and the contemporary pieces we offer.

Romania recently marked 20 years since adopting theUNESCO Convention for the Safeguarding of the Intangible Cultural Heritageand joined theFaro Convention. From your perspective, how well are public policies aligned with the needs of creative entrepreneurs working with heritage?

Public policies are still lagging behind the reality on the ground. There is openness and there are important milestones, such as these national and international recognitions, but tangible support for creative entrepreneurs remains limited. What we do often happens in spite of the system, not because of it. What is needed are more flexible tools that understand the specific nature of this type of work, spanning culture, education and the economy.

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